Hell hath no fury like a woman scorned, and if that woman is Nikki Bell, then that means everyone better jump outta the way. After giving up dancing at The Pink Palace and settling down with her family, Nikki believes she could have a normal life. She soon finds out she is wrong, and now her past is back to haunt her. When things start to go downhill fast, she learns that Malachi Turner, a notorious drug dealer and the new owner of The Pink Palace, is the man responsible for destroying her new life. Nikki has no choice but to confront him. Malachi gives Nikki a dire choice: come back and dance for him or suffer the deadly consequences. Nikki, desperate for a way out, meets a stripper named Jasmine, a bad girl with a history of mischief and mayhem. Jasmine wants to challenge Nikki to a fierce battle to be the number one moneymaker at The Pink Palace. The tension is thick between these two. When the truth is revealed to Nikki about the reasons why her life took a tailspin, she has no choice but to make uneasy alliances in order to bring Malachi down and escape his grasp. First she must decide: How far is she willing to go in order to get her life back?
When Jill Nalder arrived at drama school in London in the early 1980s, she was ready for her life to begin. With her band of best friends - of which many were young, talented gay men with big dreams of their own - she grabbed London by the horns: partying with drag queens at the Royal Vauxhall Tavern, hosting cabarets at her glamorous flat, flitting across town to any jobs she could get. But soon rumours were spreading from America about a frightening illness being dubbed the 'gay flu', and Jill and her friends now found their formerly carefree existence under threat. In this moving memoir, Jill Nalder tells the true story of her and her friends' lives during the AIDS crisis - juggling a busy West End career while campaigning for AIDS awareness and research, educating herself and caring for the sick. Most of all, she shines a light on those who were stigmatised and shamed, and remembers those brave and beautiful boys who were lost too soon.
Kamone, having lived a life of prostitution, drugs, and hustling since her mother abandoned her, is set up to be raped and drugged, but is saved by Lucci, with whom she begins a relationship and tries to leave her old life behind.
They say you can't judge a book by its cover, and I guess you can say the same thing about strippers too. On the surface, Mo Nique is the hottest stripper dancing at The Pink Palace, but on the inside, she's really just Janelle Taylor, a teenage runaway trying to survive in Atlanta. Some people might want to call her a ho, but she's the one your man is spending his whole paycheck on! This isn't the life she envisioned for herself, but it's the path she was forced to take in order to get by. Nobody sees the real Janelle until she meets Tommy, a sexy hustler from Chicago. At first he's just another trick, but for some reason, she can't stay away from him. Is she really falling in love with a trick? The closer she gets to Tommy, the more she feels like he's keeping something from her. Is having true love too much to ask for a girl like Janelle?
A paranormal investigator and Old Louisville resident explores chilling reports of hauntings among the historic homes of the National Preservation District. The Louisville, Kentucky, neighborhood known as Old Louisville is one of the country’s largest National Preservation Districts and the largest Victorian-era neighborhood in the country. Beneath the balconies and terraces of the district's Gothic, Queen Anne, and Beaux Arts mansions, current residents trade stories about the strange and unexplained phenomena they encounter in their historic homes. When David Dominé moved into one of these houses, he dismissed local rumors of a resident poltergeist named Lucy. But soon, disembodied footsteps and mysterious odors changed his mind. Now Dominé is one of Louisville’s best-known investigators of paranormal phenomena. In Phantoms of Old Louisville, Dominé recounts a horrifying encounter at the Spalding Mansion and the long history of the kindly spirit Avery, who guards the iconic Pink Palace. These tales of things that go bump in the night not only reveal why Old Louisville is considered the "most haunted neighborhood in America," but also help to preserve this historically and architecturally significant community.
