When twenty-seven-year old pop sensation Brooklyn Heart steps in front of a microphone, her love songs enchant audiences worldwide. But when it comes to her own love life, the only spell she's under is a dry one. So when her label slots her for a Grammy performance with the sexy and soulful Jason Monroe, she can't help but entertain certain fantasies but there's a problem. Jason is a lyrical lone wolf that isn't happy about sharing the stage or his ranch with the sassy singer.

From the New York Times best-selling creator of the Vanderbeekers series comes a triumphant tale of friendship, healing, and the power of believing in ourselves, told from the perspectives of two biracial sixth graders living in a homeless shelter. At first, June can’t believe it: their new home is a homeless shelter? When she’s told she can’t bring her cherished viola inside, she’s convinced the worst luck in the world landed her at Huey House. But Tyrell has lived at Huey House for three years, and he knows all the good things about it: friendship, hot meals, and the music from next door drifting through the windows. With his help, June begins to see things differently. Just as she’s starting to understand how Huey House can be a home, a new government policy threatens all the residents. Can June and Tyrell work together to find a way to save Huey House as they know it?

The soundtrack of the Christmas season for many music lovers, Messiah is performed annually by choral societies across the world. And so, perhaps unsurprisingly, many aspects of it have been explored by scholars over the years. The work is the subject of several listeners’ guides and there are a number of books and articles of various lengths that describe the biographical circumstances of the work’s formation and details of its many performances, many including lists of singers for each performance (an area that has itself spawned a whole field of research). There has been no extensive study of the creative process of Messiah, however, since 1969. This book seeks to redress this imbalance by providing a thorough investigation of the work’s creative process. Beginning with the creative process of the libretto, it examines the earliest sketches, Handel’s use of pre-existent material, alterations made to the autograph score, and the latest versions of movements. Each stage of composition is examined via primary source material, with particular reference to the autograph score and conducting score. Each chapter is formed as a case study and contains related discussion points for use in teaching or study settings.