Read Ebook {PDF EPUB} Sway by Matthew Keith Sway by Matthew Keith. A psychological thriller/horror that explores the inner workings of a man who had some of the worst experiences possible as a child. Now, as an adult, he is revisiting his childhood demons, trying to put it all together, all the while unaware that that's what he is doing. Through the re-emergence of a recurring childhood nightmare, he works toward beating back the man representative of a society holding him in check. Is it real, the product of a doctor who chemically induces his patients into visiting the dream as a means of control, or is it nothing more than the ravings of insanity manifesting itself through a dream? Category: Fiction » Thriller & suspense » Psychological thriller Category: Fiction » Horror » Weird fiction Published: Dec. 9, 2013 Words: 63,020 Language: English ISBN: 9781310617355. Matthew Keith lives with his wife, two children and jackabee "Elvis" in Kentucky. How Trump’s Bodyguard Keith Schiller KO’d James Comey. The lessons Keith Schiller learned as a New York City ‘cave cop’ served him well when it came time to take out the head of the FBI. Michael Daly. Photo Illustration by Sarah Rogers/The Daily Beast. A quarter century ago, Keith Schiller was a New York City transit cop patrolling the Number 3 subway line between Harlem and toughest Brooklyn from 8 pm to 4 am. Just to get to his post, Schiller first had to take a cross-town bus from his command. He would then ride the full length of the line, take a meal break and then ride back the other way. His every tour in purgatory affirmed his lack of “a hook,” as influential connections were known among his fellow “cave cops.” Schiller now has the biggest hook in the free world. And, as director of Oval Office operations and the President’s main bro, he traveled the six blocks from the White House to FBI headquarters late Tuesday afternoon. Schiller then hand-delivered a Manila envelope containing a letter from Trump terminating James Comey as the director of the FBI. The message was essentially what a former fellow cave cop who worked with Schiller remembers as the standard line to an uncooperative passenger back in their days on the Number 3 line. “Listen, pal, the best thing for you to do is to get off this train.” One difference was that the passenger would not have been in the midst of an investigation involving the very guy who was ordering him off the train. So began this week’s chain of events, which are not in fact likely to lead to another Watergate, but were from the very start so improbable as to warrant a laugh—if only there were anything even remotely funny about it. “We’re not in the middle of a constitutional crisis,” a senior law enforcement official said on Wednesday. “We’re in the middle of a very bad joke.” And the more you learn, the more absurd it becomes. Ask around how Schiller got to where he is and you hear the story of a day in 1998 when he chanced to see Trump’s second wife, Marla Maples. By then, Schiller had “rolled over” from the transit police to the city police and started working narcotics uptown. He happened to be at the Manhattan District Attorney’s office on a drug case when he saw Maples there, as a complainant against her publicist Chuck Jones, whose fetish for shoes had prompted him to steal as many as 200 pairs from her. She was accompanied by a bodyguard. As has been reported elsewhere, Schiller decided that there was no reason why he himself could not also be a bodyguard. An assistant district attorney in the Maples case agreed to call Trump’s director of security, who in turn agreed to give Schiller a try. Trump and Schiller hit it off. The onetime cave cop has a steadiness shared by many of his kind from the era when radios worked only sporadically underground. Every one of them had experienced a moment of facing somebody considerably bigger and meaner on a moving train with help not coming soon. Every one of them had thereupon learned in the most urgent terms what is at their core. And that would surely appeal to a man who seems to have no core at all. Schiller retired from the NYPD to work full time for The Donald. Schiller became head of security in 2014—his predecessor, Matthew Calamari, having been promoted to executive vice president and chief operating officer of the Trump Organization. So there was steady Keith Schiller, constantly at Trump’s side during a campaign not even his boss thought was winnable. Trump