Sonny Jim McConaughy is no stranger to trouble. He blackmails his lawyer, scams the insurance company, drinks, takes drugs and sleeps around. However, Sonny Jim has stumbled into more trouble than even he can handle, waking up to find himself accused of attempted murder with no memory of the previous drunken night. So his girlfriend Rhonda, determined to stop him destroying them both, pits herself against him in a desperate battle of attrition. A book to make you laugh and cringe throughout, filled with grit, realism, dark humour and a hilarious cast of misfits.

The transmission of information transcends time. Since the beginning of humanity, people have shared stories, dreams, wishes, and findings. Within a scientific context, the delivery of information is especially important. Researchers have been sharing their ideas and building on the work of others for as long as we have studied our world. How can a researcher ensure their ideas will be shared most effectively with the next generation, though? In How Scientists Communicate, Alan Kelly accompanies readers through the many processes of scholarly communication within the field of science. The chapters include an analysis of modern scientific communication, an overview of the historical development of such communication, the nature and goals of a scientific research paper, as well as practical and applicable information for researchers. He explores scientific communication from various perspectives, including the writing process, stages of writing, evaluation through peer review, publication, and what happens afterwards. This exploration into scientific writing emphasizes the importance of readability and writing for the intended audience. Kelly engages with landmark historical papers, but he doesn't shy away from his own experiences and opinions. This treatise on the art of scientific communication is interesting for readers with various levels of experience, making this book a go-to resource for anyone trying to share their ideas within the scientific community, or interested in how the outputs of science impact our world.

The fourth volume in the Greenwood series providing a near-definitive survey on the output of sound recordings made in Europe by The Gramophone Company (1900-1929), this work covers the Dutch area and includes a good deal of Belgian material as well. Included in the contents are examples of the work from serious artists in classical music together with popular and comic songs and social comment dealing with an era that has nearly passed out of the range of living memory. Of interest to record collectors, music archivists, reference librarians, and music and social historians.

The Gramophone Company was the major producer of sound recordings from 1900 to 1929, besides having a virtual monopoly of the major talents. It was organized into ten geographical/ethnic divisions. Four of these areas have had discographies published on them; Kelly's previous Greenwood volumes cover Italy, France, and Germany. The fourth, on Scandinavia, was published by another company.

This is a companion volume to the Italian catalogue, La Voce del Padrone, already published by Greenwood Press. This new volume provides a complete catalogue of French gramophone recordings made by the Gramophone Company Ltd. between 1898 and 1929. During this period the Compagnie Francaise du Gramophone was the continental European, African, and Asian end of a powerful partnership between the Victor Talking Machine Company and the Gramophone Company Ltd. The volume includes details of Victor recordings issued outside the Americas and hence is a useful adjunct to the series "The Encyclopedic Discography of Victor Recordings," also published by Greenwood Press. The first three sections conform to the previously established pattern of listing Gramophone black and celebrity labels followed by the Zonophone green labels and the Gramophone green labels. In 1920, it was decided to issue records specifically for the Belgian/Flemish market; these are detailed in the fourth section. The contents of each section are listed in numerical order following the pattern of the early printed catalogues, that is, bands followed by orchestras followed by talking, etc. A list of the series actually used precedes each section and acts as a table of contents for the section. Each catalogue entry comprises as much as possible of the following information: the original numerical catalogue number; the matrix (serial) number; the date of the recording; the name of the artist(s) involved; the title of the piece; alternative issue numbers; and occasional notes. The introduction provides an overview of the company's recording practices and cataloging systems. This volume provides much-needed guidance for the seriouscollector and will be a valuable resource for the music historian.

This discography provides, for perhaps the first time, a complete numerical catalogue of Italian gramophone recordings made by the Gramophone Company Ltd. Kelly has effectively used the archives and registers of EMI Limited (The Gramophone Company) to offer a richly detailed picture of recording activity during the years 1898 to 1929. The Gramophone Company was established in London in 1898 and by 1899 six branches had been set up in Europe, among them Milan, Italy. In each branch, matrixes were numbered serially and coded to indicate recorder, making it possible to identify not only the first Gramophone record to be made in Italy--Bice Adami singing Voi lo sapete with piano accompaniment--but to follow the course of the company's activities. The main catalogue is divided into three sections: recordings issued on the Gramophone label; recordings issued on the Zonophone label, including the Trento-Trieste Supplement; and recordings issued on the Gramophone Green label. Most entries include the following information: the original catalogue number; the matrix (serial) number of the recording in its correct form; the date of recording; the name of the artist(s) involved in making the recording, including the accompaniast where known; the title of the piece; and alternate issue numbers. Kelly's introduction gives an overview of the company's history and cataloging practices. Kelly not only examines the history of the Italian Gramophone Company, but added to the discographical record of the Victor Talking Machine Company, of which Gramophone was the European, Asian, and African partner. His discography will be welcomed by anyone interested in the international history of recorded music.Record collectors will also find it a valuable resource.