Both a love story and a tribute to the entertainment mecca, this exploration shines a spotlight on one of the hottest acts in Las Vegas in the late 1950s and early 1960s. The illuminating depiction showcases the unlikely duo--a grizzled, veteran trumpeter and vocalist molded by Louis Armstrong and a meek singer in the church choir--who went on to invent "The Wildest." Bringing together broad comedy and finger-snapping, foot-stomping music that included early forays into rock and roll, Prima and Smith's act became wildly popular and attracted all kinds of star-studded attention. In addition to chronicling their relationships with Ed Sullivan, Frank Sinatra, Robert Mitchum, and other well-known entertainers of the day--and their performance of "That Old Black Magic" at President John F. Kennedy's inauguration--the narrative also examines the couple's ongoing influence in the entertainment world. Running concurrent with their personal tale is their role in transforming Las Vegas from a small resort town in the desert to a booming city where the biggest stars were paid tons of money to become even bigger stars on stage and television.

"Aspiring actress and wedding cake decorator Piper Donovan has barely arrived in New Orleans to perfect her pastry skills at the renowned French Quarter bakery, Boulangerie Bertrand, when a ghastly murder rocks the magical city. Intrigued by the case, Piper cant help but look for the Hoodoo Killer among the faces around her. Could it be the handsome guide eager to give her special private tours? Or the inscrutable jazz musician who plays on historic Royal Street? What about the ratings starved radio talk show host? Or even the amiable owner of the local Gris Gris Bar? Though Piper has a full plate decorating cakes for upcoming wedding celebrations, shes also landed an exciting but unnerving role in a movie being shot in the Big Easy. When the murderer strikes again, leaving macabre clues, she thinks she can unmask the killer. But Piper will have to conjure up some old black magic of her own if she hopes to live long enough to reveal the truth."--Book jacket.

April 1943: four boys playing in Hagley Woods, Worcestershire make a gruesome discovery. Inside an enormous elm tree, there is the body of a woman, her mouth stuffed with a length of cloth. As the case goes cold, mysterious graffiti starts going up across the Midlands: 'Who put Bella in the Wych Elm?' To Ross Spooner, a police officer working undercover for spiritualist magazine Two Worlds, the messages hold a sinister meaning. He's been on the track of a German spy ring who have left a trail of black magic and mayhem across England, and this latest murder bears all the hallmarks of an ancient ritual. At the same time, Spooner is investigating the case of Helen Duncan, a medium whose messages from the spirit world contain highly classified information. As the establishment joins ranks against Duncan, Spooner must face demons from his own past, uncover the spies hiding beneath the fabric of wartime society - and confront those who suspect that he, too, may not be all he seems ...

In this articulate and insightful book, D. Michael Quinn reconstructs the world view of an earlier age in America, finding ample evidence for treasure seeking and folk magic in Joseph Smith's formative years. Folk magic was not unusual for the times and is important in understanding how Mormons may have interpreted developments. Quinn's impressive research provides a much-needed background for the environment that produced Mormonism's founding prophet.

Daphanie Carter is thrilled that her sister Danice finally found her Prince Charming—even though he's not quite, well, human. Daphanie is trying to keep an open mind. Which is why she jumps at the chance to enter the hidden world of The Others when a friendly imp invites her to a non-human nightclub. Daphanie's curious to see how the Other half lives—and parties—but soon, one handsome stranger has her bewitched, bothered, and beside herself... Enter Asher Grayson. As a Guardian, it's his job to protect humans who get mixed up in the affairs of Others. When he spots Daphanie in a club, going head to head with a notorious witch doctor, he steps in to cool things off. Now the heat is on. Daphanie becomes the target of strange magical attacks, and Asher's got to undo the voodoo before it's too, too late. But soon he starts to wonder if this beautiful, beguiling mortal has put a spell on him—because every little thing she does is magic...

The Book of Ceremonial Magic - Arthur Edward Waite - The Book of Ceremonial Magic by Arthur Edward Waite was originally called The Book of Black Magic and of Pacts. It was first published in a limited run in 1898, and distributed more widely under the title The Book of Ceremonial Magic in 1910Writing in the late 19th century, Waite had studiously researched many obscure tenets of magic. Much of this book concerns the obscure occult tomes, which the author condenses and presents to readers in this single volume. Waite's studies uncover a variety of knowledge; there are thousands of spells and rituals that date back to Medieval times and have a theological basis. Many exist to ward off devils, witches or other evil phenomena, while others seek to conjure beneficent spirits. Another intriguing aspect of ceremonial magic is the ability to form pacts with supernatural beings. These rituals in themselves act to compel supernatural entities to assist a human being; none of them involve offering one's soul. However, many require one or more materials and ingredients to begin - grave dust or a certain plant for instance. Waite disapproves of those who reprint and sell the older magical grimoires for two principle reasons. Firstly the quality of the English translations is low, often proscribing completely different instructions and requisites for a given ritual than was given in the original source text. Secondly these books make no distinction between 'white' or 'black' magic; such lack of organization makes it difficult for the modern reader to distinguish the practices. Over 150 symbols, seals, insignia, charts and other illustrations populate this text, each offering insight into how the magician correctly undertakes his tasks. Waite includes many scripts that the performer of magic must read out loud as he attempts to conjure, summon or communicate with forces from other planes of existence.