seemed as surprised as anybody when election night ended in victory. And with that result, somebody else joined Marla Maples in propelling the former cave cop to glory. That person is Vladimir Putin. American intelligence officials have concluded that Russian hackers gathered a trove of embarrassing material on both Hillary Clinton and Donald Trump. The officials believe that Putin cast the first and perhaps decisive vote in the 2016 presidential election by figuring that Trump would be worse for America and therefore better for Russia. Trump took Schiller to the White House with him. And, by various reports, Schiller was often the only one keeping his boss company up in the private residence while Trump’s third wife, Melania, and their son, Barron, continued to live in New York. Schiller did briefly head off to escort Trump’s son-in-law, Jared Kushner, to Iraq. But Schiller was soon back at the White House, ever at his boss’s side while the world chattered about whether Kushner or Steven Bannon or Reince Priebus held the most sway. But it was and is and always will be all about Trump and his whim of the moment. The White House tried to say that Deputy Attorney General Rod Rosenstein had taken it upon himself to prepare the memo that led to Comey being fired. Trump set everybody straight. “They’re creating a deceptive narrative and he’s running around telling the truth,” the senior law enforcement official said. “They can’t even get their lies straight.” More often than not, Trump does not so much act as react to something he had seen on television and in this instance, it seems to have included the coverage of Comey’s testimony before Congress. Trump no doubt resented Comey’s remark about feeling “mildly nauseous” at the thought he may have influenced the election. That was tantamount to saying that Trump had not won a great victory. Meanwhile, Hillary Clinton had declared that she accepted full responsibility for her defeat, as should anybody who actually lost to Donald Trump. She then immediately set about blaming Comey. Those are just the kind of contradictions that Trump loves to Tweet. And that combined with Trump’s resentment regarding Comey’s continued investigation into the Russian meddling. The result was the letter that Trump had Schiller deliver to FBI headquarters, bouncing Comey just like he was an unruly subway passenger. The onetime cave cop had played a small but particular role in what Putin surely counts as a true victory. “[Putin] didn’t engineer the firing of Comey, but he engineered the entrance of Trump,” the senior law enforcement official said. “He’s sitting back saying, ‘I’m liking my plan very much.’” In the aftermath of Comey’s firing, a website frequented by retired FBI agents was eerily deserted. Traditionalist retirees who had been vocal about Comey’s failure to make a case against Hillary Clinton were silent. The absence of comment suggests they understood that the application of brute political force to remove a director of the FBI weakened what made the FBI the FBI, what had shielded the bureau from outside influence. “If the FBI had it, they took it where the truth took them,“ the senior law enforcement official said. The official noted that the FBI director is appointed to a 10-year term for a reason; it puts him outside the tenure of even a two-term president. The official spoke of the agents who are now working the Russian influence investigation. “Do you think those agents now feel they have the insulation of the institution and the protection of the director?” the official asked. Imagine how those agents felt upon seeing video of Trump happily meeting with Russian foreign minister Sergey Lavrov, along with Russian ambassador Sergey Kislyak, whose meetings with Jeff Sessions triggered the Attorney General’s recusal. Who knows, perhaps there really was no active collusion on Trump’s part. Trump has on other occasions wildly praised Putin and declared his love for WikiLeaks, which even someone as reckless as himself might not do if he were actively conspiring with Russians. Or maybe the meeting with the Russian diplomats was a way for Trump to watch it later on TV with his best bro Schiller and announce, “See! I’m innocent!” If nothing else, Trump and Schiller appear devoutly loyal to each other. However it goes, you can be sure that Schiller will be right there with Trump, who remains the greatest hook in the free world. Mick Taylor interview: A Rolling Stone in