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A spicy mix of showbiz, sex and black magic. Devil worship has never looked so good!
Don't hate me because I'm beautiful... Call me V. I used to be a nobody, just a girl from New Jersey who was probably going to hell anyway -- or worse, mediocrity and a size 14. Now I get whatever I desire just by casting a little spell....a flawless body, a luxury penthouse, and a Fifth Avenue shop where rich women clamor for my overpriced handbags. Even better, I have power. I can taunt my ex-husband, break hearts without guilt, and love every minute of it. My secret? I lost the one thing I never needed in the first place: my soul. I sold it. And you'll never guess who's got it now. She's a devil in disguise. You know her as the dishiest gossip columnist in the city's trashiest tabloid. I call her Lucy. And our deal is this: the more clients I recruit for her Life Enrichment Program, the greater my rewards. But just between us, my fast track to heartless apathy has hit a few speed bumps -- lately, I've had the totally annoying impulse to do things that are...good. First there was rescuing a kid in the park. Then there was the date with the handsome, decent guy who wasn't even a celebrity. What's next, giving to charity or something? All I know is Lucy doesn't like it, not one little bit. And when she finds out, there will be hell to pay...
Here’s an exploration of the complex issues faced by Indian women at the workplace, such as dealing with family pressures, gender perceptions, the glass ceiling, leadership challenges and bringing up children while also excelling in their careers. With insights from renowned and successful women like film director Farah Khan, food writer Karen Anand, actor Lillette Dubey, boxer M.C. Mary Kom, journalist Sharda Ugra, corporate head honchos Devita Saraf, Nisaba Godrej, Aruna Jayanthi, Manisha Girotra and Mallika Srinivasan, casting director Shanoo Sharma and banker Pankajam Sridevi, among others, this book will help the contemporary Indian woman negotiate the professional world.
When pop diva Sheila Lews dies under puzzling circumstances, Clarisse Dufresne is approached by agents of a shadowy international crime syndicate with a proposition--"What if, after a period of time, say five years--yeah, make it five years--it was discovered that Sheila had left behind some unmixed tracks, songs she had been working on before she died but didn't release? What do you think a find like that would be worth?" Clarisse refuses to participate in the fraud and is rescued by a mysterious man named Maurice Crevier, who conceals both his face and his intentions behind a black, obsidian mask. But the savior soon becomes Clarisse's tormentor when she learns that she is not his guest as he professes, but his prisoner. Despite it all--and against her better judgment--Clarisse feels a growing fascination and affection for her jailer, as well as his odd henchmen--a voodoo-practicing Haitian and a young chef who is haunted by the ghost of her mother. Until a second attempt is made on her life. And a third. David and Renee have written a great story which is not easily classified. It has mystery, chases, gun battles, murder, sex...we're calling it a gothic suspense novel.
When Mecca's parents are killed in front of her by a family friend, she learns that true friends are few and far between. She is taken in by her aunt, and soon finds out who is really riding for her and who is just around because they fear the wrath of Aunt Ruby. Making a deal with the devil doesn't seem all that bad when you're sitting on top of the world, with endless amounts of money and designer everything, but it's not long before her beloved Aunt Ruby is snatched away from her. Mecca is forced to fend for herself. She learns to play with the hand she was dealt, but who will be left standing in the end? In Mecca's world, everyone is suspect, and no one can be trusted, not even family. When the truth is revealed to her, it is up to Mecca to decide if she'll do the right thing and lead a life of righteousness, or continue to walk down the same dark path as her aunt.
Baptized 'Soul Sister Number One' by her producer and mentor James Brown, Kansas City funk siren Marva Whitney was on the cusp of stardom in the late 1960s. During that time she scored three US R&B hit singles, released two albums, picked up a Golden Mike Award and was voted second in Record World magazine's readers' poll for the Most Promising Female R&B Vocalist of 1969. She also made numerous appearances on US television but just as her star seemed to be in the ascendant, Whitney's career took a spectacular turn for the worse after personal problems forced her to quit the James Brown organization in early 1970. She then spent 35 years in the wilderness before successfully reviving her career in 2005. In her absorbing and sometimes shockingly frank memoir, God, The Devil & James Brown, Marva Whitney - who died in 2012 at the age of 68 - tells her story with an unflinching, tell-it-like-it-is directness. Her detailed account of life with James Brown is particularly disturbing but leavened with a laugh-out-loud humor that makes Marva Whitney's autobiography a compelling page-turner. "(An) eye-opening life-story. Whitney is an engaging raconteur ... she recalls her struggles and triumphs vividly, with humility and humour." Terry Staunton, Record Collector "Her tenure with 'The Godfather' is remarkably honest and forthright; sometimes unbelievable even. After reading this, and her candid remarks about her life - particularly the period spent with James Brown - I feel I know her like a friend... it's a cracking read!" Sharon Davis, SoulMusic.com
Bryan Stark describes himself as the "Greek Chorus," constantly watching the action and drama unfold around him in the arena with the most high school divas possible--the theater! At his posh private school in Malibu, Orion Academy, the teens are entitled, the boys are cute, and the theatre productions extremely elaborate. Bryan sees it all as he directs his best friend Samantha, the most talented of the Orion divas, through the throng. This bind-up is filled with friends, theatre, and romance, but underneath it all DRAMA! is a heartfelt comedic series.
