Opposites attract and repel, but can opposites gel forever? Love Moonjay is an expert in business and knows her stuff. Her love life, on the other hand, is nonexistent. Maxwell, a popular singer and songwriter, is highly thought of by his screaming, panting, mostly female fans. He may be constantly publicly linked to beautiful women, but he guards his personal life as well as, if not better than, Fort Knox. Love needs to shake things up, and step outside her comfort zone, if she is going to change her boring way of life. A girls retreat to New Orleans and her first secular concert is a step in the right direction. Love is excited about the adventures that await her until she sets eyes on Maxwell. Max, while uncomfortable with the attention his fame brings, is accustomed to certain responses from the opposite sex. His reaction to seeing Love in the audience in New Orleans puts him in unfamiliar territory. Max cant help himself, he singles her out. Once Max grips Loves hand no one else exist in the crowd arena. Max wants Love; therefore, she must desire him. Love finds himself falling under the sensual spell of Max. What Max knows for sure is that Love will be in his bed tonight. Love knows seduction and its Maxz hypnotic eyes, intoxicating kisses, powerful hands and magical fingers. Love and Max both regret the night before but for different reasons. Fate and desire bring Love and Maxwell together. They want each other desperately but fear and secrets threaten to tear them apart. Love wants marriage and children. Most importantly she wants real love. Does Max desire the same things? Or is he a smooth lothario and is Love his latest conquest? Time will reveal all truths, especially in love.

During the Silent Era, when most films dealt with dramatic or comedic takes on the "boy meets girl, boy loses girl" theme, other motion pictures dared to tackle such topics as rejuvenation, revivication, mesmerism, the supernatural and the grotesque. A Daughter of the Gods (1916), The Phantom of the Opera (1925), The Magician (1926) and Seven Footprints to Satan (1929) were among the unusual and startling films containing story elements that went far beyond the realm of "highly unlikely." Using surviving documentation and their combined expertise, the authors catalog and discuss these departures from the norm in this encyclopedic guide to American horror, science fiction and fantasy in the years from 1913 through 1929.

In this second edition of Orchestral “Pops” Music: A Handbook, Lucy Manning brings forward to the present her remarkable compendium of information about this form of orchestral music. Since the appearance of the first edition in 2008, this work has proven critical to successful “pops” concert programming. With changes in publishers and agents, the discontinuation of the publication of certain original material or, worst of all, presses going out of business, music directors, orchestra conductors, and professional instrumentalists face formidable challenges in tracking down accurate information about this vast repertoire. This revised handbook alleviates the time-consuming task of researching these changes by offering a list of works for orchestral “pops” concerts that is comprehensive, informative, and current. Manning’s emphasis on clarity and accuracy gives users an indispensable tool for gathering vital information on the style, instrumentation, and availability of the repertoire listed, as well as notes on its performance. The user-friendly appendices include expanded instrumentation choices, easy-to-find durations, and handy title cross-references. In addition to corrections and updates, this new edition of Orchestral “Pops” Music includes at least 1,000 new title listings. Orchestral “Pops” Music: A Handbook is the ideal tool for working conductors and orchestral librarians, as well as music program directors at colleges, conservatories, and orchestras.

This title was first published in 2002. Sir Peter Maxwell Davies is one of Britain's most distinguished composers. This source book documents as much of the material on his music as is available to 2001. As Richard McGregor points out in his foreword to the volume, Stewart Craggs has made valuable advances in sorting out the origins of many unknown works and gleaning details of many private compositions. The book also supplies details of those unknown works which haven't appeared in any previous catalogues, including broadcasts of early works from the BBC Archives. With information given on first performances, manuscript locations and recordings, in addition to details of composition dates, authors/librettists, durations, commissions and dedications amongst much else, this book is a key reference source for all those interested in Peter Maxwell Davies and his music.

Thirty-five years in the making, and destined to be the last word in fanta-film references! This incredible 1,017-page resource provides vital credits on over 9,000 films (1896-1999) of horror, fantasy, mystery, science fiction, heavy melodrama, and film noir. Comprehensive cast lists include: directors, writers, cinematographers, and composers. Also includes plot synopses, critiques, re-title/translation information, running times, photographs, and several cross-referenced indexes (by artist, year, song, etc.). Paperback.