exile. One of the more endearing moments of 2010's Classic Rock Awards came when Exile On Main Street won Reissue Of The Year. Enter Rolling Stones guitarist Ronnie Wood to accept. Never mind that Wood never actually riffed on the band's original 1972 masterwork. "I've played these songs for the last 30 years and it's about time that I collected something," he said. "So thanks a lot!" Mick Taylor, the man who actually did play on Exile , has always remained an elusive figure: The Man Who Dared Leave The Rolling Stones, an effrontery which prompted Keith Richards, similarly appalled by Bill Wyman’s departure years later, to state that “no one should leave this band except in a pine box”. Quite why he left in December 1974 has also been subject to conjecture. Taylor has calibrated his answers in subtly different ways down the years. There were rumours of fights, arguments over alleged songwriting credits, marriage problems, road-weariness, drugs (chiefly a burgeoning heroin addiction) and even plain old boredom. Perhaps it was all down to simple chemistry. As proficient a guitarist as Taylor was, he was never an out-and-out rock’n’roller, much less a showman. Ronnie Wood, who replaced him in March 1975 (though it wouldn’t be made official until the following year), suited the Stones’ lad-jack image much better. But few would contend Wood was in the same league as a guitarist. Drummer Charlie Watts had admitted that “the Mick Taylor period was a creative peak for us. A tremendous jump in musical credibility.” Mick Jagger stopped just short of an enormous self-made hole when telling Rolling Stone about Taylor in 1995: “He was a very fluent, melodic player, which we never had, and we don’t have now… Some people think that’s the best version of the band that existed.” Asked if he agree with those people, Jagger replied: “I obviously can’t say if I think Mick Taylor was the best, because it sort of trashes the period the band is in now.” It’s in Life , Keith’s recent autobiography, where the double strands of the Taylor effect are most tellingly articulated, if a little sourly. Richards admits he was sometimes in awe of Taylor’s playing - “the melodic touch, a beautiful sustain and a way of reading a song” - but also calls him shy to the point of being “very distant”. There’s a distinct tang of bitterness when Richards claims his departure “left us in the lurch”, more so when he delights that, post-Stones, Taylor “didn’t do anything”. Which just isn’t true. Taylor teamed up with Jack Bruce, toured and played with Bob Dylan and other notables like Alvin Lee, Little Feat and the Grateful Dead, made solo records and even reunited with mentor John Mayall in the Bluesbreakers. But you can see Keith’s point. Pine box or not, there’s no getting away from the Stones. I was earmarked to accompany Taylor to the Classic Rock bash at the Roundhouse, the idea being for him and Ronnie to collect the award together. Old chums reunited and all that. But some tricksy dental surgery had apparently left him with a badly swollen face and no voice, forcing him to stay home. Perhaps fitting, some might venture, for a man often regarded in hindsight as the enigma that even the Stones couldn’t crack. That said, the Mick Taylor who answered the phone to Classic Rock a few days earlier is talkative, if guarded. What does he recall of those heady days in the South of France in 1971, recording Exile On Main St at Nellcôte, Keith’s waterfront pile? It may have been all coke, cognac and Cote d’Azur upstairs, but what about down in the basement, where all the work was done? “It was a dingy little basement, quite damp,” says Taylor. “It wasn’t a proper recording studio at all. We ran all these cables down into the basement, which was divided up into small rooms. And there was only one room which we could all fit into and where we could play together. There was a place where Charlie played the drums, but it was in a separate section of the room. For vocal overdubs, Mick had to do them in a tiny room along the corridor. It was like a labyrinth, really.” Did the atmosphere in the basement seep into the sound itself – songs like Shine A Light , Rip This Joint , Rocks Off and Taylor’s only official Stones co-write, Ventilator Blues ? “I think it did. It was a bit rough ’n’ ready. There were none of the refinements of Basing Street or Olympic Studios, but there was a sort of intimacy and closeness about playing together then, even though sometimes