Black Magic looks at the origins, meaning, and uses of Conjure—the African American tradition of healing and harming that evolved from African, European, and American elements—from the slavery period to well into the twentieth century. Illuminating a world that is dimly understood by both scholars and the general public, Yvonne P. Chireau describes Conjure and other related traditions, such as Hoodoo and Rootworking, in a beautifully written, richly detailed history that presents the voices and experiences of African Americans and shows how magic has informed their culture. Focusing on the relationship between Conjure and Christianity, Chireau shows how these seemingly contradictory traditions have worked together in a complex and complementary fashion to provide spiritual empowerment for African Americans, both slave and free, living in white America. As she explores the role of Conjure for African Americans and looks at the transformations of Conjure over time, Chireau also rewrites the dichotomy between magic and religion. With its groundbreaking analysis of an often misunderstood tradition, this book adds an important perspective to our understanding of the myriad dimensions of human spirituality.

John Herndon “Johnny” Mercer (1909–76) remained in the forefront of American popular music from the 1930s through the 1960s, writing over a thousand songs, collaborating with all the great popular composers and jazz musicians of his day, working in Hollywood and on Broadway, and as cofounder of Capitol Records, helping to promote the careers of Nat “King” Cole, Margaret Whiting, Peggy Lee, and many other singers. Mercer’s songs—sung by Bing Crosby, Billie Holiday, Judy Garland, Frank Sinatra, Ella Fitzgerald, Tony Bennett, Lena Horne, and scores of other performers—are canonical parts of the great American songbook. Four of his songs received Academy Awards: “Moon River,” “Days of Wine and Roses,” “On the Atchison, Topeka, and the Santa Fe,” and “In the Cool, Cool, Cool of the Evening.” Mercer standards such as “Hooray for Hollywood” and “You Must Have Been a Beautiful Baby” remain in the popular imagination. Exhaustively researched, Glenn T. Eskew’s biography improves upon earlier popular treatments of the Savannah, Georgia–born songwriter to produce a sophisticated, insightful, evenhanded examination of one of America’s most popular and successful chart-toppers. Johnny Mercer: Southern Songwriter for the World provides a compelling chronological narrative that places Mercer within a larger framework of diaspora entertainers who spread a southern multiracial culture across the nation and around the world. Eskew contends that Mercer and much of his music remained rooted in his native South, being deeply influenced by the folk music of coastal Georgia and the blues and jazz recordings made by black and white musicians. At Capitol Records, Mercer helped redirect American popular music by commodifying these formerly distinctive regional sounds into popular music. When rock ’n’ roll diminished opportunities at home, Mercer looked abroad, collaborating with international composers to create transnational songs. At heart, Eskew says, Mercer was a jazz musician rather than a Tin Pan Alley lyricist, and the interpenetration of jazz and popular song that he created expressed elements of his southern heritage that made his work distinctive and consistently kept his music before an approving audience.

A rare look into the history, theory, and craft of the black mages and sorcerers of Russia • Examines practical rituals and spells, the demonic pantheon, places of power, offerings and sacrifices, Hell Icons, and instructions for cemetery magic • Provides insight into the fundamental ideology of black magic practitioners, from the universal laws of magic to the principles of morality • Details how the Russian practice of black magic preserved ancient pagan traditions and evolved as the antithesis of Christianity Born in the Soviet Union and descended from a matrilineal line of witches, Natasha Helvin offers a rare look into the secret practices of Russian black magic, passed down from teacher to disciple for generations both orally and through their grimoires bound in black. Drawing from her own experience, Helvin provides insight into the fundamental ideology of black magic practitioners, from the universal laws of magic to the principles of morality. She explains a mage’s view on fate and predestination, how the world was created, and their relationship with the demons that grant them their power. She examines the demonic pantheon as well as how a black sorcerer is able to influence the forces in the universe and pass on his or her powers and knowledge to further generations. Exploring the history of occult practices in Russia, including how Christianity had a profound effect upon magic and witchcraft, Helvin shows how attempts to forcibly convert the Russian population to the Christian faith were widely resisted, and instead of these ancient pagan practices disappearing, they blended with Christian belief. Authorities repainted old pagan gods as demons in order to eradicate ancient traditions. Black magic became labelled as defiantly anti-Christian simply for preserving the old ways, and as a result, some branches of black magic evolved as a reaction against enforced Christianity and practitioners proudly accepted the label of “blasphemer” or “heretic.” Through this book, readers can explore the Left-Hand path of Russian magic and its spells and rituals. The author explains about cemetery magic, sacrifices, the creation of Hell Icons, and places of power, such as crossroads, swamps, and abandoned villages, as well as the best times to practice black magic, how to choose the best grave for your spell, and how to summon demons. Providing many concrete examples of spells, Helvin demonstrates the broad range of what can be accomplished by those who practice the black arts, if they commit themselves to the craft.

Sam S. Shubert Theatre, David Merrick, in association with Bernard Delfont presents Anthony Newley in "Stop the World, I Want to Get Off," with Anna Quayle, Jennifer Baker, Susan Baker, a new-style musical, book, music and lyrics by Leslie Bricusse and Anthony Newley, setting and lighting by Sean Kenny, musical supervision by Ian Fraser, musical director Milton Rosenstock, orchestrations by Ian Fraser with David Lindup, Burt Rhodes, Gordon Langford, John Broome's choreography restaged by Virginia Mason, directed by Anthony Newley.