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This proven program used by today’s top athletes, coaches, trainers, and therapists will improve flexibility, reduce injury, and optimize performance. The new edition includes the latest research, new flexibility assessments, new stretching matrix, and dozens of the most effective stretches to personalize a program for any athlete, sport, or event.
Two Arms and Three Elbows, The Day the Python Pooped and many other favorite stories for teen-age kids and their parents lie in wait for readers. Following, maybe stumbling, in the footsteps of James Thurber, Robert Fulghum, and William Bennett, the author tells stories about raising kids and being raised, about strange science and even stranger history. Written to be edifying, the stories are true, they have points (sometimes morals), and they entertain. They are perfect for the school teacher who has a few minutes to spend between lessons or until the bell rings, and wants a story fo rhis or her students. These are stories about envy, gun safety, the terrors of parenthood, racism, the pledge to our flag, uses of magnetism, and digging up a privy. What more could a person ask for?
We’re snowed in all winter, high in the Rockies at an artist’s retreat. Just me… and the four men who want to share me. It was supposed to be three months of solitude and reflection. I’d paint all day, then maybe read before going to bed early. I thought I’d be surrounded by quiet, retiring artists. I didn’t think those artists would be the world’s biggest rock band, taking a break from being in the spotlight. And I definitely didn’t think they’d seduce me, one by one… and sometimes together. There’s Cash, the drummer, who has smoldering eyes and muscles I can’t take my eyes off of. There’s Dalton, the bassist, who has a body sculpted from marble and a smile that makes me melt. There’s Gavin, the British guitarist whose accent does things to me… and whose hands do much, much dirtier deeds. And finally, there’s Slate, the mysterious lead singer whose voice alone makes me shiver. I can’t help myself. They’re commanding, dominant, and so irresistible I can’t say no. And best of all? They want to share me. All four of them. Four on the Floor is a complete standalone about an artist and the rock band who shares her. It’s a seriously steamy romance, but there’s zero M/M action - don’t worry, all the attention is on her! Keywords: Steamy romance, spicy romance, open door, virgin heroine, instalove, over the top, happily ever after, romantic novels, sexually romantic books, guaranteed HEA, no cliffhangers, sexy alpha hero, sexy ebook, HEA, forbidden romance, first person, new adult, first time, dominant hero, forced proximity, reverse harem, menage romance, strong independent heroine, rock star romance, rock band, poly romance, polyamory, why choose romance, trapped together, four men one woman
Months after antiques picker and ex-FBI agent Jeff Talbot's beloved 1948 Chevy woodie was wrecked — the result of a killer trying to run Jeff off the road — it's finally restored. But when he and his butler go to pick it up at the shop, they discover the asphyxiated bodies of four men — including owner Louie Stella, a former informant from Jeff's FBI days. But what at first appears to be a terrible accident is soon ruled a homicide. Louie's son, Tony, is missing — and he's left behind an envelope, found inside the woodie. Filled with clues, in connects the Talbot family with what the media has dubbed the "Four on the Floor" murders. As Jeff puzzles together the pieces of his past, he goes undercover to catch a rich, mysterious woman who may hold the key — while trying not to become the fifth on the floor...
It started as a favor . . . And led to a bunch of dead bodies. Now, John Tyler is on the run. The former soldier offered to pick up his daughter Lexi’s friend Stacy at the airport in bad weather. Simple enough. When they arrived at the young woman’s house, however, four murdered corpses littered the floor. And the killers were circling back . . . Even once they make an escape, their future is hardly certain. Cut off from his friends and support, Tyler must keep Stacy safe from a determined and unknown adversary with a seemingly endless supply of assassins. When Stacy ends up in the enemy’s clutches, Tyler stages a desperate gambit to get her back alive. Why are she and her family targets? Finding out might cost John Tyler his life. Four on the Floor is the kinetic fourth entry in the John Tyler thriller series.
Mel Lewis (1929-1990) was born Melvin Sokoloff to Jewish Russian immigrants in Buffalo, New York. He first picked up his father's drumsticks at the age of two and at 17 he was a full-time professional musician. The View from the Back of the Band is the first biography of this legendary jazz drummer. For over fifty years, Lewis provided the blueprint for how a drummer could subtly support any musical situation. While he made his name with Stan Kenton and Thad Jones, and with his band at the Village Vanguard, it was the hundreds of recordings that he made as a sideman and his ability to mentor young musicians that truly defined his career. Away from the drums, Lewis's passionate and outspoken personality made him one of jazz music's greatest characters. It is often through Lewis's own anecdotes, as well as many from the musicians who knew him best, that this book traces the career of one of the world's greatest drummers. Previously unpublished interviews, personal memoirs, photos, musical transcriptions, and a selected discography add to this comprehensive biography.
Cincinnati Magazine taps into the DNA of the city, exploring shopping, dining, living, and culture and giving readers a ringside seat on the issues shaping the region.
In 1954, the French writer, politician, and publisher André Malraux posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its greatest champions. Drawing on a range of contemporary publications, he adopted images and responded to ideas. Indeed, Malraux’s book on the floor is a variation of photographer André Vigneau’s spectacular Encyclopédie photographique de l’art, published in five volumes from 1935 on—years before Malraux would enter this field. Both authors were engaged in juxtaposing artworks via photographs and publishing these photographs by the hundreds, but Malraux was the better sloganeer. Starting from a close examination of the photograph of Malraux in his salon, art historian Walter Grasskamp takes the reader back to the dawn of this genre of illustrated art book. He shows how it catalyzed the practice of comparing works of art on a global scale. He retraces the metaphor to earlier reproduction practices and highlights its ubiquity in contemporary art, ending with an homage to the other pioneer of the “museum without walls,” the unjustly forgotten Vigneau.