it used to drive us insane. I mean, we were there for a long time. It’s a very bluesy, earthy kind of record. The Stones never made another album that way. Ventilator Blues was a song that, to be honest, I didn’t expect to get any credit for. I probably had a lot more input on one or two of the other songs.” The Stones had initially decamped to France as tax exiles. And while Jagger settled in Paris with new bride Bianca, the others found places in the hills surrounding Nellcôte. “We’d usually start recording in the evening and go on all night,” Taylor remembers. “I’d emerge into the driveway and be blinded by sunlight. Then I’d drive home with my first wife, Rose, to our little house up in the hills near Grasse, where Bill Wyman had actually bought a house. We had Tolstoy’s old writing desk. Madame Tolstoy would occasionally come down from Paris to check up on us. It really was idyllic, but I spent a great deal of time at Nellcôte. We brought a lot of London with us. There were friends and family coming over all the time. Everybody descended on Keith’s house and treated it like a holiday camp. I’m sure for people who weren’t involved in making the record it was a 24-hour party.” Taylor’s memory of Nellcôte’s revolving cast of celebrity boarders is a little fuzzy. “There were a lot of people who came to visit that I don’t remember, for whatever reason. I don’t remember John Lennon and Yoko coming, but apparently they did. I do remember Gram Parsons though. He and Keith got on very well. I’d met Gram Parsons in 1969, when he was with the Flying Burritos, but knew him originally from when I’d been playing in Los Angeles with John Mayall in 67 or 68.” John Mayall’s Bluesbreakers had been Taylor’s first professional calling in 1966, when the 17-year-old replaced the Fleetwood Mac-bound Peter Green. Taylor developed into a formidable guitarist under Mayall’s tutelage. “It was quite a nerve-wracking experience when I was really young, following in the footsteps of Eric Clapton and Peter Green, but after a month or two I fitted in really well. It was basically all down to John Mayall’s stewardship and everything I learned from him about the blues. Travelling around with him in America made me become a good blues player and I developed my own style. We were playing in lots of iconic places like Winterland [in San Francisco] and the Fillmore East and West. One night at Winterland, Jimi Hendrix was top of the bill, John Mayall and myself and the Bluesbreakers opened the show, and Albert King was in the middle. It was incredible, especially when you consider the fact I was only about 18 years old.” In June 69, Mick Jagger was casting for a replacement for Brian Jones, and asked Mayall for advice. Mayall recommended Taylor. “ Live With Me was the very first track I ever played on,” Taylor recalls, “when they were putting the finishing touches to Let It Bleed . We actually recorded that the night I went for my audition at Olympic Studios, or maybe the night after. "Then I overdubbed guitar on Honky Tonk Women . But Live With Me was special, because it was the first Stones song I ever played on. I remember [producer] Jimmy Miller jumping up and down in the control room and getting all excited about how good it sounded, having two guitars playing off each other. Because I think they’d missed that with Brian Jones in the two-year hiatus since their last live performance. The Stones actually hadn’t played together for a long time, so when I joined them it was like a new beginning. It was a new phase in their career, a new chapter. “They were very creative days with the Stones. And then there was the twin-guitar thing, with me and Keith not playing strictly lead or rhythm, but floating around each other. There wasn’t too much talking about who should play what, it was a very instinctive kind of relationship.” And what of the personal relationship between Richards and Taylor? It’s something he considers slowly, especially when discussing Exile On Main St , his words as deliberate as if he were picking out an untried solo: “Keith wasn’t at his most communicative then [pause]. He wasn’t as outgoing. I’m choosing my words carefully here. But instinctively, yeah, we got on.” If anything, Taylor’s fondest Stones memories are reserved for Sticky Fingers , the album they made in London (and, for a few days, in Muscle Shoals, Alabama) the previous year. “Unlike Exile On Main St , we didn’t labour over it day and night, month