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This is work of creative art and satire (17 U.S. Code § 107) Eva Mendes is an American actress, model and businesswoman. She began acting in the late 1990s. After a series of roles in B movies such as Children of the Corn V: Fields of Terror (1998) and Urban Legends: Final Cut (2000), she made a career-changing appearance in Training Day (2001). Since then, Mendes has co-starred in films such as All About the Benjamins, 2 Fast 2 Furious, Ghost Rider, We Own the Night, Stuck on You, Hitch, and The Other Guys.
Eva de la Caridad Méndez, known professionally as Eva Mendes, is an American actress, model and businesswoman. Her acting career began in the late 1990s, with a series of roles in B films such as Children of the Corn V: Fields of Terror and Urban Legends: Final Cut.
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#1 NATIONAL BESTSELLER • A passionate call to arms against our era’s most pervasive human rights violation—the oppression of women and girls in the developing world. From the bestselling authors of Tightrope, two of our most fiercely moral voices With Pulitzer Prize winners Nicholas D. Kristof and Sheryl WuDunn as our guides, we undertake an odyssey through Africa and Asia to meet the extraordinary women struggling there, among them a Cambodian teenager sold into sex slavery and an Ethiopian woman who suffered devastating injuries in childbirth. Drawing on the breadth of their combined reporting experience, Kristof and WuDunn depict our world with anger, sadness, clarity, and, ultimately, hope. They show how a little help can transform the lives of women and girls abroad. That Cambodian girl eventually escaped from her brothel and, with assistance from an aid group, built a thriving retail business that supports her family. The Ethiopian woman had her injuries repaired and in time became a surgeon. A Zimbabwean mother of five, counseled to return to school, earned her doctorate and became an expert on AIDS. Through these stories, Kristof and WuDunn help us see that the key to economic progress lies in unleashing women’s potential. They make clear how so many people have helped to do just that, and how we can each do our part. Throughout much of the world, the greatest unexploited economic resource is the female half of the population. Countries such as China have prospered precisely because they emancipated women and brought them into the formal economy. Unleashing that process globally is not only the right thing to do; it’s also the best strategy for fighting poverty. Deeply felt, pragmatic, and inspirational, Half the Sky is essential reading for every global citizen.
Eva Jacqueline Longoria Baston is an American actress, producer, director, activist, and businesswoman.
Outlines a program of skin care and makeup for women of color, drawing on the author's experience as a supermodel and founder of a top cosmetics line to explain how to tailor a beauty regimen in accordance with a woman's particular skin tone and type. Reprint. 50,000 first printing.
In Hollywood, we hear, it’s all about the money. It’s a ready explanation for why so few black films get made—no crossover appeal, no promise of a big payoff. But what if the money itself is color-coded? What if the economics that governs film production is so skewed that no film by, about, or for people of color will ever look like a worthy investment unless it follows specific racial or gender patterns? This, Monica Ndounou shows us, is precisely the case. In a work as revealing about the culture of filmmaking as it is about the distorted economics of African American film, Ndounou clearly traces the insidious connections between history, content, and cash in black films. How does history come into it? Hollywood’s reliance on past performance as a measure of potential success virtually guarantees that historically underrepresented, underfunded, and undersold African American films devalue the future prospects of black films. So the cycle continues as it has for nearly a century. Behind the scenes, the numbers are far from neutral. Analyzing the onscreen narratives and off-screen circumstances behind nearly two thousand films featuring African Americans in leading and supporting roles, including such recent productions as Bamboozled, Beloved, and Tyler Perry’s Diary of a Mad Black Woman, Ndounou exposes the cultural and racial constraints that limit not just the production but also the expression and creative freedom of black films. Her wide-ranging analysis reaches into questions of literature, language, speech and dialect, film images and narrative, acting, theater and film business practices, production history and financing, and organizational history. By uncovering the ideology behind profit-driven industry practices that reshape narratives by, about, and for people of color, this provocative work brings to light existing limitations—and possibilities for reworking stories and business practices in theater, literature, and film.