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A few days before Christmas in 1969, handsome Tony Bettellini, an Irish-Italian ex-waiter, gets sentenced to life imprisonment for a murder he didn’t commit, narrowly beating the death penalty. He has a baptism of fire when he arrives in Sing Sing Prison in up-state New York and finds himself called to reckoning to the office of Warden Wallace, known as ‘The Ambassador’, who runs his prison with an iron fist. Wallace soon becomes a dangerous enemy, as does, over the years, Gus Jablonsky, the psychopathic convict chef, who runs the prison kitchen, where Tony is given a job. Tony becomes a leader in the prison, fighting for the rights of the subjugated cons, who are at the mercy of Wallace’s goon squad in his corrupt and cruel domain. Will justice finally prevail, and Tony get see free, or is he doomed to become a vegetable on the Hospital Third Floor, or end up in an unmarked grave in Sing Sing’s convict graveyard? Beautiful Veronica Idlewilde, Tony’s famous model socialite girlfriend, heiress to a vast fortune, sticks by him loyally throughout the years of his unjust incarceration, but he still dreams of Shenandoah Buchanan, the girl from Virginia, he fell madly in love with years before. After meeting again at Tony’s trial, Shenandoah and Sonny Gracia, Tony’s best friend, become close friends. Sonny is deeply in love with her, but she still hankers after Tony, her lost love, who sends her away from Sing Sing when she visits him and tells her to never come back. Many turbulent years pass before Shenandoah realizes she loves Sonny, too. But nothing is as simple as it seems, and the lives of these four people are fatefully intertwined. Set in New York, Virginia, and Sing Sing, this magnificent story, about the triumph of the human spirit over great adversity, love, hate, revenge and salvation, will make you laugh, weep for joy and weep with sorrow. Another unforgettable epic story by Brenda George that begs to be put on the big screen!
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In its seven years on television, Buffy the Vampire Slayer has earned critical acclaim and a massive cult following among teen viewers. One of the most distinguishing features of the program is the innovative way the show's writers play with language: fabricating new words, morphing existing ones, and throwing usage on its head. The result has been a strikingly resonant lexicon that reflects the power of both youth culture and television in the evolution of American slang. Using the show to illustrate how new slang is formed, transformed, and transmitted, Slayer Slang is one of those rare books that combines a serious explanation of a pop culture phenomena with an engrossing read for fans of the show, word geeks, and language professionals. Michael Adams begins his book with a synopsis of the program's history and a defense of ephemeral language. He then moves to the main body of the work: a detailed glossary of slayer slang, annotated with actual dialogue and recorded the style accepted by the American Dialect Society. The book concludes with a bibliography and a lengthy index, a guide to sources (novels based on the show, magazine articles about the show, and language culled from the official posting board) and an appendix of slang-making suffixes. Introduced by Jane Espenson, one of the show's most inventive writers (and herself a linguist), Slayer Slang offers a quintessential example of contemporary youth culture serving as a vehicle for slang. In the tradition of The Physics of Star Trek, Slayer Slang is one of those rare books that offers a serious examination a TV cult phenomenon appealing to fans and thinkers alike. A few examples from the Slayer Slang glossary: bitca n [AHD4 bitch n in sense 2.a + a] Bitch 1997 Sep 15 Whedon When She Was Bad "[Willow:] 'I mean, why else would she be acting like such a b-i-t-c-h?' [Giles:] 'Willow, I think we're all a little old to be spelling things out.' [Xander:] 'A bitca?'" break and enterish adj [AHD4 sv breaking and entering n + -ish suff in sense 2.a] Suitable for crime 1999 Mar 16 Petrie Enemies "I'll go home and stock up on weapons, slip into something a little more break and enterish." [B] carbon-dated adj [fr. AHD4 carbondating + -ed] Very out of date 1997 Mar 10 Whedon Welcome to the Hellmouth "[Buffy:] 'Deal with that outfit for a moment.' [Giles:] 'It's dated?' [Buffy:] 'It's carbon-dated.'" cuddle-monkey n [AHD4 cuddle v + monkey n in sense 2, by analogy fr. RHHDAS (also DAS3 and NTC) sv cuddle bunny 'an affectionate, passionate, or sexually attractive young woman'] Male lover 1998 Feb 10 Noxon Bewitched, Bothered, and Bewildered "Every woman in Sunnydale wants to make me her cuddle-monkey." [X]
Born in Liverpool in 1945, Roy Starkey grew up fascinated with the natural world. As a schoolboy he joined the local botanical society and made a number of trips to isolated bird observatories around the British coast. At the age of twenty-five he became disillusioned by the politics of university research and decided to leave and do his own thing. With very little money, no boatbuilding skills and no experience of the sea he built Sea Loone, a thirty-three foot sloop, and sailed away. The boat and crew were soon tested on the ocean, first losing the mast over the side and then sailing into one of the worst gales ever - the 1979 'Fastnet Gale' - which claimed eighteen lives on the 306 yachts participating in that year's biannual 'Fastnet Race'. Over the next nearly forty years Sea Loone sailed throughout the tropics finally completing three very convoluted circumnavigations of the world. Having experienced hardships, tragedies and many happy adventures, Roy at last decided to put pen to paper and record his remarkable story.
What happens when Theodor Adorno, the champion of high, classical artists such as Beethoven, comes into contact with the music of Chuck Berry, the de facto king of rock 'n' roll? In a series of readings and meditations, Robert Miklitsch investigates the postmodern nexus between elite and popular culture as it occurs in the audiovisual fields of film, music, and television—ranging from Gershwin to gangsta rap, Tarantino to Tongues Untied, Tony Soprano to Buffy the Vampire Slayer, Miklitsch argues that the aim of critical theory in the new century will be to describe and explain these commodities in ever greater phenomenological detail without losing touch with those evaluative criteria that have historically sustained both Kulturkritik and classical aesthetics.