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The Road to Mercy
Josh Harrison, a contemporary Christian singer, and his wife Bethany face a difficult decision that also tests their faith. A rupture in Beth's carotid artery leaves her on the brink of death even as she's pregnant with their first child. While Dr. Ben Abrams urges her to terminate the pregnancy to save her own life, she and Josh step out on faith and decide to carry the baby to full term During the next few months, Josh struggles with his faith, Beth hides a secret that may destroy their marriage. She also discovers a decades-old connection to Dr. Abrams that could change his life forever. "As an avid Christian fiction reader myself, I found Kathy Harris' book a powerful one, with themes th...
Oasis' Definitely Maybe
A brilliant study of Oasis' debut album, highlighting the band's massive cultural impact and the raw, positive power of those early songs.
The Christmas Wedding Surprise
With her Christmas wedding only days away, single mom Lauren Hargrove realizes she can’t go through with her plans to marry. Although her fiancé is a great catch, he’s not Chase Aikman, the cowboy with a shy smile and twinkling eyes that Lauren’s loved her entire adult life. Despite knowing there’s no hope of a second chance with Chase, memories of the love and passion they once shared stand between her and a future with any other man. All that Lauren has left of Chase is the six-year-old son they share, a son that he’s never met. Years of bareback bronc-riding on the rodeo circuit left Chase Aikman with a busted-up body and an alcohol and painkiller addiction. As he struggled tow...
Rochelle Hudson
Rochelle Hudson's career as an actress was planned from the start (born in 1916) by her ambitious stage mother. Given rigorous dance and musical training as a child, Hudson won her first film contract at the age of 14. A WAMPAS Baby Star in 1931, she co-starred with actors such as W.C. Fields, Henry Fonda, Claudette Colbert, Will Rogers and Fredric March in classic films like Imitation of Life (1934) and Les Miserables (1935). But within a few years, she was stuck in B movies and frustrated. Stepping away from Hollywood, Hudson worked as a realtor and a rancher, and even did wartime espionage work for the Navy. She continued acting occasionally, in Rebel Without a Cause (1955), the TV sitcom...
The Trained Nurse and Hospital Review
A monthly magazine of practical nursing, devoted to the improvement and development of the graduate nurse.
Andrew W.K.'s I Get Wet
"It's Time To Party," the first track off of I Get Wet, opens with a rapid-fire guitar line - nothing fancy, just a couple crunchy power chords to acclimate the ears - repeated twice before a booming bass drum joins in to provide a quarter-note countdown. A faint, swirling effect intensifies with each bass kick and, by the eighth one, the ears have prepped themselves for the metal mayhem they are about to receive. When it all drops, and the joyous onslaught of a hundred guitars is finally realized, you'll have to forgive your ears for being duped into a false sense of security, because it's that second intensified drop a few seconds later - the one where yet more guitars manifest and Andrew ...
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Phish's A Live One
Twenty years after its release, Phish's double-CD collection A Live One has something rare and precious going for it: it still doesn't sound like anybody else. Oversized, perverse, requiring an unusual amount of listener background knowledge? Yes to all. Yet the collective improvisations it captures, unprecedentedly coherent yet freewheeling and open-ended, are unique in rock 'n' roll. This book considers the music and moment of Phish's ecstatically inventive 1995 live document, a mix of weirdo acid-psych, ambient moonscapes, vaudevillian Americana, and riotous arena-rock energy, all filtered through bandleader Trey Anastasio's screwball compositional sensibility and the band's idiosyncratic approach to spontaneous group creativity. It places Phish and their fandom in historical and cultural context, and picks apart the mechanics of their extended group jams. And it examines the mystery of how a quartet of nice boys from Burlington, VT could have been, all at once, one of America's biggest touring acts and one of its best-kept secrets.
J Dilla's Donuts
From a Los Angeles hospital bed, equipped with little more than a laptop and a stack of records, James “J Dilla” Yancey crafted a set of tracks that would forever change the way beatmakers viewed their artform. The songs on Donuts are not hip hop music as “hip hop music” is typically defined; they careen and crash into each other, in one moment noisy and abrasive, gorgeous and heartbreaking the next. The samples and melodies tell the story of a man coming to terms with his declining health, a final love letter to the family and friends he was leaving behind. As a prolific producer with a voracious appetite for the history and mechanics of the music he loved, J Dilla knew the records ...
Sleater-Kinney's Dig Me Out
Sleater-Kinney's 1997 album Dig Me Out is built on Corin Tucker and Carrie Brownstein's competing guitars, Janet Weiss's muscular rhythms, and layered vocals that teeter between an urgent, banshee-like vibrato and a lower accompaniment. Dig Me Out was the band's third studio album, but the first one written and recoded with Weiss. It inaugurated Sleater-Kinney into a lineup that would span its two-decade career. This 33 1/3 follows the narrative of Dig Me Out from its inception in Olympia to its recording in Seattle and its reception across the United States. It's anchored in a short period of time – roughly from mid-1996 to mid-1998 – but it encompasses a series of battles over meaning ...
