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After a messy affair threatened her career as a publicist and ruinedher self-esteem, Stephanie Moore swore off mixing business withpleasure. But when her work as the public relations manager forPause for Men day spa brought her up close and personal with asexy photographer, Stephanie was torn. She'd vowed never to messwith a married man again. And yet, her powerful attraction toTony Washington, who she suspected was wed, had her rethinkingher newfound scruples. Should she put the past behind her and enjoy the loving interestof her handsome, hardworking, new beau? Stephanie would needthe advice of her Pause for Men partners to help her sort out hermoral dilemma.…
While readjusting to their newly-single lives, two professionals who are wary of starting a new romance find themselves falling in love.
Amanda Hardy only wants to fit in at her new school, but she is keeping a big secret, so when she falls for Grant, guarded Amanda finds herself yearning to share with him everything about herself, including her previous life as Andrew.
Amanda Hardy is the new girl at school. Like everyone else, all she wants is to make friends and fit in. But Amanda is holding back. Even from Grant, the guy she's falling in love with. Amanda has a secret. At her old school, she used to be called Andrew. And secrets always have a way of getting out... A book about loving yourself and being loved for who you really are.
(Guitar Chord Songbook). 60 Motown masterpieces provided with complete lyrics and chord frames: ABC * Ain't No Mountain High Enough * Baby I Need Your Lovin' * Baby Love * I Heard It Through the Grapevine * I'll Be There * Just My Imagination * Lady Marmalade * Sir Duke * Stop! In the Name of Love * The Way You Do the Things You Do * What's Going On * You Can't Hurry Love * You Keep Me Hangin' On * and more.
Presents the complete lyrics to over one hundred Motown love songs, grouped into such categories as lessons of love, the joy of love, and love lost, and including "I'll Be There," "My Girl," and "Please Mr. Postman."
A Call to the Black Man Give ear to what I'm about to say What in the world happened? It's not supposed to be this way. We fought so hard for freedom And you have put me back in chains Commitment, trust, seems to be bad words. I'm in bondage to your mind games Remember, you have a mother, sister, or daughter But it was me you gave the ring. I have come to this conclusion I don't need a king TO BE A QUEEN! I've had to raise the children alone Like when the master sold you astray Now I have to look for you And again you've become a runaway A man that can walk out on his family Is a part of slavery's aftermath? But enough with the dumb stuff The past is the past. I am still that woman Who made you feel like a man? Now you are so out of place Still, you want me to understand. Another form of rejection I'm asking myself "what's wrong with me" Why am I always to blame? For your misplaced priorities? Either you get it together Either you are right or you are wrong. I can raise the children with you. I should not have to do it alone. Come inside these pages. Allow me to tailor you to fit Coming from the strength of this Whole Woman. I should not be penalized for it I'm going to speak to the Whole Man in you Like I do in our time of intimacy. That's when I give you the freedom to be you And you give me the freedom to be me. Men are checking me out "right now" Making statements and, my, how they do flatter. They ask "Why are you alone or single?" Realize! I do have a choice in the matter. I was asked if I were to define the book WHOLE in one sentence, what would I say? "WHOLE is a groundbreaking, ground shaking, revolution that demands results!" "I recall the day as though it was yesterday. I stood in the mirror looking at a reflection of defeat never knowing if I would reach my God-ordained destiny. All my dreams, hopes, and desires devastated. I was distrait, frail, and I had gone from a size 12 to a size 6. I was beyond distressed I was destroyed. Lifelines can come in many ways. I knew I wanted and needed to come out, but I didn't know how. This is the time when I had to get real with myself and everyone else-so I threw out a lifeline. I made a simple telephone call to a friend and the Revolution began!"
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Soul Covers is an engaging look at how three very different rhythm and blues performers—Aretha Franklin, Al Green, and Phoebe Snow—used cover songs to negotiate questions of artistic, racial, and personal authenticity. Through close readings of song lyrics and the performers’ statements about their lives and work, the literary critic Michael Awkward traces how Franklin, Green, and Snow crafted their own musical identities partly by taking up songs associated with artists such as Dinah Washington, Hank Williams, Willie Nelson, George Gershwin, Billie Holiday, and the Supremes. Awkward sees Franklin’s early album Unforgettable: A Tribute to Dinah Washington, released shortly after Washington’s death in 1964, as an attempt by a struggling young singer to replace her idol as the acknowledged queen of the black female vocal tradition. He contends that Green’s album Call Me (1973) reveals the performer’s attempt to achieve formal coherence by uniting seemingly irreconcilable aspects of his personal history, including his career in popular music and his religious yearnings, as well as his sense of himself as both a cosmopolitan black artist and a forlorn country boy. Turning to Snow’s album Second Childhood (1976), Awkward suggests that through covers of blues and soul songs, Snow, a white Jewish woman from New York, explored what it means for non-black enthusiasts to perform works considered by many to be black cultural productions. The only book-length examination of the role of remakes in American popular music, Soul Covers is itself a refreshing new take on the lives and work of three established soul artists.
The weekly source of African American political and entertainment news.