When you see a ray of light in darkness, not only does it gives you hope but it also shows a ray of new life.But what if that very small ray is another path to darkness?Herold was the light in my dark life, but after losing him I'm engulfed by darkness all over again.His death destroyed me. I left all my dreams, my friends and my life for him. No matter how hard I tried to move on he still lived in my memories.But meeting Alex was something I never expected. He came as a tenant in my house but yet whenever I was with him I felt this familiar pull towards him. It was like I have known him for a long time.But things took great turns between us.He made me laugh. He made me alive. He even made me fall in love again.But not everything lasts forever. Soon all these happiness wrecked my life like a hurricane when truth came into light.I was destroyed again when reality hit me. Everything that I have been through, everything I have felt...it was all a lie.I lost belief in love and trust.But what do you do when you have become so connected with the darkness that the ray of light you always looked for now scares you?When this very light endangers everyone you love? I should have never walked through this path of dark love knowing I will be destroyed again. But at the end somehow this dark love freed me.

Ever experienced darkness? Inside and out?I have.I have lived in this darkness for a long time feeling like I wake up in a cave every single day and have been living there for years. But even in this dark life I still find whatever ray of light I can get. To see myself. To show everyone who I am. This is what I thought I would be doing when I got the chance to participate in a dance performance in London. To go and live my dream. But what I didn't know is that my life was about to change. By him. Herold.I know I should have stayed away from him since day one. Everyone warned me and so did he. But there was something about him that made me want to be with him. We both had our own secrets. We both shared them too. But I never should have fallen in love with him. I never should have made such mistake. He came into my life being more than just a ray of light. He made me see the world through his eyes. But I was a fool to even think I could have a normal life with him. Because at the end, he did what he promised he would do if I stayed. He promised to destroy me.And now...I am destroyed by him.

For the first time, all data for recordings of non-classical piano made for issue on disc and cylinder records prior to 1935 are brought together in this work. The majority of the listing consists of material which has never been published in any form. The volume includes piano solos, duets, trios, and quartets, as well as selected titles where a soloist is featured within a recording by a dance band or orchestra. It covers a wide variety of pianists and piano styles including ragtime, stride, novelty-syncopated, boogie, and blues. This work will be of interest to major libraries, archives, and schools of music, as well as researchers and collectors. The recordings covered in this work range from the earliest known piano recordings which were made in 1889 as cylinder records for the North American Phonograph Company through recordings of the early 1930s by some of the great jazz pianists of that era (Mary Lou Williams, Garland Wilson, Herman Chittison, Art Tatum, and Teddy Wilson). In between are a wide variety of pianists and piano styles from around the world. While many of the solos recorded were of popular tunes of the day, there is also a fascinating selection of piano compositions, often played by the composer. They include such well-known names as Felix Arndt, Nacio Herb Brown, Hoagy Carmichael, Rudolf Friml, George Gershwin, John W. Green, Ferdie Grofe, Ralph Rainger, Leslie Stuart, Clarence Williams, and Vincent Youmans. A comprehensive title index includes composer credits for the majority of titles listed.

She’s in my bed when I close my eyes and there when I wake. I’m aware of her every move, consuming each breath she takes. I can’t live without her touch. Elle. The flesh-and-blood savior who lights up my soul. She is grace and beauty, the source of my addiction. My wife. But my angel has been lying to me. She should know better. There’s no space between us, no room for secrets. Elle secretly investigates the questions left behind by her sister and my brother. I allow her deception but only because I’m watching and eliminating all threats. When she uncovers a shocking betrayal, it drives me straight to my knees. “So sexy your Kindle will melt. You definitely won’t see the shocking twists coming!” —Goodreads review Publisher’s note: Her Lovely Lies is the second Hastings Brothers novel and the edge-of-your-seat conclusion of the Twisted Lies duet.

TheInternational Who's Who in Popular Music 2002offers comprehensive biographical information covering the leading names on all aspects of popular music. It brings together the prominent names in pop music as well as the many emerging personalities in the industry, providing full biographical details on pop, rock, folk, jazz, dance, world and country artists. Over 5,000 biographical entries include major career details, concerts, recordings and compositions, honors and contact addresses. Wherever possible, information is obtained directly from the entrants to ensure accuracy and reliability. Appendices include details of record companies, management companies, agents and promoters. The reference also details publishers, festivals and events and other organizations involved with music.

Broadway musicals are one of America’s most beloved art forms and play to millions of people each year. But what do these shows, which are often thought to be just frothy entertainment, really have to say about our country and who we are as a nation? The Great White Way is the first book to reveal the racial politics, content, and subtexts that have haunted musicals for almost one hundred years from Show Boat (1927) to The Scottsboro Boys (2011). Musicals mirror their time periods and reflect the political and social issues of their day. Warren Hoffman investigates the thematic content of the Broadway musical and considers how musicals work on a structural level, allowing them to simultaneously present and hide their racial agendas in plain view of their audiences. While the musical is informed by the cultural contributions of African Americans and Jewish immigrants, Hoffman argues that ultimately the history of the American musical is the history of white identity in the United States. Presented chronologically, The Great White Way shows how perceptions of race altered over time and how musicals dealt with those changes. Hoffman focuses first on shows leading up to and comprising the Golden Age of Broadway (1927–1960s), then turns his attention to the revivals and nostalgic vehicles that defined the final quarter of the twentieth century. He offers entirely new and surprising takes on shows from the American musical canon—Show Boat (1927), Oklahoma! (1943), Annie Get Your Gun (1946), The Music Man (1957), West Side Story (1957), A Chorus Line (1975), and 42nd Street (1980), among others. New archival research on the creators who produced and wrote these shows, including Leonard Bernstein, Jerome Robbins, Stephen Sondheim, and Edward Kleban, will have theater fans and scholars rethinking forever how they view this popular American entertainment.