Curve Ball

I am so very pleasantly surprised with how this book turned out. It could have gone a multitude of ways and so many things could have happened. But how JC Valentine let the story play out was perfect. The switch between two points of views was seamless and so easy to get into.

Billionaire Errol Jameson is bored. Money has been able to buy him everything, and with most of his work outsourced and his life goals met, including easy access to beautiful, willing women, he needs new challenges. He decides to create his own reality show to appease his voyeuristic tendencies. His first unwitting test subjects and show stars: Calla & Jason.

Jean (Fred Testot), cuisinier, trentenaire, habite chez sa mère. Il s'ennuie. Jusqu'au jour où il rencontre l'éventuelle femme de sa vie, Nora (Leïla Bekhti), jetée par-dessus bord, littéralement, par un ex-petit ami. Le grand timide et la belle énervée vont-ils tout plaquer pour rester ensemble ?

She left her family to keep them safe. He betrayed his father to keep him out of jail. And their fate is about to throw in a new curve ball.
Skyler Waters works for one of the most powerful men in Manhattan. She depends on the money to keep her safe and hidden from a vengeful half-brother. Except she's not aware that the money she's making is fraudulent.

Like its seven studio predecessors, the self-produced Eight is a gripping album that can seriously alter anyone's passive attitudes towards music – so much so that the extra effort to obtain it seems ridiculous.
Eight is a bit of a curve ball after Hopeless Causes and 1998's equally strident Strange Brotherhood, with edgy acoustics and slithering harmonica providing a confrontational temperament right from the staccato bang of the last notes of "Flying Through the Smoke." The shuffling "Someone Like Jesus" is so subdued and ominous, you can feel your heart race in worry like an intruder is in the house.

A successful, single businesswoman who dreams of having a baby discovers she is infertile and hires a working class woman to be her unlikely surrogate.

In 1998, after releasing several critically lauded but commercially underperforming CDs, Chicago vocalist Patricia Barber struck a resonating chord with Modern Cool. Barber alternated a throaty vocal delivery and a more refined, stately approach to singing as she traipsed through genres with a strong, unconventional band that played to her strengths.