Secrets about love, life, and Hollywood from the Tony Award-winning actress from the Broadway production of Dreamgirls —in the role recently made famous by Beyonce—timed to coincide with the thirtieth anniversary of the original Broadway show. Sheryl Lee Ralph was the original Deena Jones in Broadway’s production of Dreamgirls and the show was a Broadway sensation from its inception. Now, the star of film, television, and Broadway, known for her talent and fearlessness, shows readers how to find—and own—their inner divas. Sheryl rose to international fame after her performance in Dreamgirls, winning the Tony Award for Best Actress and going on to star in movies with Denzel Washington and Robert DeNiro and capture America’s heart as television’s favorite mom Die in the #1-rated series Moesha . But it wasn’t an easy task. From her legendary catfight with Diana Ross to her controversial exit from Moesha, Sheryl Lee Ralph is a woman who does not fade in the background—and she reveals how and why she has remained in the spotlight for decades. Sheryl is a hip, modern Miss Manners who inspires women with her wit, strength, and call-it-like-it-is courage. Using her own experiences as a guide—and dishing the truth behind all the rumors—Sheryl reveals her rules for living. This is Divahood A-Z—from the practical to the spiritual, featuring advice on everything from relationships to fashion to success in the business world. So, the next time someone calls you a diva, you’ll just smile and say “Thank you!”
Amanda Hocking, the New York Times bestselling author of The Kanin Chronicles, returns to the magical world of the Trylle Trilogy with The Ever After, the final novel in The Omte Origins arc. Buried memories... Ulla Tulin has lost a month of her life. Her journey to learn who her parents are has brought her to the attention of the Älvolk sect—and a man claiming to be her father. But instead of a long lost family reunion, Ulla has forgotten her time there, and fears something terrible happened. Sacred flower... The Älvolk released Ulla alive for one reason only, to exchange her for a rare flower with mystical properties. Determined to break her amnesia, Ulla risks her life against a dark enchantment capable of killing her to remember the Älvolk’s secrets—to use the flower as part of an incantation that will open the bridge to Alfheim, the First City. Blood prophecy... But opening the bridge will unleash a menagerie of monstrous creatures upon Earth that will consume everything in their path. Knowing she may lose Pan Soriano, the love of her life, Ulla nevertheless gathers an army of Trylle to stand with her and defend humanity as well as her own kind. And it is Ulla’s very heritage that holds the key to victory.
The Diva's Gift to the Shakespearean Stage traces the transnational connections between Shakespeare's all-male stage and the first female stars in the West. The book is the first to use Italian and English plays and other sources to explore this relationship, focusing on the gifted actress whoradically altered female roles and expanded the horizons of drama just as the English were building their first paying theaters. By the time Shakespeare began to write plays, women had been acting professionally in Italian troupes for two decades, traveling across the Continent and acting in allgenres, including tragicomedy and tragedy. Some women became the first truly international stars, winning royal and noble patrons and literary admirers beyond Italy, with repeat tours in France and Spain.Elizabeth and her court caught wind of the Italians' success, and soon troupes with actresses came to London to perform. Through contacts direct and indirect, English professionals grew keenly aware of the mimetic revolution wrought by the skilled diva, who expanded the innamorata and made the typemore engaging, outspoken, and autonomous. Some English writers pushed back, treating the actress as a whorish threat to the all-male stage, which had long minimized female roles. Others saw a vital new model full of promise. Faced with rising demand for Italian-style plays, Lyly, Marlowe, Kyd, andShakespeare used Italian models from scripted and improvised drama to turn out stellar female parts in the mode of the actress, altering them in significant ways while continuing to use boys to play them. Writers seized on the comici's materials and methods to piece together pastoral, comic, andtragicomic plays from mobile theatergrams - plot elements, roles, stories, speeches, and star scenes, such as cross-dressing, the mad scene, and the sung lament. Shakespeare and his peers gave new prominence to female characters, marked their passions as un-English, and devised plots that figuredthem as self-aware agents, not counters traded between men. Playing up the skills and charisma of the boy player, they produced stunning roles charged with the diva's prodigious theatricality and alien glamour. Rightly perceived, the diva's celebrity and her acclaimed skills posed a radicalchallenge that pushed English playwrights to break with the past in enormously generative and provocative ways.