Best Selling Books by Brad Freeman

These wanderers and outlanders are both hated and feared by their Kindred -- and for good reason.

"Conceived at the National Air and Space Museum, in Washington D.C., in December 1990, and printed at Nexus Press in Atlanta, in October 1992"--Colophon.

The premise of the book begins with an intriguing question about King David and Solomon''s Temple. While the mainstream and the scholars have a common answer, they will be surprised to find out how many centuries they have been wrong about something so critical. The true answer to this question brings clarity to a prophecy that has most often been misinterpreted as having something to do with Solomon. The path to understanding what''s really going on leads to properly interpreting the Highest Prophecy in History.

TODAY A VARIETY OF MUSICAL INSTRUMENTS HOLD AN IMPORTANT PLACE IN WORSHIP IN MANY WORSHIP SERVICES. The result is that many have grown up under the assumption that the use of musical instruments in public worship is perfectly acceptable, even mandatory. Any worship service without them is viewed now as unusual at best or worse, out of accord with true worship. IT WASN''T ALWAYS THIS WAY. From New Testament times up until the last two hundred years, the overwhelming practice of Christian worship knew nothing of instrumental music. This booklet not only discusses the historical background surrounding musical instruments in worship but also a Biblical basis for that earlier tradition and practice. The author argues for a Biblical position regarding instrumental music that few have heard in recent times. In fact, one would be hard pressed to find anything in print that would even hint at suggesting this current practice should be questioned. In a day when instrumental worship has become center stage, so to speak, a return to the Bible to reexamine this important topic is needed. NOW MORE THAN EVER, CHRISTIANS ARE CALLED TO STUDY WITH FRESH EYES WHAT THE BIBLE TEACHES ABOUT CHRISTIAN WORSHIP.

Werewolf: The Apocalypse is about anger over the loss of what the shapeshifting Garou hold dearest: Gaia, the Earth itself. Corruption from without and within has caused the destruction not only of the Garou''s environment, but also of their families, friends and culture, which extends in an unbroken line to the very dawn of life. No matter how righteously the Garou hold themselves, no matter how they prey on their destroyers, the corruption spreads. Now the time for reconciliation is past. This grave insult against Gaia can end in only one way: blood, betrayal... and rage. Combines Ways of the Wolf and Monkeywrench! Pentex.

This story is told from the viewpoint of the mind, specifically from one man''s mind, a mind that was shattered and broken. The events of this story may or may not be told in any semblance of the order in which they occurred, for the order of these events has little bearing on the telling of this journey. Though we rarely remember any chronology from our dreams, we always remember why we needed to wake.

"Brad Freeman: ''The title is a play on words from the expression ''one size fits all'' and the implication is that nothing is perfect, that in life there is always some unexpected issue that presents itself to change things. What is the book about? It''s about a lot things but basically about the deaths of my sister and dad within a two year period. One of the joys of my life was to visit my sister, who had been a great influence on me as is reflected at the beginning of chapter one. The book, through the brief poetic writing, does not refer specifically to her death rather to the feelings I experienced thinking of her and how she influenced me. The chapters'' beginnings and endings are determined by the signatures. In other words, chapter one is the first signature, etc. The conceptual leaps between the chapters, rather than being subtle segues, reflect the abrupt changes in thoughts that we have that are sometimes incomprehensible at first. One thing that the writing about my dad is meant to convey was my inability to come to terms in a sympathetic way to his decline. During the printing I used the specific creative potential of offset lithography to make some of the images. In other words a lot of the images were created by various combinatory and chance operations while printing, while I maintained strict curatorial control. I am inspired by the layering and flow and structure of music and tried to reflect this in the dense layering of imagery that occurs in the book. I chose the exposed spine binding because it allows the pages to lie as flat as possible. The book should be placed on a table for viewing, rather than held up in the hands.''"--Vamp & Tramp website.

Contains reproductions of photocollages and digitally manipulated images of many kinds. Includes color reproductions of 19th-century chromolithographs.

Fantasirollespil.

"The act of looking and the processing of subjective experience into form constitute the overarching themes of the book. Based on photographs I took in Brazil and Chicago this document of the real is transformed during each phase of offset printing from digital files to ink on paper. Through an active engagement with the form of the book from page to page, the sequencing, color, and ordering of images coalesce into a haptic and visual whole"--Artist''s description from Columbia College Chicago website.