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Giving true love a spin . . . Michelin Moses is a country music star on the rise. With a hit single under his Texas-sized belt buckle and a sold-out concert tour underway, his childhood dreams of making it big are finally coming true. But there’s one thing missing—a promise to his dying mother that he’d find it—him—when the time was right. With a little luck, he won’t have to wait too long . . . Lucky Ramirez is a hunky boy toy who dances at The Broom Closet, one of West Hollywood’s hottest gay bars. He loves what he does, and he’s good at it—almost as good as he is at playing dumb when he spots Michelin Moses at the bar. What happens next is off the charts—and keeps Michelin coming back for more. He’s just not sure it’s the right move for his career. But if Lucky gets his way, Michelin will get Lucky—and no matter how the media spins it, neither of them will be faking it . . . Praise for the Portland Heat series “Tremendously charming and sexy.”—RT Book Reviews on Served Hot “A really enjoyable story.”—Joyfully Jay on Baked Fresh “Sometimes an author just gets everything right...Absolutely perfect.”—Guilty Pleasures Book Reviews on Delivered Fast
A Louisiana heiress is torn between two men as war looms on the horizon . . . The first in a sweeping trilogy by the USA Today–bestselling author. As rumblings of secession begin in the south, New Orleans heiress Chantal Therrie is looking for a husband. Obligation drives her towards Lazare Galliard, the man who has it all, including wealth, power, and passion. But Rafferty O’Brien, an Irish immigrant who has come to New Orleans to seek his fortune, has an impossible-to-resist drive, and is determined to get what he wants—including the beautiful—but out of reach—Chantal. As a war brews between the states, Chantal will be fighting her own war between what her heart and her mind want . . . “A story as big, sprawling, passionate, and seething with excitement and danger as New Orleans itself . . . A riveting tale.” —Romantic Times
Alive to history in the making (and the weight of the past) this volume examines Obama's presidency and Lyndon Johnson's, the killing of Trayvon Martin and the death of Andrew Breitbart, Occupy Wall Street and "America Beyond Capitalism." It presents essays, poems, and plays that speak to our times and challenge the liberal imagination. The title, That Floating Bridge, evokes Representative John Lewis' line "Obama is what comes at the end of that bridge in Selma" as it quotes a track on Gregg Allman's Low Country Blues, which Scott Spencer lauds here in a review for the Ages.That Floating Bridge's peerless range of contributors includes Amiri Baraka, Gar Alperovitz, Bernard Avishai, Uri Avnery, Bill Ayers, Paul Berman, John Chernoff, Mark Dudzic, Carmelita Estrellita, Henry Farrell, Fr. Rick Frechette, Donna Gaines, David Golding, Eugene Goodheart, Lawrence Goodwyn, Lisa Guenther, Alec Harrington, Malcolm Harris, Casey Hayden, Christopher Hayes, Patterson Hood, Roxane Johnson, Ben Kessler, Bob Levin, Philip Levine, Bongani Madondo, Greil Marcus, Scott McLemee, Judy Oppenheimer, Jedediah Purdy, Nick Salvatore, Aram Saroyan, Tom Smucker, Fredric Smoler, Violet Socks, A. B. Spellman, Scott Spencer, Richard Torres, Jesmyn Ward, and Pablo Yglesias.An account of how Franz Boas "did more to combat race prejudice than any other person" anchorsone section, but the volume also addresses devolutions of "diversity" linked with careerism in the art world and academe. An un-scholastic section titled "Criticism of Life"celebrates older and younger critics/poets. Songs are key to this volume's good times. Music writing ranging from Eddie Hinton's Very Extremely Dangerous to Berlioz's Romeo and Juliet enhances the pleasures of this text.
The southern frontier of the newly formed United States was a dangerous place to live in 1813, but travel across the wilderness demanded a rare sort of courage from those seeking to meet the challenges and perils inhabiting the forests west and south of the Smokey Mountains. This is the story of one young man's quest to find the girl he loved, and his violent, deadly journey.
Jake Harn had served in the Civil War as an officer and upon being discharged he came back to his home near Savannah, Georgia. What he found was that his family, along with others, were living with destruction and devastation caused by the war. On his family's advice he decided to travel west. Early influences helped Jake develop a strong sense of right and wrong. During his adult years he became an individualist who not only took care of himself, but tried to provide comfort to those less fortunate than himself. As an army officer, Jake became an expert with a rifle and while traveling west he began to hone his skills with a hand gun, not to be used as a vocation but as a necessity against the lawless breed that inhabited the Wild West. When he arrived in Burkeville he found himself embroiled in a bloody range war. He became a full-time cowboy by choice and a reluctant part-time lawman when the local sheriff was ambushed by a gang of outlaws.
