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He's gorgeous, cool and slick. Small wonder those wealthy American dames are falling over themselves to taste his flirtatious skills, just where it counts. Seduction is the name of his game, and he knows how to keep a secret. Trouble is, our Gigolo is also a mischief maker, a man with a mission - to make a killing. So he's got a secret of his own. But, can he keep it that way? Deliciously sensual and a touch macabre, this collection of tales, I'm a Gigolo contains ten startlingly original and provocative short stories you'll need to be brave to read at bedtime. 5 Stars from Lisa Hall USA Book reviewer Witty, clever, saucy, seductive and naughty in equal measure - what's not to like? Leading with a story about a self-confessed and, some might say, self-obsessed, Gigolo, this collection of ten short stories is highly entertaining and diverse. The Gigolo story is blush-worthy and provocative, told with sprinkling of arrogance and peppered with humour throughout. I anticipated the following short stories to be just as saucy and was pleasantly surprised by their diverse content. All of the stories had a fabulously wicked side to them and I wonder if this is the author's naughty side shining through. I think the old couple was probably my second favourite of the tales (with the Gigolo in first place, of course) it was deliciously dark and hugely entertaining. Overall a fun collection of short stories with something for everyone.
Three notorious players--Carter, a gigolo who has found the perfect woman; Vernon, who is having an affair with his wife's best friend; and Rick, who wants to make it out of the game--must make some tough choices when they discover that love is more important than sex. Reprint.
Ricky Marcel's been in LA for eleven months, struggling to prove his dad back home in Bourbon, Kansas, wrong. Very wrong. Ricky has the chops to make it as an actor. He proves it every day, charming not only his customers at the restaurant where he works, but also the numerous casting agents he sees for auditions. When he's called in to read for a super-secret series, Ricky's stunned to find he's on the fast track to a fake reality show about gay gigolos. He's been in the closet so long he has no clue where the key is located. But the fancy Bel Air pad that comes with his job, not to mention the money, influence him to go for it. Then there's Drake Hardy, a mysterious figure who is not only incredibly sexy, but the show's producer. The attraction between the two men is immediate. Yet Ricky becomes frightened when he learns that Drake is a Dom. Can Ricky not only be a whore on TV, but Drake's personal sex slave as well?
Behind the endless fantasy that is Las Vegas, Shawn Stevens makes a comfortable living as John Steadman, a professional gigolo and male stripper. Jane Jefferies makes a similar living as Charlotte, a stripper and high-class escort. For years, they've navigated an illicit criminal underworld run by Las Vegas's unofficial queen of vice, Felicity Ramero. Within this world, they've fulfilled many fantasies while maintaining the lowest possible profile. But over time, they have become jaded and disillusioned with this world. Then, on one fateful night, Shawn and Jane come in a moment of reckless passion at Club Oasis, the most popular club on the Strip. However, their passion does not go unnoticed by Felicity, who just happens to be in need of a couple of patsies to take the fall for her many crimes. In the face of increasing pressure from the law, she plans to blackmail Shawn and Jane by having them play a part in an elaborately decadent fantasy.
Devastated by the end of her relationship, our heroine swaps her catsuit for pyjamas and hides away from the world. But her friends from the nightclub refuse to let her waste away in self-pity and drag her out to make up the numbers for a party. Only full make-up will suffice, and there's serious grooming to be done before our girl's up to the challenge - her state of misery has left her so thin that even her favourite Audrey Hepburn number doesn't cling the way it should. At the soirée, she becomes entranced with a powerful married man, but it's unlikely their paths will cross again. Until a body is found in the street, stabbed to death - the victim, a gigolo, has connections to the object of her affection. And it seems that the gigolo lifestyle can leave one, ahem, exposed to hidden dangers. Our girl valiantly agrees to take on the case - any meetings with her beloved are an incidental added bonus.