after month. Most of it was done in the studio, though some of it was done at Jagger’s house, Stargroves in Berkshire.” It’s generally acknowledged that Taylor’s creative input came to bear on two Sticky Fingers songs – Sway and Moonlight Mile . Again, he chooses his words prudently. “I had an influence on them. I mean, would Sway have existed without my contribution? Probably, but not the way it does. And the same goes for Moonlight Mile . I remember Mick writing that one in a train carriage on the way from Paddington to Bath. Touring in those days, even with the Stones, was often like that. We didn’t have private planes or trains. "I remember it vividly. He started playing the song on acoustic guitar. Sway was done very quickly. Mick actually played rhythm guitar on that; Keith wasn’t even around when we did that. I don’t think Keith is on Moonlight Mile either. I started playing the solo in an open tuning, which is why it sounds off the wall. And Paul Buckmaster did the string arrangement based on the riff I came up with.” Taylor says he’d followed the Stones’ career with interest before becoming part of the setup. He was still at school in Hatfield when they hit big in the early 60s – he was born five years after youngest Stone Keith – though he’s admitted his sister was much more of a fan. After he joined, she would constantly remind him of the time she put Little Red Rooster on the home turntable, only for Taylor to rebuke her with: “Turn that rubbish off and put Revolver on.” Today he considers the extra dimension he brought to the band: “It’s interesting because a lot of the songs they did before Beggars Banquet were singles geared more towards pop – things like Ruby Tuesday or Let’s Spend The Night Together . But really, the Stones had always been a blues band. So in one sense, I was on very familiar ground, but in another way it was a real departure for me. Once I’d joined and we’d recorded Let It Bleed and Get Yer Ya-Ya’s Out , I was a part of the band. Being an improviser, I noticed there would always be a space for a guitar solo, which had not always been the case on Stones records.” But there was more required of a Stone than mere musicianship. You needed a strong backbone to survive life on the road with the world’s biggest band. If Taylor’s Hyde Park baptism wasn’t testing enough, five months later came Altamont. The disastrous free concert near San Francisco was marred by violent clashes between Hells Angels and the crowd, ending in the horrific murder of Meredith Hunter, captured on film by the Maysles brothers in Gimme Shelter . “Altamont all happened so quickly,” recalls Taylor. “It was very surreal, a nightmare actually. The whole idea of doing a show at Altamont Speedway was an afterthought. We’d finished the tour and were at Muscle Shoals in Alabama, recording Wild Horses and Brown Sugar . "I’ve never been able to discover why we actually did that show. We didn’t have any hands-on input into the organisation of it; it was all done based on trust. It didn’t feel right from the moment I arrived there. Some guy jumped out and threw a punch at Mick Jagger. It was chaos. And the fact that it was policed by the Hells Angels didn’t help. They took the law into their own hands and started throwing people off the stage. It was a relief to get out, but that was terrifying too. People wanted to get away so badly there were too many on the helicopter.” Then there was the recreational side of being a Stone, including the band’s much-publicised drug use. Did that hamper things somehow? “I don’t know, maybe it even helped in some ways. It’s a strange thing to say, but it was just a part of so many people’s lives who used to hang out with the Stones, even from the early days. It wasn’t something I ever felt was unique to them though. It was part and parcel of the recreational drug- cultural view of life. I’m not saying it wasn’t dangerous, but it didn’t have the sinister, nasty qualities that are associated with it these days. "We were all a lot younger then and you’d try different things. Some people ended up falling by the wayside, some people would try things once or twice and others simply faded away. But I don’t blame the Rolling Stones for my own personal problems.” Everyone seems to have a theory as to why Mick Taylor quit the Stones. Late producer Jimmy Miller – the man behind that imperious run of albums that began with Beggars Banquet – once posited that the guitarist was somehow stifled