Naked Crow 10 For Love

Something is off with Josy, Sheila's and Jeremy's best friend. It doesn't take long for the couple to be involved in a very bad love triangle. Jealousy and narcissism make this a difficult journey. And what's going on with Jeremy's dad? Ever since a group of people returned from Argentina, there's something different about him. But what? Are those people involved? Sheila and Jeremy are determined to find out.

Sheila is a dental assistant with an average life, until one of her friends, Josy, goes missing and the police face a mystery. Josy disappeared in a naturist resort and there is no trace of her, only her bag that's left standing next to a tree. Sheila, who discovers a special ability within herself and also discovers an incredible friend, decides to find Josy on her own, but for that she will have to go into the naturist resort. Will she need to shed her clothes? Will she find her friend, and if she does, can she bring her home?

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...'

A spell, cast by the shaman many suns ago, forecasts the arrival of a strong-willed woman to the Crow village. According to the legend, when she arrives, she will be paired with the bravest warrior, and will bear a male child whose destiny is to save the Crow people. Fiercely independent, liberated, and a black belt champion, Kate Houston finds herself transmitted back in time to a whole new life. Trouble is, she's paired with a man who believes squaws are inferior. His belief in old Indian customs creates great conflict between the two of them. Wolf, one of the most handsome men Kate has ever met, is the Crow Indian chief. His life is turned up-side-down and will never be the same when she arrives in his tipi. Old Man Coyote has sent this squaw, but Wolf does not understand why. Kate remains independent. Will she realize the wisdom in her husband’s words? Can she change from the way she has always been?

Available for the first time in paperback, The Collected Poems of Frank O'Hara reflects the poet's growth as an artist from the earliest dazzling, experimental verses that he began writing in the late 1940s to the years before his accidental death at forty, when his poems became increasingly individual and reflective.