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Hoping to find solace from the demons that haunt her, Vail makes her first trip to the Napa Valley. But shortly after arriving, a victim is found in the deepest reaches of an exclusive wine cave, the work of an extraordinarily unpredi! ctable serial killer. From the outset, Vail is frustrated by her inability to profile the offenderâ"until she realizes why: the Behavioral Analysis Unit has not previously encountered a killer like him.
As Vail and the task force work around the clock to identify and locate him, theyâre caught in a web knotted with secretive organizations, a decades-long feud between prominent wine families, and widespread corruption that leads Vail to wonder whom, if anyone, she can trust. Meanwhile, as the victim count rises, Vail can't shake the gnawing sense that something isn't right.
With the killerâs actions threatening the Napa Valleyâs multi-billion dollar industry, the stakes have never been greater, and the race to find the killer never more urgent.
And through it all, a surprise lurksâ¦one that Karen Vail never sees coming.
Meticulously researched during years of work with the FBI profiling unit and extensive interviews with wine industry professionals, bestselli! ng author Alan Jacobson delivers a high-velocity thriller feat! uring th e kind of edge-of-your-seat ending that inspired Nelson DeMille to call him "a hell of a writer."
As Good Eats enjoys its 14th season on the Food Network, its popularity continues unabated. Fans canât get enough of Alton Brownâs wildly inventive, science-geeky, food-loving spirit. Itâs no wonder, then, that the first two volumes in STCâs Good Eats series were New York Times bestsellers.
Like Volumes 1 and 2, Good Eats 3: The Later Years packs a bounty of information and entertainment between its covers. More than 200 recipes are accompanied by hundreds of photographs, drawings, and stills from the show, as well as lots of science-of-food facts, cooking tips, food trivia, behind-the-scenes glimpsesâ"and bonus sock puppet instructions! In chapters devoted! to everything from pomegranates to pretzels, mincemeat to molasses, Alton delivers delicious recipes along with fascinating background in a book thatâs as fun to read as it is to cook from. Good Eats 3 will be a must-have addition to the bookshelves and kitchen counters of Alton lovers everywhere.
Praise for Good Eats 3: The Later Years:
âA victory lapâÂ
â"Chicago Tribune
âThe hefty book is filled with health information and tips on how to become a better home cook, all told in the breezy style that made Alton Brownâs show so accessible and fun. Plus there is a pattern and stickers for making sock puppets. She was wonderful, but Julia Child never taught you how to make a sock puppet, did she?â
 â"Oregonian
âAltonâs cookbooks are non-traditional to say the least. In addition to great recipes, theyâre loaded with humor, science, and! great tips on selecting ingredients.â
â"Northeast Fl! avor magazine
âMuch like Good Eats the show, the book can carry many labelsâ"or, more to the point, defy labels altogether.â
â"The Record
âHis best yet.â â"LAWeekly.com
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Poetic Justice
Director John Singleton (Boyz N the Hood, Rosewood) made an earnest effort in this, his second, film to say a great deal that is true and relevant about living and loving in a violent, difficult time in American history. Janet Jackson plays a beautician and poet who withdraws into herself after her boyfriend is murdered by gangsters. The late Tupac Shakur plays a postman who tries to get through to her, and the two travel on a course ! through urban America, connecting with family and community. Singleton has so much on his mind that the film comes out a terrible muddle, but there is a certain integrity peeking through the fog. Shakur makes a startlingly good impression in his film debut, and Jackson strips away her star veneer to play something like a real person--and entirely succeeds. Maya Angelou wrote the poems that pass as those penned by Jackson's character, and she also appears in the film. --Tom Keogh
Higher Learning
This ambitious 1995 film by John Singleton (Boyz N the Hood) doesn't quite succeed at painting the illuminating, collective portrait of college life in the '90s that the director seeks. But Singleton does do a fine job of defining some conflicting impulses for young people on the cusp of adulthood, particularly the desire to broaden horizons on the one hand and circle the wagons with like-minded allies on the other. Students in the film's Columbus ! University divide themselves along lines of race, sexual prefe! rences, ideology, and, most dangerously, levels of paranoia. Among the fine cast is Michael Rapaport, who portrays a loner drawn to a local community of neo-Nazis. His resultant problems with the school's African-Americans takes over the story at the expense of other, parallel dramas, but Singleton's insights into race hatred on campus--a microcosm of the surrounding culture--is not to be dismissed. --Tom KeoghThis ambitious 1995 film by John Singleton (Boyz N the Hood) doesn't quite succeed at painting the illuminating, collective portrait of college life in the '90s that the director seeks. But Singleton does do a fine job of defining some conflicting impulses for young people on the cusp of adulthood, particularly the desire to broaden horizons on the one hand and circle the wagons with like-minded allies on the other. Students in the film's Columbus University divide themselves along lines of race, sexual preferences, ideology, and, most dangerously, levels of para! noia. Among the fine cast is Michael Rapaport, who portrays a loner drawn to a local community of neo-Nazis. His resultant problems with the school's African-Americans takes over the story at the expense of other, parallel dramas, but Singleton's insights into race hatred on campus--a microcosm of the surrounding culture--is not to be dismissed. --Tom KeoghContemporary music-filled comedy about life at a black college during one eventful homecoming weekend.
Genre: Feature Film-Comedy
Rating: R
Release Date: 1-JUN-2004
Media Type: DVDSpike Lee's follow-up to his unlikely hit She's Gotta Have It was this ambitious--some would say too ambitious--attempt at a musical about college life. But Lee, ever the provocateur, doesn't settle for a simple college comedy. Rather, he wants to make a point about the social divisions within all-black colleges: between the socializers and the socially conscious, and between light and dark-s! kinned blacks. Laurence Fishburne plays a politically aware st! udent tr ying to bring his fellow students together; Giancarlo Esposito plays the fraternity boss who constantly seeks to insert a wedge between the haves and have-nots. Lee himself plays a pawn in the middle, a would-be frat boy undergoing a wicked Hell Week as a pledge. The story doesn't pull together and the musical numbers--more spoof than anything else--only serve to fragment it. While it offers interesting points, it never does so in a particularly cohesive way. --Marshall Fine