by the band, “as they wanted him to fill that necessary part of the Stones. He added a dimension that Keith wasn’t comfortable with… I think Keith had a different vision than Taylor and wanted to protect his songs.” When I bring up the subject of his departure, the first note of weariness creeps into Taylor’s voice: “Yeah, I could write a book about that. From the moment I joined John Mayall, right up until 1974, I’d been working all the time. I was completely used to either being in the studio or being on the road. If it wasn’t with the Stones, it was with somebody else. I just needed a break.” So there you have it, for today at least. Taylor insists his time with the Stones was a great experience, with Exile On Main St particularly fresh in the mind. For 2010’s deluxe reissue, he added a new guitar part to one of the bonus songs, Plundered My Soul . “Mick had to construct a vocal line,” he explains, “which I played to once it was done. It was very sparse and unfinished, but in the end I think it fits. More importantly for me, it was great fun to see Mick again, to be in the studio, playing guitar with him singing. It felt very comfortable and familiar. In a musical sense, it was almost like I’d never left the Stones.” This feature was published in Classic Rock issue 153. Family says Army ignored unseen wounds of a former Sarasota man who killed his wife. The family of a Fort Bragg soldier believes undiagnosed battle wounds led the former Sarasota High School graduate to kill his pregnant wife last month. Kassandra Lewis, the sister of U.S. Army Staff Sgt. Keith Lewis, 31, says her brother adored his wife, Sarah, 34, and daughter, Callie, 3, and was excited about the birth of a second daughter, Isabelle, around Christmastime. The Lewises made plans to celebrate the holiday with Keith’s mom, Lynda Lewis, by opening gifts over video chat. But tragically, Keith Lewis shot his wife on Dec. 20 and then turned the gun on himself. Sarah Lewis was taken to the hospital with life-threatening injuries and later died. Their 3-year-old daughter, Callie, was not injured, according to police. Tours in Afghanistan beginning at age 19 changed Keith, who was a known animal lover and worked for a bird rescue. His mother tried to sway him from joining the military by promising him a cockatoo. Lynda Lewis went as far as to hide his Social Security card and his birth certificate, but Keith Lewis was determined to be a military man. He was in the Junior Reserve Officers Training Corps and ROTC in high school. On his 18th birthday, a recruiter helped Keith Lewis get his Social Security card and birth certificate, and he enlisted in the Army. Kassandra Lewis said her family’s military roots date back to the Spanish-American War. “Our grandfather was Coast Guard in Vietnam,” Kassandra Lewis said. “He loaded Agent Orange and worked on radio systems. His brothers were Navy and Marines.” Keith was small but stout. At 19, he served a year-long term in Afghanistan. Keith’s convoy was hit by an improvised explosive device, according to Kassandra Lewis. He told his family he actually saw stars. “He was going out on a routine mission and literally the next day he was supposed to be flying home to us on R&R,” Kassandra said. “Then they kept missing the dropoff for any kind of food. They had to wait for a strike to destroy the Mine-Resistant Ambush Protected vehicle.” The Taliban took potshots at them while they waited. After the IED blast, Keith was sent home. He had memory problems, his sister said. “He had flares of emotions. He would jump when a plastic bag went across the front of his car down here in Florida,” Kassandra Lewis said. “It was obvious he sustained a traumatic brain injury.” He turned around and went back to Afghanistan after a brief respite and finished out the rest of his tour at Fort Richardson in Anchorage, Alaska. An MRI showed he had a brain injury, Kassandra Lewis said. They requested his military file and medical record, but the military never sent it. In 2016, Keith and Sarah were at restaurant when the name “Bowe Bergdahl” was brought up and and it infuriated Keith. Bergdahl was an Army deserter who served in the same unit as Keith and was captured by the Taliban-aligned Haqqani network and held captive from 2009-2014, according to Kassandra Lewis. Keith’s unit was tasked with finding him. Six soldiers were lost in the hunt: Staff Sgt. Clayton Patrick Bowen; 2nd Lt. Darryn Deen Andrews; Staff Sgt. Kurt