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In book ten of the Tales of Sasha series, Sasha must solve a riddle to discover the contents of a special message! When flying horses from the Royal Guard arrive in Crystal Cove to deliver a message for Sasha, she can't imagine what it could be! But in order to open it, Sasha must first solve a riddle, which requires her to find the petals of rare and different-colored flowers. Will Sasha be able to solve the puzzle to reveal what the mystery message is all about?
In book ten of the Tales of Sasha series, Sasha must solve a riddle to discover the contents of a special message! When flying horses from the Royal Guard arrive in Crystal Cove to deliver a message for Sasha, she can't imagine what it could be! But in order to open it, Sasha must first solve a riddle, which requires her to find the petals of rare and different colored flowers. Will Sasha be able to solve the puzzle to reveal what the mystery message is all about?
In book nine of the Tales of Sasha series, Sasha has to figure out what to do when the recorded history of the flying horses disappears! The History Day celebration is coming up in Crystal Cove, and Sasha has to pick her favorite story to read aloud. But when she unrolls the magical fabrics with the flying horse history on them, she discovers that all the words have disappeared! Can Sasha figure out what happened and find a way to return the stories to the fabrics in time for the celebration?
Los Angeles magazine is a regional magazine of national stature. Our combination of award-winning feature writing, investigative reporting, service journalism, and design covers the people, lifestyle, culture, entertainment, fashion, art and architecture, and news that define Southern California. Started in the spring of 1961, Los Angeles magazine has been addressing the needs and interests of our region for 48 years. The magazine continues to be the definitive resource for an affluent population that is intensely interested in a lifestyle that is uniquely Southern Californian.
*A New York Times bestseller* A compelling look at the important role that dogs have played in America's most recent military conflicts, replete with the touching stories of individual dogs and their handlers/soldiers Under the cover of night, deep in the desert of Afghanistan, a US Army handler led a Special Forces patrol with his military working dog. Without warning an insurgent popped up, his weapon raised. At the handler's command, the dog charged their attacker. There was the flash of steel, the blur of fur, and the sound of a single shot; the handler watched his dog take a bullet. During the weeks it would take the dog to heal, the handler never left its side. The dog had saved his life. Loyal and courageous, dogs are truly man's best friend on the battlefield. While the soldiers may not always feel comfortable calling the bond they form love, the emotions involved are strong and complicated. In War Dogs, Rebecca Frankel offers a riveting mix of on-the-ground reporting, her own hands-on experiences in the military working dog world, and a look at the science of dogs' special abilities--from their amazing noses and powerful jaws to their enormous sensitivity to the emotions of their human companions. The history of dogs in the US military is long and rich, from the spirit-lifting mascots of the Civil War to the dogs still leading patrols hunting for IEDs today. Frankel not only interviewed handlers who deployed with dogs in wars from Vietnam to Iraq, but top military commanders, K-9 program managers, combat-trained therapists who brought dogs into war zones as part of a preemptive measure to stave off PTSD, and veterinary technicians stationed in Bagram. She makes a passionate case for maintaining a robust war-dog force. In a post-9/11 world rife with terrorist threats, nothing is more effective than a bomb-sniffing dog and his handler. With a compelling cast of humans and animals, this moving book is a must read for all dog lovers--military and otherwise.
This is an encyclopedic work, arranged by broad categories and then by original authors, of literary pastiches in which fictional characters have reappeared in new works after the deaths of the authors that created them. It includes book series that have continued under a deceased writer's real or pen name, undisguised offshoots issued under the new writer's name, posthumous collaborations in which a deceased author's unfinished manuscript is completed by another writer, unauthorized pastiches, and "biographies" of literary characters. The authors and works are entered under the following categories: Action and Adventure, Classics (18th Century and Earlier), Classics (19th Century), Classics (20th Century), Crime and Mystery, Espionage, Fantasy and Horror, Humor, Juveniles (19th Century), Juveniles (20th Century), Poets, Pulps, Romances, Science Fiction and Westerns. Each original author entry includes a short biography, a list of original works, and information on the pastiches based on the author's characters.
This is a story of teenage dreams, which, as any Peel fan knows, are hard to beat. Between 1967 and 2004 John Peel picked over 2000 bands to come and record over 4000 sessions to be played on his radio show. Many were young and had never been in a recording studio before, for some it was the start of an illustrious career, for others it was the only recognition their musical talent ever got. For over 35 years the cream of British musical talent made the journey to the BBC's studio in Maida Vale, from Pink Floyd to Pulp, the Small Faces to the Smiths. And because John Peel was so respected his sessions took on a legendary status - they were a rite of passage that every new band wanted to go through. Unfettered by commerical pressure the Peel Sessions were a unique British institution - an archive of music that reflects one man's passion for finding and encouraging new music. Includes a full sessionography listing songs, band members and broadcast dates. Jarvis Cocker writing about his first Peel Session aged 18 (Wayne the drummer was 15): 'We travelled down to Maida Vale in a van driven by a very strange man we'd contacted via a card pinned to the Virgin record shop noticeboard. We'd had to borrow lots of equipment from a band called The Naughtiest Girl Was a Monitor 'cause we didn't have enough stuff of our own. The session was to be produced by Dale Griffin, who used to be the drummer in Mott the Hoople; I seem to remember that he was wearing cowboy boots. I think the crisis point came when Wayne was attempting to get a home-made synth-drum to work that a friend of his at school had made out of a rubber burglar-alarm mat and an old electronic calculator - Dale Griffin looked at this 15-year-old kid crouching on the floor bashing what looked like a doormat with some wires coming out of it and just put his head in his hands. But to his credit, the session did get finished and after it, everything else started for me...'