Cole Porter possessed to a singular degree the art of expressing depth through apparent frivolity. The effervescent wit and technical bravura of his songs are matched by their unguarded revelations of feeling. In the words of editor Robert Kimball, “Porter wrote tellingly of the pain and evanescence of emotional relationships. He gently mocked propriety and said that few things were simple or lasting or free from ambiguity.” Of the masters of twentieth-century American songwriting, Porter was one of the few who wrote both music and lyrics, and, even in the absence of his melodies, his words distill an unmistakable mixture of poignancy and wit that marks him as a genius of light verse. Selected from over eight hundred songs, here are Porter’s finest flights of invention, lyrics that are an indelible part of 20th-century culture: “Let’s Do It,” “Love for Sale,” “I Get a Kick Out of You,” “Anything Goes,” “In the Still of the Night,” “I Concentrate on You,” and dozens more. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
Cross-Cultural Dimensions in Conscious Thought represents a major contribution, describing an empirically-validated method for analyzing the thematic content of narratives as a tool for comparative research in Anthropology, Cultural Psychology and Ethnopsychiatry. This second volume in the two volume series presents research conducted in Ireland, Kenya, Japan, the Philippines, Canada, the United States, India, Brazil and Venezuela. This research illustrates, for the cross-cultural researcher, the usefulness of projective techniques as a means for eliciting culturally relevant information from informants. It also exemplifies how the analysis of narrative themes, when it is related to other material obtained in field settings, can reveal meaningful within-group and between-group differences in human experience, and can help us make sense of conscious human experience across a wide range of sociocultural contexts.
"Honey, I Think I’m The Devil is engaging, funny, thoughtful, and one of the goofiest books I’ve read (that’s a good thing!)" — J. Lloyd Morgan, author of The Night the Port-A-Potty Burned Down Jack, a happy-go-lucky, down-on-his-luck guy has a talent for keeping things tidy, even if it's just the trash. Waste management engineer by day, and an unassuming hero by fate, Jack's about to discover that even the garbage can hit the cosmic fan! An angelic bet hurls Jack into a whirlwind of divine mischief. Jack's world gets turned upside down as Lucifer's apprentice. In the depths of his despair, he meets Jill—a woman whose smile can melt butter in a blizzard. Jack must face his alter ego in a showdown that could spell the end for everything celestial and terrestrial. Will Jack's love for Jill be strong enough to thwart Lucifer and save the universe? With its laugh-out-loud lunacy, heartfelt moments, and a cast of characters redefining what it means to fight for love, Honey, I Think I'm The Devil, is a roller coaster ride through love's loop-the-loops.
A comprehensive anthology bringing together more than one thousand of the best American and English song lyrics of the twentieth century; an extraordinary celebration of a unique art form and an indispensable reference work and history that celebrates one of the twentieth century’s most enduring and cherished legacies. Reading Lyrics begins with the first masters of the colloquial phrase, including George M. Cohan (“Give My Regards to Broadway”), P. G. Wodehouse (“Till the Clouds Roll By”), and Irving Berlin, whose versatility and career span the period from “Alexander’s Ragtime Band” to “Annie Get Your Gun” and beyond. The Broadway musical emerges as a distinct dramatic form in the 1920s and 1930s, its evolution propelled by a trio of lyricists—Cole Porter, Ira Gershwin, and Lorenz Hart—whose explorations of the psychological and emotional nuances of falling in and out of love have lost none of their wit and sophistication. Their songs, including “Night and Day,” “The Man I Love,” and “Bewitched, Bothered and Bewildered,” have become standards performed and recorded by generation after generation of singers. The lure of Broadway and Hollywood and the performing genius of such artists as Al Jolson, Fred Astaire, Ethel Waters, Judy Garland, Frank Sinatra, and Ethel Merman inspired a remarkable array of talented writers, including Dorothy Fields (“A Fine Romance,” “I Can’t Give You Anything but Love”), Frank Loesser (“Guys and Dolls”), Oscar Hammerstein II (from the groundbreaking “Show Boat” of 1927 through his extraordinary collaboration with Richard Rodgers), Johnny Mercer, Yip Harburg, Andy Razaf, Noël Coward, and Stephen Sondheim. Reading Lyrics also celebrates the work of dozens of superb craftsmen whose songs remain known, but who today are themselves less known—writers like Haven Gillespie (whose “Santa Claus Is Coming to Town” may be the most widely recorded song of its era); Herman Hupfeld (not only the composer/lyricist of “As Time Goes By” but also of “Are You Makin’ Any Money?” and “When Yuba Plays the Rumba on the Tuba”); the great light versifier Ogden Nash (“Speak Low,” “I’m a Stranger Here Myself,” and, yes, “The Sea-Gull and the Ea-Gull”); Don Raye (“Boogie Woogie Bugle Boy,” “Mister Five by Five,” and, of course, “Milkman, Keep Those Bottles Quiet”); Bobby Troup (“Route 66”); Billy Strayhorn (not only for the omnipresent “Lush Life” but for “Something to Live For” and “A Lonely Coed”); Peggy Lee (not only a superb singer but also an original and appealing lyricist); and the unique Dave Frishberg (“I’m Hip,” “Peel Me a Grape,” “Van Lingo Mungo”). The lyricists are presented chronologically, each introduced by a succinct biography and the incisive commentary of Robert Gottlieb and Robert Kimball.