Robert Curtiss; Pfc. Matthew Michael Martinek, and Staff Sgt. Michael Chance Murphrey in 2009. Martinek was Keith’s best friend in the service. Keith left his wife at the restaurant and walked home about five miles. Sarah tailed him in the car and tried to stop him from going inside the house, Kassandra Lewis said. “My brother barricaded himself,” his sister said. “It was written down as a domestic violence situation.” Sarah was injured in the incident when she tried to keep Keith out of the house. She said he pushed her and she struck her head against a wall. Once inside, Keith got a gun and pressed it to his forehead, Kassandra Lewis said. The incident was reported to police, and Keith was worried it would destroy his chance of promotions or get him booted from the service altogether. He was about seven years shy of his retirement eligibility. A call from his mother, Lynda, calmed him. “The emotions had washed over him and he just lost control,” Kassandra Lewis said. “It was post-traumatic stress disorder mixed with a traumatic brain injury. He had a blackout moment.” Keith’s family said the moment was a “cry for help,” but instead of getting the necessary treatment, his sister believes the Army ignored signs of a problem. “Everything went on its way. My brother went along and climbed the ranks,” Kassandra Lewis said. Among his accomplishments was becoming an Army Green Beret at age 25 and, just before Christmas, he was promoted to lead a medical center. The appointment stressed him out, his sister said. He became overwhelmed leading to the shooting tragedy. Kassandra Lewis is concerned her brother will be dubbed a criminal because of his actions. Because of the shooting, the Army won’t allow Keith to be buried at a national cemetery with his battle buddies. His family won’t get a flag. “They won’t take his medical record or service record (as proof of a stress disorder),” Kassandra Lewis said. “They won’t admit their was a sign of distress.” Veterans can be buried in a VA cemetery if they did not receive a dishonorable discharge; if they died while on active duty, active duty training or inactive duty for training; they are the spouse or minor of a veteran or the unmarried adult dependent child of a veteran. “People are portraying him as a really bad man. He was a military man,” Kassandra Lewis said. “He gave the Army his mind, body and soul. . He gave everything. He took the PTSD and took the traumatic brain injury, he took his shoulder getting messed up. Now, he’s some villain.” Kassandra Lewis said the military is pushing her brother to the side. “We truly expected him to die in war,” Kassandra Lewis said. “To them (Army), he is just a criminal, a thug. That’s not who he was. He was a good man; he really was.” Lewis put hundreds of hours into bird rescue, his sister said. And he grew to love his time in Afghanistan. But near the end of his life, he used a dark sense of humor to deflect memories such as being surrounded by packs of growling wild dogs in the Afghan darkness after being separated from his unit during his first deployment. “After that incident, he would call up my mom at 4 a.m. when he was rattled and talk to her about everything that happened,” Kassandra Lewis said. “He couldn’t see anything. He knew there were wild dogs there. “He was a 19-year-old kid alone and dealing with rabid dogs. That was one of the big incidents that changed things for him.” According to the U.S. Department of Veterans Affairs in 2016, an average of 22 veterans die from suicide every day, nearly four times the rate of the average citizen. “We aren’t giving them the support they need,” Kassandra Lewis said. “We’ve talked to other military parents whose kids have died of suicide. It is deeply staggering the mental health problems they are going through. It’s disgusting.” While the Lewis family seeks help burying a brother, son and father, they demand the military make changes on how soldiers with mental health issues are treated. She said if her brother did not believe he would be punished for his condition by being blocked from promotions or a discharge, he would have sought help. “They saw some sick heavy things most people will never have to deal with in their life,” Kassandra Lewis said. “He didn’t act out of hate. It was everything.” Beautiful Star of Bethlehem. A touch of gospel always adds a unique and meaningful element to worship. This perennial favorite glows with new luster adorned by a bluegrass