“Family secrets, childhood memories, and old crimes influence the present in this suspenseful debut...A solid bet for fans of dark crime dramas.”—Library Journal Up-and-coming Mission County, Pennsylvania, prosecutor Kate Magda has been given the assignment of a lifetime: lead counsel on a string of murders rocking the community. As the privileged daughter of a powerful local judge, Kate views the case as her chance to show her boss, her family, and the public that she is more than just “the judge’s daughter.” As Kate delves into it, she becomes convinced that she shares a personal link with the killer, who seems to know intimate details about a tragic childhood event from Kate's past—an event she’d long been trying to forget. Paranoia sets in, the night terrors return, and Kate has a strong sense that she’s the killer's next victim. She no longer feels assigned to the case. She is the case, and solving it is her only chance for survival. “Exciting…keeps the reader on a roller-coaster ride with unexpected twists and turns to the end.”—Publishers Weekly "I was up all night, utterly riveted by The Devil's Song, with its memorable characters, crisp dialogue, and meticulous plotting.”—Alafair Burke, New York Times-bestselling author of The Better Sister

Rock music today is universal and its popular history is well known. Yet few know how and why it really came about. Taking a fresh look at events long overlooked or misunderstood, this book tells how some of the most disenfranchised people in a free and prosperous nation strove to make themselves heard--and changed the world. Describing the genesis of rock and roll, the author covers everything from its deep roots in the Mississippi Delta, key early figures, like deejay "Daddy-O" Dewey Phillips and gospel star Sister Rosetta Tharpe, and the influence of so-called "holy rollers" of the Pentecostal church who became crucial performers--Elvis Presley, Jerry Lee Lewis and Little Richard.

When rock ’n’ roll emerged in the 1950s, ministers denounced it from their pulpits and Sunday school teachers warned of the music’s demonic origins. The big beat, said Billy Graham, was “ever working in the world for evil.” Yet by the early 2000s Christian rock had become a billion-dollar industry. The Devil’s Music tells the story of this transformation. Rock’s origins lie in part with the energetic Southern Pentecostal churches where Elvis, Little Richard, James Brown, and other pioneers of the genre worshipped as children. Randall J. Stephens shows that the music, styles, and ideas of tongue-speaking churches powerfully influenced these early performers. As rock ’n’ roll’s popularity grew, white preachers tried to distance their flock from this “blasphemous jungle music,” with little success. By the 1960s, Christian leaders feared the Beatles really were more popular than Jesus, as John Lennon claimed. Stephens argues that in the early days of rock ’n’ roll, faith served as a vehicle for whites’ racial fears. A decade later, evangelical Christians were at odds with the counterculture and the antiwar movement. By associating the music of blacks and hippies with godlessness, believers used their faith to justify racism and conservative politics. But in a reversal of strategy in the early 1970s, the same evangelicals embraced Christian rock as a way to express Jesus’s message within their own religious community and project it into a secular world. In Stephens’s compelling narrative, the result was a powerful fusion of conservatism and popular culture whose effects are still felt today.

I can see them in my dreams, flashes of the stars falling from the heavens, blood soaking the ground. I can feel it slithering under my skin through my veins, boiling, burning me from the inside out like lava. Humanity lost and monsters now roam the streets, while those who once ruled this paradise cower in the shadows defeated by the beasts that call themselves Angels. And those who would save them damned as if they were the Devils. A song to save the souls of the lost, a Horn that destroyed their world, and a war to last a century who will be victorious.

The Hardy Boys meets Paper Girls in the second volume of this mystery series featuring teen detectives, witches, and now a mystery rock 'n' roll song capable of a sinister, Pied Piper-like hypnosis. Alastair, Pete, Charlie, and Rachel aren't just magical teen detectives in their coastal town of Port Howl--they are also members of a local teen rock band. Before a show one night, Charlie and Rachel meet a famous rockstar, Gideon, and invite him to their show. He'll never come, but why not try, right? Little do they know, Gideon does show up, and he brings the threads of his dark past with him. In fact, he might even be the source of the rumored Devil's Music, a limited-release song that entrances all of its listeners in a deadly hypnosis. When Pete quickly gets drawn into Gideon's web, it's up to his brother and friends to save him. But Pete might not be the only Montague Twin at risk for Gideon's spell...

The riveting, untold story of the “Father of Christian Rock” and the conflicts that launched a billion-dollar industry at the dawn of America’s culture wars. In 1969, in Capitol Records' Hollywood studio, a blonde-haired troubadour named Larry Norman laid track for an album that would launch a new genre of music and one of the strangest, most interesting careers in modern rock. Having spent the bulk of the 1960s playing on bills with acts like the Who, Janis Joplin, and the Doors, Norman decided that he wanted to sing about the most countercultural subject of all: Jesus. Billboard called Norman “the most important songwriter since Paul Simon,” and his music would go on to inspire members of bands as diverse as U2, The Pixies, Guns ‘N Roses, and more. To a young generation of Christians who wanted a way to be different in the American cultural scene, Larry was a godsend—spinning songs about one’s eternal soul as deftly as he did ones critiquing consumerism, middle-class values, and the Vietnam War. To the religious establishment, however, he was a thorn in the side; and to secular music fans, he was an enigma, constantly offering up Jesus to problems they didn’t think were problems. Paul McCartney himself once told Larry, “You could be famous if you’d just drop the God stuff,” a statement that would foreshadow Norman’s ultimate demise. In Why Should the Devil Have all the Good Music?, Gregory Alan Thornbury draws on unparalleled access to Norman’s personal papers and archives to narrate the conflicts that defined the singer’s life, as he crisscrossed the developing fault lines between Evangelicals and mainstream American culture—friction that continues to this day. What emerges is a twisting, engrossing story about ambition, art, friendship, betrayal, and the turns one’s life can take when you believe God is on your side.

Consistent daily prayer is possible with help from this program that divides an hour of prayer into five-minute "points of focus."