The bestselling and infamous diary of a high-class call girl, as seen on the show starring Billie Piper. Belle de Jour is the nom de plume of a high-class call girl working in London. This is her story. From the summer of 2003 to the autumn of 2004 Belle charted her day-to-day adventures on and off the field in a frank, funny and award-winning web diary. Now, in her Intimate Adventures, Belle elaborates on those diary entries, revealing (among other things) how she became a working girl, what it feels like to do it for money, and where to buy the best knickers for the job. From debating the literary merits of Martin Amis with naked clients to smuggling whips into luxury hotels, this is a no-holds barred account of the high-class sex-trade, and an insight into the secret life of an extraordinary woman.
It is October, 2005. In an apartment in the upmarket neighbourhood of Sao Paulo, Brazil, 21-year-old Bruna Surfistinha, or Bruna the Surfer Girl, has sexual encounters with up to five men a day. A teen runaway who has had to turn tricks for a living, Bruna begins to write about her experiences in a blog. What she creates is a scintillating soap opera, loaded with family drama, love stories and, of course, sex! Today, Bruna has become a celebrity in Brazil with the runaway bestseller The Scorpion's Sweet Venom: The Diary of a Brazilian Call Girl. Selling over 30,000 copies in its first month, (and over 100,000 copies to date) the book is a vivid, forthright, explosive account of sex for money, for kicks, for fun, and for love. It even offers how-to tips for readers looking to spice up their sex lives. In the tradition of the bestselling The Bride Stripped Bare, In My Skin, Belle de Jour and Diary of a Manhattan Call Girl, this translation of The Scorpion's Sweet Venom is destined to cause a stir with its intimate revelations of Latino lovers and illicit sex and life as a call girl.
The Call Girl Actress, Confessions of a Lesbian Escort is a personal memoir from a former upscale, high-end and sought-after escort, a call girl if you will. Erica entertained men of means, manners and who had a burning desire for sex. She was their personal sanctuary, an oasis of pure uncomplicated pleasure. She was their trip to paradise, filling the void in their sex life. Erica was blessed with beauty. She had a stunning, tight, toned body, a beautiful face and flawless skin. She was also extremely intelligent. The book is also a breakthrough expose on the world of hobbyists, the men who pay women for sex out of habit. Was it mentioned that Erica was and is one hundred percent lesbian? They never knew, and for the most part she never told. She was the Call Girl Actress.
Mattress Actress is the story of Annika Cleeve's eighteen years as a sex worker. Her troubled childhood in Queensland led to working in a brothel on the Sunshine Coast at the age of fifteen, and from there Annika worked her way up to the high-end parlours, agencies and private work in various parts of Australia and internationally. In this book Annika reveals the truth of a sex worker's life; the clients, the girls, the parlour bosses, the rip-off merchants, the drug deaths, the white slavery, the discrimination, the corrupt police and politicians, the exotic travel and the money. Mattress Actress is a revealing and gutsy look at someone practising the world's oldest profession in the late twentieth century. From wide-eyed innocent to experienced and successful professional, Annika's story is both shocking and highly entertaining. "Annika Cleeve is not her real name but this is her real story: a raw and honest account of life in the raw as a new recruit to the oldest profession." – Andrew Rule Also published as Eve: Confessions of an International Call Girl by Monsoon Books
Here's the book the LAPD tried to supress--the no-holds-barred story of an intelligent, courageous woman who chose to leave her middle-class life of law enforcement and cross the line into prostitution--letting the chips fall where they may. Photographs.
Working Girls offers a series of case-studies designed to provide a feminist investigation of the thematic concerns and discursive formations of the contemporary Hollywood cinema.
During the 1960s, many models, Playboy centerfolds, beauty queens, and Las Vegas showgirls went on to become "decorative actresses" appearing scantily clad on film and television. This well illustrated homage to 75 of these glamour girls reveals their unique stories through individual biographical profiles, photographs, lists of major credits and, frequently, in-depth personal interviews. Included are Carol Wayne, Edy Williams, Inga Neilsen, Thordis Brandt, Jo Collins, Phyllis Davis, Melodie Johnson, and many equally unforgettable faces of sixties Hollywood.
Jenna Fischer's Hollywood journey began at the age of 22 when she moved to Los Angeles from her hometown of St. Louis. With a theater degree in hand, she was determined, she was confident, she was ready to work hard. So, what could go wrong? Uh, basically everything. The path to being a professional actor was so much more vast and competitive than she'd imagined. It would be eight long years before she landed her iconic role on The Office, nearly a decade of frustration, struggle, rejection and doubt. If only she'd had a handbook for the aspiring actor. Or, better yet, someone to show her the way—an established actor who could educate her about the business, manage her expectations, and reassure her in those moments of despair. Jenna wants to be that person for you. With amusing candor and wit, Fischer spells out the nuts and bolts of getting established in the profession, based on her own memorable and hilarious experiences. She tells you how to get the right headshot, what to look for in representation, and the importance of joining forces with other like-minded artists and creating your own work—invaluable advice personally acquired from her many years of struggle. She provides helpful hints on how to be gutsy and take risks, the tricks to good auditioning and callbacks, and how not to fall for certain scams (auditions in a guy's apartment are probably not legit—or at least not for the kind of part you're looking for!). Her inspiring, helpful guidance feels like a trusted friend who's made the journey, and has now returned to walk beside you, pointing out the pitfalls as you blaze your own path towards the life of a professional actor.
Now, Voyager, Stella Dallas, Leaver Her to Heaven, Imitation of Life, Mildred Pierce, Gilda…these are only a few of the hundreds of “women’s films” that poured out of Hollywood during the thirties, forties, and fifties. The films were widely disparate in subject, sentiment, and technique, they nonetheless shared one dual purpose: to provide the audience (of women, primarily) with temporary liberation into a screen dream—of romance, sexuality, luxury, suffering, or even wickedness—and then send it home reminded of, reassured by, and resigned to the fact that no matter what else she might do, a woman’s most important job was…to be a woman. Now, with boundless knowledge and infectious enthusiasm, Jeanine Basinger illuminates the various surprising and subversive ways in which women’s films delivered their message. Basinger examines dozens of films, exploring the seemingly intractable contradictions at the convoluted heart of the woman’s genre—among them, the dilemma of the strong and glamorous woman who cedes her power when she feels it threatening her personal happiness, and the self-abnegating woman whose selflessness is not always as “noble” as it appears. Basinger looks at the stars who played these women and helps us understand the qualities—the right off-screen personae, the right on-screen attitudes, the right faces—that made them personify the woman’s film and equipped them to make believable drama or comedy out of the crackpot plots, the conflicting ideas, and the exaggerations of real behavior that characterize these movies. In each of the films the author discusses—whether melodrama, screwball comedy, musical, film noir, western, or biopic—a woman occupies the center of her particular universe. Her story—in its endless variations of rags to riches, boy meets girl, battle of the sexes, mother love, doomed romance—inevitably sends a highly potent mixed message: Yes, you women belong in your “proper place” (that is, content with the Big Three of the women’s film world—men, marriage, and motherhood), but meanwhile, and paradoxically, see what fun, glamour, and power you can enjoy along the way. A Woman’s View deepens our understanding of the times and circumstances and attitudes out of which these movies were created.