consort. Your congregation will sway to the joyful dance of this best seller now available in both SAB and TTBB options. Consider this gospel standard for a distinctive moment of worship anytime of year or as that “feel good” encore for your Christmas program. Score and parts (mandolin, guitar, fiddle, dobro, upright bass, violin 1-2, viola, cello) available as a CD-ROM and as a digital download. Instrumentation Number of Parts Pages Per Part FULL SCORE 1 18 MANDOLIN 1 3 GUITAR 1 2 FIDDLE 1 2 DOBRO 1 2 UPRIGHT BASS 1 2 PIANO 1 4 VIOLIN 1 8 1 VIOLIN 2 8 1 VIOLA 4 1 CELLO 2 1 KEYBOARD STRING REDUCTION 1 2. Inventory #HL 00114356. Prices and availability subject to change without notice. Series: PraiseSong Christmas Series Publisher: PraiseSong Format: Octavo SAB Composers: Adjer M. Pace, R. Fisher Boyce Arranger: Keith Christopher. This product has a minimum order quantity of five copies. Uses: Christmas, Christmas Eve, Epiphany. Scripture: Job 38:7; John 8:12; Matthew 2:1-11. A touch of gospel always adds a unique and meaningful element to worship. This perennial favorite glows with new luster adorned by a bluegrass consort. Your congregation will sway to the joyful dance of this best seller now available in both SAB and TTBB options. Consider this gospel standard for a distinctive moment of worship anytime of year or as that “feel good” encore for your Christmas program. Score and parts (mandolin, guitar, fiddle, dobro, upright bass, violin 1-2, viola, cello) available as a digital download. Inventory #HL 00290598 UPC: 888680922450 Width: 6.75" Length: 10.5" Run time: 0:04:45 12 pages. Prices and availability subject to change without notice. Series: PraiseSong Christmas Series Publisher: PraiseSong Format: Octavo TTBB Composers: Adjer M. Pace, R. Fisher Boyce Arranger: Keith Christopher. This product has a minimum order quantity of five copies. Uses: Christmas, Christmas Eve, Epiphany. Scripture: Job 38:7; John 8:12; Matthew 2:1-11. A touch of gospel always adds a unique and meaningful element to worship. This perennial favorite glows with new luster adorned by a bluegrass consort. Your congregation will sway to the joyful dance of this best seller now available in both SAB and TTBB options. Consider this gospel standard for a distinctive moment of worship anytime of year or as that “feel good” encore for your Christmas program. Score and parts (mandolin, guitar, fiddle, dobro, upright bass, violin 1-2, viola, cello) available as a digital download. Inventory #HL 00290599 UPC: 888680922467 Width: 6.75" Length: 10.5" Run time: 0:04:45 12 pages. Prices and availability subject to change without notice. Series: PraiseSong Christmas Series Publisher: PraiseSong SATB Composers: Adjer M. Pace, R. Fisher Boyce Arranger: Keith Christopher. This product has a minimum order quantity of five copies. Uses: Christmas, Christmas Eve, Epiphany. Scripture: Job 38:7; John 8:12; Matthew 2:1-11. A touch of gospel always adds a unique and meaningful element to worship. This perennial favorite glows with new luster adorned by a bluegrass consort. Your congregation will sway to the joyful dance of this best seller now available in both SAB and TTBB options. Consider this gospel standard for a distinctive moment of worship anytime of year or as that “feel good” encore for your Christmas program. Score and parts (mandolin, guitar, fiddle, dobro, upright bass, violin 1-2, viola, cello) available as a digital download. Inventory #HL 08754646 UPC: 884088648138 Width: 6.75" Length: 10.5" Run time: 0:04:45 12 pages. Prices and availability subject to change without notice. Series: PraiseSong Christmas Series Publisher: PraiseSong Format: CD ChoirTrax CD Composers: Adjer M. Pace, R. Fisher Boyce Arranger: Keith Christopher. Uses: Christmas, Christmas Eve, Epiphany. Scripture: Job 38:7; John 8:12; Matthew 2:1-11. A touch of gospel always adds a unique and meaningful element to worship. This perennial favorite glows with new luster adorned by a bluegrass consort. Your congregation will sway to the joyful dance of this best seller now available in both SAB and TTBB options. Consider this gospel standard for a distinctive moment of worship anytime of year or as that “feel good” encore for your Christmas program. Score and parts (mandolin, guitar, fiddle, dobro, upright bass, violin 1-2, viola, cello) available as a CD-ROM and as a digital download. Inventory #HL 08754647 UPC: 884088648145 Width: 5.0" Length: 5.0" Run time: 0:04:45.