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Isabelle, a member of an immortal race called The Kind. From the dark woods of ancient Ireland to stages throughout the world, she rises to the heights of music stardom. Only an elderly Irish priest knows her secret, but can he stop The Song Of The Succubus?
Dawn Song is a darkly erotic exploration of supernatural evil in very human circumstances. Lawrence is an invisible bookstore clerk in Boston, drawn through no choice of his own into the greatest conflict of all--a struggle for dominance between two of the most powerful devils in Hell. As the media frenzy of the Gulf War buildup enthralls the city, Lawrence feels the presence of something ethereal and beautiful that has come to Boston, as he has, in search of fulfillment and love everlasting. If he only knew what it was...
Living in a small cabin, away from the great cities on the side of a mountain a torn and retired warrior lives a quiet life with a family he had lived apart from for so very long. He appears content yet within him stirs an unquenchable passion. When messengers of the king he once served arrive he doesnt hesitate in agreeing to assist knowing full well that the path of this quest will lead him great distances away from home, hearth and the family he loves. Etchs journey brings him new friends including a dryad driven by passions that are flamed by revenge and a clansman driven by love. Together they storm a castle, and battle a great creature whose beauty is rivalled only by the evil within her. Their objective, open the very gates of hell to return the greatest treasure of the kingdom.
In this urban fantasy, a malevolent force seeks to destroy a succubus as she struggles to be a bridesmaid in her ex’s wedding. Georgina Kincaid has formidable powers. Immortality, seduction, shapeshifting into any human form she desires, walking in heels that would cripple mere mortals—all child’s play to a succubus like her… Helping to plan her ex-boyfriend’s wedding is a different story. Georgina isn’t sure which is worse—that Seth is marrying another woman, or that Georgina has to run all over Seattle trying on bridesmaid dresses. Still, there are distractions. Georgina’s roommate, Roman, is cluttering her apartment with sexual tension. Then there’s Simone, the new succubus in town, who’s intent on corrupting Seth. But the real danger lies in the mysterious force that’s visiting her thoughts, trying to draw her into a dark, otherworldly realm. Sooner or later, Georgina knows she’ll be too weak to resist. And when that happens, she’ll discover who she can trust, who she can’t—and that Hell is far from the worst place to spend eternity… Praise for #1 New York Times–bestselling author Richelle Mead and her Succubus series “Richelle Mead delivers sexy action and tongue-in-cheek hellish humor—if damnation is this fun, sign me up!”—Lilith Saintcrow, author of The Devil's Right Hand “This is one of those series I'm going to keep following.”—Jim Butcher, New York Times bestselling author of the Harry Dresden series “The mix of supernatural mystery, romance, and reluctant succubus is great fun.”—Locus “Mead cooks up an appetizing debut that blends romantic suspense with a fresh twist on the paranormal, accented with eroticism.”
Collection of scholarly essays on the wildly popular Comedy Central show.
CMJ New Music Report is the primary source for exclusive charts of non-commercial and college radio airplay and independent and trend-forward retail sales. CMJ's trade publication, compiles playlists for college and non-commercial stations; often a prelude to larger success.
An introduction to poetry geared toward the study of song Bruce Springsteen, Benjamin Britten, Kendrick Lamar, Sylvia Plath, Outkast, and Anne Sexton collide in this inventive study of poetry and song. Drawing on literary poetry, rock, rap, musical theater, and art songs from the Elizabethan period to the present, Matt BaileyShea reveals how every issue in poetry has an important corresponding status in song, but one that is always transformed. Beginning with a discussion of essential features such as diction, meter, and rhyme, the book progresses into the realms of lineation, syntax, form, and address, and culminates in an analysis of two complete songs. Throughout, BaileyShea places classical composers and poets in conversations with contemporary songwriters and musicians (T. S. Eliot and Johnny Cash, Aaron Copland and Pink Floyd) so that readers can make close connections across time, genres, and fields, but also recognize inherent differences. To aid the reader, the author has created a Spotify playlist of all the music discussed in this book and provides time cues throughout, enabling readers to listen to the music as they read.
After death, Townes Van Zandt found the success that he sabotaged during life. Diagnosed as bipolar, an alcoholic, and perennially unreliable, Van Zandt died of heart failure at the age of 52 on New Year’s Day 1997. He released sixteen albums during life, and since his death numerous albums both by and in honor of him have been released and many critical articles published, in addition to several books (including Robert Hardy’s A Deeper Blue by UNT Press). Van Zandt, once an underappreciated and self-destructive wandering troubadour, is now a critics’ and fan-favorite. His best-known songs are “Pancho and Lefty,” covered by Waylon Jennings and Willie Nelson, and “If I Needed You.” Steve Earle’s 2009 Townes album of covers jumpstarted a slate of more recent tributes, including those by Robert Earl Keen, Lucinda Williams, and John Prine. For the Sake of the Song collects ten essays on Townes Van Zandt from a variety of approaches. For example, contributors examine his legacy; his use of the minor key; psychological interpretation of “High, Low and In Between”; his reception in the Austin music scene; and an exploration of his relationship with Richard Dobson, a so-called “outlaw songwriter” with whom he toured as part of the Hemmer Ridge Mountain Boys. An introduction by editors Ann Norton Holbrook and Dan Beller-McKenna provides an overview of Van Zandt’s literary excellence and philosophical wisdom, rare among even the best songwriters.
Since childhood, Nyssa has been accompanied by ethereal melodies that haunt her and sinister Shadows that follow her every move. Shunned from her stepfather’s secretive business of curating art for the occult, her brother, Micah, and her best friend, Isabelle, are the anchors of her sheltered life. But when demons crawl out of the underworld and capture Isabelle, Nyssa risks her own life to rescue her, determined to find the demon responsible. She quickly learns that trust is fickle as a demon’s bargain. When mysterious club owner Sam offers to help, and demons try taking her down, Nyssa hedges her bets. She will dance with the Devil and bargain if it means saving her best friend. But will Nyssa save Isabelle and escape the Devil’s charm? Or will the darkness that’s always trailed behind finally claim her…revealing secrets that were meant to stay buried?
From live productions of the 1950s like Requiem for a Heavyweight to big budget mini-series like Band of Brothers, long-form television programs have been helmed by some of the most creative and accomplished names in directing. Encyclopedia of Television Film Directors brings attention to the directors of these productions, citing every director of stand alone long-form television programs: made for TV movies, movie-length pilots, mini-series, and feature-length anthology programs, as well as drama, comedy, and musical specials of more than 60 minutes. Each of the nearly 2,000 entries provides a brief career sketch of the director, his or her notable works, awards, and a filmography. Many entries also provide brief discussions of key shows, movies, and other productions. Appendixes include Emmy Awards, DGA Awards, and other accolades, as well as a list of anthology programs. A much-needed reference that celebrates these often-neglected artists, Encyclopedia of Television Film Directors is an indispensable resource for anyone interested in the history of the medium.