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If the King Divas can't reign, no one will: one merciless kill vaults good-girl-gone-bad Ta'Shara into gangland's power elite - but an enemy she doesn't see is targeting everything she can't afford to lose.
"De'nesha delivers." --Tu?Shonda L. Whitaker The most lethal ride-or-die women in Memphis now run their gangs and the streets. But the aftermath of an all-out war means all-out consequences. . . Bullets have no names and collateral damage is the game as the women of the Dirty South push to secure total control. Vice Lord chief Lucifer goes after the upstart Crippettes gang one by one--but locking down her power will put everything she lives to protect at risk. Ta'Shara straps on her training wheels to prove she can ride with the best of the Flowers--but does this good-girl-gone-bad really have what it takes to survive? And as Queen G LeShelle viciously body-drops to keep her bloody secrets buried, her husband Python may be the one person that can put her in check. Now these boss divas will go head-to-head for complete domination--because in the end only one can rule. . .
It's scorched-earth, all-or-nothing war for Memphis' most merciless ride-or-die women, and even their survival skills are no guarantee. Once alliances splinter and explosive revelations rip apart their empire, one diva's revenge will become the ultimate deadly reign. Between total gang exterminations and brutal collateral damage, the stakes have never been higher for the women of the Dirty South.
"Gritty, down and dirty, and raw." --Urban Reviews In De'nesha Diamond's explosive series, the fiercest ride-or-die chicks in Memphis are battling alongside--and against--their ruthless men to be the last diva standing. . . On these Dirty South streets, revenge is sweet opportunity. Now the women who help rule the hood are out to take ultimate control. Merciless lieutenant Lucifer drops as many bodies as she can to avenge a devastating shooting and consolidate her new power. Loyal gang member Essence discovers friendship has lethal limits when she falls for her best friend's man. Ever-ambitious Yolanda is angling hard to go from a king hustler's baby mama to his one and only. But Queen G LeShelle will betray any trust and take out any obstacle to make the game hers alone. And when these four women push their vendettas past the point of no return, it's a war only the most deadly diva will survive. . . "The raw prose will burn itself in readers' minds, leaving them screaming for the next installment." --Library Journal "These women will have readers turning pages. . .a suspenseful and entertaining book full of deceit and revenge." --APOOO BookClub
In the first book of a fierce new series, meet Memphis's hardest ride-or-die chicks as they fight along with their infamous men to lock down the Dirty South. Memphis is the crime capital of America, and no one knows that better than the women born and raised on its mean streets. It's put sisters Ta'Shara and LeShelle on opposite sides of the street game, where blood means nothing and loyalty doesn't last long. It's also got Yolanda, an ambitious drug mule, and Melanie, a police detective, caught up with the same man--the notorious hustler Python. These four women think they've got the game figured out, but the one man they have in common will have them living double lives and wondering who will come out on top. Forget what you heard about East Coast/West Coast, 'cause real vendettas are born in the Dirty South. "Diamond's ear for street talk comes across loud and clear. . .a violent and profane tale, which launches a gritty new series. The divas here are realistic characters, and the pacing zooms. . .one of the best constructed street lit stories of 2010." --Library Journal "A nonstop, hard-hitting page-turner." --Tu-Shonda L. Whitaker
Regina Mingotti was the first female impresario to run London's opera house. Born in Naples in 1722, she was the daughter of an Austrian diplomat, and had worked at Dresden under Hasse from 1747. Mingotti left Germany in 1752, and travelled to Madrid to sing at the Spanish court, where the opera was directed by the great castrato, Farinelli. It is not known quite how Francesco Vanneschi, the opera promoter, came to hire Mingotti, but in 1754 (travelling to England via Paris), she was announced as being engaged for the opera in London 'having been admired at Naples and other parts of Italy, by all the Connoisseurs, as much for the elegance of her voice as that of her features'. Michael Burden offers the first considered survey of Mingotti‘s London years, including material on Mingotti's publication activities, and the identification of the characters in the key satirical print 'The Idol'. Burden makes a significant contribution to the knowledge and understanding of eighteenth-century singers' careers and status, and discusses the management, the finance, the choice of repertory, and the pasticcio practice at The King's Theatre, Haymarket during the middle of the eighteenth century. Burden also argues that Mingotti‘s years with Farinelli influenced her understanding of drama, fed her appreciation of Metastasio, and were partly responsible for London labelling her a 'female Garrick'. The book includes the important publication of the complete texts of both of Mingotti's Appeals to the Publick, accounts of the squabble between Mingotti and Vanneschi, which shed light on the role a singer could play in the replacement of arias.
The deadliest ride-or-die chicks in Memphis have a new rival. But when all’s said and done, only one gang can reign supreme... The streets of the Dirty South have never been meaner as the ruthless women of warring hoods are just a few body bags away from total domination. Determined to rain bullets on Shotgun Row, lieutenant Lucifer teams up with Profit, head gangsta of the Vice Lords and a man bent on revenge. Good girl gone bad Ta’shara sets her sights on knocking her evil sister off the throne—but she’s unprepared for what’s ahead. Qiana’s deal with the devil to take ambitious Yolanda out of the picture plants her at the center of a manhunt that will jeopardize her own position. And as Queen G LeShelle’s list of enemies multiplies, the final knockout may come from the last person she expects. While the war zone expands, these gangsta divas take no prisoners for the chance to rule it all...
A wonderful collaboration, containing the poetry of Linda Joy Burke, Lenett Nefertiti Allen, Jaki-Terry, and Chezia Thompson-Cager. This mesmerizing collection of verse is as diverse and inspiring as the women who wrote these poems.
Carole King's Tapestry is both an anthemic embodiment of second-wave feminism and an apotheosis of the Laurel Canyon singer-songwriter sound and scene. And these two elements of the album's historic significance are closely related insofar as the professional autonomy of the singer-songwriter is an expression of the freedom and independence women of King's generation sought as the turbulent sixties came to a close. Aligning King's own development from girl to woman with the larger shift in the music industry from teen-oriented singles by girl groups to albums by adult-oriented singer-songwriters, this volume situates Tapestry both within King's original vision as the third in a trilogy (preceded by Now That Everything's Been Said and Writer) and as a watershed in musical and cultural history, challenging the male dominance of the music and entertainment industries and laying the groundwork for female dominated genres such as women's music and Riot Grrrl punk.
While drag subcultures have gained mainstream media attention in recent years, the main focus has been on female impersonators. Equally lively, however, is the community of drag kings: cis women, trans men, and non-binary people who perform exaggerated masculine personas onstage under such names as Adonis Black, Papi Chulo, and Oliver Clothesoff. King of Hearts shows how drag king performers are thriving in an unlikely location: Southern Bible Belt states like Tennessee, Georgia, and South Carolina. Based on observations and interviews with sixty Southern drag kings, this study reveals how they are challenging the region’s gender norms while creating a unique community with its own distinctive Southern flair. Reflecting the region’s racial diversity, it profiles not only white drag kings, but also those who are African American, multiracial, and Hispanic. Queer scholar Baker A. Rogers—who has also performed as drag king Macon Love—takes you on an insider’s tour of Southern drag king culture, exploring its history, the communal bonds that unite it, and the controversies that have divided it. King of Hearts offers a groundbreaking look at a subculture that presents a subversion of gender norms while also providing a vital lifeline for non-gender-conforming Southerners.