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The acclaimed author of "Whatever Lola Wants" returns with this new urban romance that opens as Camille Roberts is about to marry a very wealthy, much older man. She has told her best friend that she'll only marry for money, not for love. Then she meets attorney Harry Britton. Original.
Including Spike Lee's advice on independent filmmaking, excerpts from the production journal Lee kept throughout the making of She's Gotta Have It, and much more, Spike Lee's Gotta Have It is a unique document in film literature. 30 black-and-white photographs.
From African-American fiction staple Niqui Stanhope comes She's Gotta Have It, a story of a woman's one last fling... Camille Roberts is about to marry a very wealthy, much older man. She has told her best friend, Lola St. James, that she will only marry for money and not for love. She is convinced that she is not the corporate type. In fact, she has underlined the fact that she would be perfectly comfortable just staying at home and looking after an entire pack of kids. But, any dreams of children will have to be shelved since her older fiancé (57 years old), has already raised three children of his own - two girls and a boy - all of whom are excelling in their respective careers, and has neither the time nor the interest in becoming a father again. He has told her that he will not change his mind on this matter, and so she will just have to console herself with all the things his money can buy her. Camille is forced to make a hard choice. Marry for love and live a modest traditional life with a good, nine-to-five working man, or marry for money and live the lavish jet-setting life of the rich and famous. Camille chooses to go for the money, and a lavish wedding is planned. But, two months before her scheduled nuptials, Camille decides to treat herself to one final fling of the riotous kind. A "get your groove back," trip to Jamaica, where she will - for one final time, deliberately seek out and bed the sexiest, most booty-licious young man she can find - before settling down to a life of placid sexuality.
She's Gotta Have It: A Hood Love Story is the tale of three sisters, Andi, Zooey, and Josalyn Richardson, who were abandoned at a young age by their globetrotting parents. Forced to live with their rich and overbearing grandparents, the girls grow up privileged and very entitled. When their grandparents suddenly die, the sisters inherit a large amount of money, and are finally able to live as they please; a lifestyle their poor grandparents would've never approved of. Andi and Zooey are determined to make their dreams come true, and will do anything and anyone they need to in order to get there. They will lie, scheme, and maybe even murder. Josalyn, on the other hand, is more interested in living a normal life, despite her sisters' advice. She want's someone who will love her for her, not someone who is number one on the charts. As they wished, the sisters are thrust into Hollywood by way of their very famous significant others, including unwilling participant Josalyn. All is well until they realize that these famous men are not all that they're cracked up to be. Some are crazy, overbearing, and very taken. To make matters worse, while attempting to achieve fame and fortune, Andi and Zooey develop a reputation for themselves that seems to precede them wherever they go. Will they realize that their reputation is more important than scheming to bed a famous man? Or will it be too late? On the brighter side, Josalyn seems to have snagged the man of her dreams in rapper Cassian, but is he really the man of her worst nightmare? She's Gotta Have It is filled with deceit, murder, love, lies, and plenty of sex.
Since his first feature movie, She's Gotta Have It (1986), gave him critical and commercial success, Spike Lee has challenged audiences with one controversial film after another. Lee has made a broad range of movies, including documentaries (4 Little Girls), musicals (School Daze), crime dramas (Clockers), biopics (Malcolm X).
The legendary figure who launched the careers of Spike Lee, Michael Moore, and Richard Linklater offers a no-holds-barred look at the deals and details that propel an indie film from a dream to distribution.
This career-spanning monograph is a visual celebration of Spike Lee's life and career to date. Featuring hundreds of never-before-seen photographs by David Lee, Spike's brother, this book includes behind-the-scenes, insider images that underscore his creative process, and his significant impact on the culture at large. Print run 15,000.
Go back to bed, baby, please, baby, please. Not on your HEAD, baby baby baby, please ... From moments fussy to fond, Academy Award-nominated filmmaker Spike Lee and his wife, producer Tonya Lewis Lee, present a behind-the-scenes look at the chills, spills, and unequivocal thrills of bringing up baby Vivid illustrations from celebrated artist Kadir Nelson evoke toddlerhood from sandbox to high chair to crib, and families everywhere will delight in sharing these exuberant moments again and again.
“On some days your dreams may seem too far away to realize… Listen to the whispers of those that came before...” People throughout history have taken giant steps toward improving the world—but even the smallest step makes a difference. A wonderful and inspiring gift, Giant Steps to Change the World encourages readers to follow in the footsteps of those who came before, to reject fears of inadequacy, and to ponder what they can contribute to society.
Since the release of Do the Right Thing in 1989, Spike Lee has established himself as a cinematic icon. Lee's mostly independent films garner popular audiences while at the same time engaging in substantial political and social commentary. He is arguably the most accomplished African American filmmaker in cinematic history, and his breakthrough paved the way for the success of many other African Americans in film. In this first single-author scholarly examination of Spike Lee's oeuvre, Todd McGowan shows how Lee's films, from She's Gotta Have It through Red Hook Summer, address crucial social issues such as racism, paranoia, and economic exploitation in a formally inventive manner. McGowan argues that Lee uses excess in his films to intervene in issues of philosophy, politics, and art. McGowan contends that it is impossible to watch a Spike Lee film in the way that one watches a typical Hollywood film. By forcing observers to recognize their unconscious enjoyment of violence, paranoia, racism, sexism, and oppression, Lee's films prod spectators to see differently and to confront their own excess. In the process, his films reveal what is at stake in desire, interpersonal relations, work, and artistic creation itself.