For over two centuries, in the North as well as the South, both within their own community and in the public arena, African Americans have presented their bodies in culturally distinctive ways. Shane White and Graham White consider the deeper significance of the ways in which African Americans have dressed, walked, danced, arranged their hair, and communicated in silent gestures. They ask what elaborate hair styles, bright colors, bandanas, long watch chains, and zoot suits, for example, have really meant, and discuss style itself as an expression of deep-seated cultural imperatives. Their wide-ranging exploration of black style from its African origins to the 1940s reveals a culture that differed from that of the dominant racial group in ways that were often subtle and elusive. A wealth of black-and-white illustrations show the range of African American experience in America, emanating from all parts of the country, from cities and farms, from slave plantations, and Chicago beauty contests. White and White argue that the politics of black style is, in fact, the politics of metaphor, always ambiguous because it is always indirect. To tease out these ambiguities, they examine extensive sources, including advertisements for runaway slaves, interviews recorded with surviving ex-slaves in the 1930s, autobiographies, travelers' accounts, photographs, paintings, prints, newspapers, and images drawn from popular culture, such as the stereotypes of Jim Crow and Zip Coon.
1998 HOLT Medallion finalist! / 1998 finalist for Romantic Times Reviewers Choice! The fictional town of Hope discovers the importance of forgiveness, overcoming prejudice, and the dangers of keeping unhealthy family secrets. Jack Cornwall lost everything during the Civil War, so when his beloved nephew Chipper is reclaimed by his father, Cornwall vows revenge on the man who took away his last link with the past. Arriving in the town of Hope, Jack finds Chipper happy in his new family. Caitrin Murphy, a cheerful Irish immigrant, helps him realizes that taking Chipper away would be cruel. Unfortunately, few townspeople trust Jack, and even Caitrin is reluctant to encourage their romance because of Jack’s lack of faith. Jack soon realizes that serious changes are needed before he can be truly happy.
In the late nineteenth century, black musicians in the lower Mississippi Valley, chafing under the social, legal, and economic restrictions of Jim Crow, responded with a new musical form -- the blues. In Jim Crow's Counterculture, R. A. Lawson offers a cultural history of blues musicians in the segregation era, explaining how by both accommodating and resisting Jim Crow life, blues musicians created a counterculture to incubate and nurture ideas of black individuality and citizenship. These individuals, Lawson shows, collectively demonstrate the African American struggle during the early twentieth century. Derived from the music of the black working class and popularized by commercially successful songwriter W. C. Handy, early blues provided a counterpoint to white supremacy by focusing on an anti-work ethic that promoted a culture of individual escapism -- even hedonism -- and by celebrating the very culture of sex, drugs, and violence that whites feared. According to Lawson, blues musicians such as Charley Patton and Muddy Waters drew on traditions of southern black music, including call and response forms, but they didn't merely sing of a folk past. Instead, musicians saw blues as a way out of economic subservience. Lawson chronicles the major historical developments that changed the Jim Crow South and thus the attitudes of the working-class blacks who labored in that society. The Great Migration, the Great Depression and New Deal, and two World Wars, he explains, shaped a new consciousness among southern blacks as they moved north, fought overseas, and gained better-paid employment. The "me"-centered mentality of the early blues musicians increasingly became "we"-centered as these musicians sought to enter mainstream American life by promoting hard work and patriotism. Originally drawing the attention of only a few folklorists and music promoters, popular black musicians in the 1940s such as Huddie Ledbetter and Big Bill Broonzy played music that increasingly reached across racial lines, and in the process gained what segregationists had attempted to deny them: the identity of American citizenship. By uncovering the stories of artists who expressed much in their music but left little record in traditional historical sources, Jim Crow's Counterculture offers a fresh perspective on the historical experiences of black Americans and provides a new understanding of the blues: a shared music that offered a message of personal freedom to repressed citizens.
Detecting the distant booms of many rifles, Will Trent turns his horse toward the noise, knowing that some soul is in trouble. He really had no intention of signing on to help the poor widow and her two young kids rebuild their wornout ranch, but having seen all the suffering and death during his three years with Lee's Army of Northern Virginia had been enough. He just couldn't ride out after breaking up the Comanchero raid. Not and leave a defenseless woman and two starving young'uns. His drifting would just have to wait a spell. Calling on some of his former Texas Cavalry partners for help, Will begins building Widow Ida McMoray's herd from mavericks he can trap out of the rough Devils River country. As the herd grows, Will runs afoul of the widow's brother-in-law, Clyde McMoray and his pack of cutthroats. It is McMoray's plan to someday own the ranch as well as lovely Ida. As Will's time on the ranch lengthens, so does his desire for the hand of Ida; yet he has nothing to offer her but his strong back and . . . his gun . . . .
Walt Brandon, born in the mid 1800 ́s, sets out on a life of his own at an early age, which leads him into the western portion of the United States, at a time when lawlessness ruled west of the big rivers. A young man entering a young world with a chip on his shoulder, who grows hard and cold and gets too fast with a gun for his own good. Until he meets a woman who captures his heart and molds him into a real man.