The history of The Pink House is unique because it is one of the few Victorian-era residences to remain in the possession of the same family for four generations. Victorian residences are 19th century fantasies created as monuments to their original owner's financial success and their personal tastes and interests. Each residence is an exuberant expression of achieving the American financial dream, the love of family and faith, and the opportunity to explore avocations during an era in United States History when the country was rapidly becoming an urban and industrial nation. Economic success enabled Americans to cast off the simple and austere architecture of houses that were two rooms over two. Multi-storied residences, many with towers and multiple wings, permitted larger and more rooms with specialized functions. The interiors celebrated the latest in technological innovation in plumbing, lighting, and heating. The decorative arts were given full expression in the beautifully carved woodwork that celebrated the varieties of local hard and soft woods and the skills of local immigrant artisans. Victorian homes were dedicated to more than the customary cooking, eating, and sleeping functions. Victorian homes permitted family members to experience beauty and comfort while developing their own talents and skills. But, it was not only the exterior and interior that Victorian houses celebrated. These residences celebrated the landscaped grounds and decorative gardens, which enhanced the beauty of the architecture in their midst. Landscaped grounds with fountains and ornamentals were gathering places for family and friends to celebrate birthdays, christenings, weddings, funerals, and the seasons of spring, summer, fall, and winter. Victorians were social. Both the gardens and grounds along with the residential interiors brought family and friends frequently together to appreciate special moments. The Pink House has always been a private residence. It has never been open to the public. Therefore, this may be the reason for the many unexplained stories that surfaced over 150 years about the home built by Edwin Bradford Hall. Mr. Hall and his descendants remained very private people in both the celebration of life and the sadness of grief over death. Mrs. Fannie Hall Carpenter, the daughter of Edwin B. Hall, lived a more secluded life after the death of her husband, John Milton Carpenter, in 1926 until her own death in 1958. As a result, the house retreated more from the realm of social interaction. Mrs. Carpenter's daughter, Florence Carpenter Woelfel, lived permanently in Columbus, Ohio returning to Wellsville for a few months each year. It was not until the retirement of Dr. Julian Woelfel in 1989, Edwin B. Hall's great-grandson, that The Pink House once again came back to life and was reintegrated into the Wellsville community under Julian's and Marcile's stewardship. On behalf of Dr. Julian and Marcile Woelfel I invite you to The Pink House. This is a ghost free tour. The Pink House never had ghosts. Mary Frances Farnum never haunted The Pink House because it never existed during her short life time. The death of two-year old Beatrice Carpenter was a private family tragedy. As you page through the story of The Pink House enjoy the travel back in time to Wellsville's early days. Rediscover the accomplishments of Edwin Bradford Hall as a successful druggist, a gifted amateur fossil collector, and talented architect. Rediscover the roles played by Antoinette Farnum Hall, her daughter Fannie Hall Carpenter, and Mrs. Hall's sister, Louise Farnum Brown, in the establishment of Wellsville's David A. Howe Public Library. My only regret is that Dr. Julian Woelfel died unexpectedly on September 2, 2017 and could not be with us to celebrate the publication of The Pink House but he remains with us in spirit.
In a career that spanned the first half of this century, Philip Trammell Shutze produced over 750 architectural works. Because his production was so large, this first book to examine his buildings concentrates on the more important ones, which as a body represent an architectural achievement of a very high order of refinement, grace, and beauty. Although Shutze practiced from 1912 to 1968, covering the period of the ascendancy of modernism through its final triumph, he remained a firmly committed classicist, practicing out of an office in Atlanta where he produced an extraordinary body of monumental commercial and institutional buildings and country villas. After graduating from Georgia Tech, Shutze stayed a year at Columbia University before he won the prestigious Rome Prize in 1915. Travelling to Rome later that year, he became a member of one of the earliest classes of fellows to occupy the recently completed American Academy on the Janiculum overlooking the city. The magnificent palazzo designed by America's most renowned architectural firm, McKim, Mead, and White, did not however please the fellows, who found it "too new," and therefore not authentic (Shutze would later devote much attention to techniques for instantly aging building facades). With the coming of the First World War, Shutze and most of his classmates stayed in Rome as Red Cross volunteers, but when the war was over they returned to he Academy and to their studies. During his five years in Rome, Shutze immersed himself in learning everything he could about the great buildings of the Renaissance and Baroque periods. He painstakingly measured those buildings as well as the monuments of the Roman Empire, committing the smallest of details to paper and to memory. Returning to the U.S. in 1920, Shutze worked in New York for Mott Schmidt, who designed townhouses for such families as the Astors, Morgans, and Vanderbilts, and he also worked for F. Burrall Hoffman, whose masterpiece is Villa Vizcaya in Miami. Within a few years, though, he returned to Georgia where he remained as the epitome of the "gentleman architect," designing some of the most beautiful buildings ever to grace the American landscape.
