Case Kenny Quotes

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When we got to the marina we saw this beautiful boat named Tara waiting for us. Fredo, Carin, Ryan, Dan, Kenny, Allison, my mom, and me were all together to enjoy that extraordinary day. As the boat pulled away from the city, its skyline vanished into the horizon. The captain took us to this area where we sailed through caves and lush hilly landscapes. All of a sudden, the captain pushed the throttle all the way down and we started bombing across the water like we were in a James Bond movie. Everyone's hair was blowing all over the place, especially the girls'. Of course, mine was perfect (ha,ha), but theirs ended up looking like the worst case of bed head I've seen! It was so funny.
Justin Bieber (Justin Bieber: Just Getting Started)
And now an hour, maybe, has passed. And they are both drunk: Kenny fairly, George very. But George is drunk in a good way, and one that he seldom achieves. He tries to describe to himself what this kind of drunkenness is like. Well - to put it very crudely - it's like Plato; it's a dialogue. A dialogue between two people. Yes, but not a Platonic dialogue in the hair-splitting, word-twisting, one-up-to-me sense; not a mock-humble bitching match; not a debate on some dreary set theme. You can talk about anything and change the subject as often as you like. In fact, what really matters is not what you talk about, but the being together in this particular relationship. George can't imagine having a dialogue of this kind with a woman, because women can only talk in terms of the personal. A man of his own age would do, if there was some sort of polarity: for instance, if he was a Negro. You and your dialogue-partner have to be somehow opposites. Why? Because you have to be symbolic figures - like, in this case, Youth and Age. Why do you have to be symbolic? Because the dialogue is by its nature impersonal. It's a symbolic encounter. It doesn't involve either party personally. That's why, in a dialogue, you can say absolutely anything. Even the closest confidence, the deadliest secret, comes out objectively as a mere metaphor or illustration which could never be used against you.
Christopher Isherwood (A Single Man)
Creep" I said, cutting to the heart of the matter. - Stephanie "Gosh, I wonder who this could be." - Morelli "You lied to me. I knew it too. I knew right from the beginning, you jerk." Silence stretched taut between us, and I realized my accusation covered a lot of territory, so I narrowed the field. "I want to knew about this big secret case you're working on, and I want to know how it ties in to Kenny Mancuso and Moogey Bues." - Stephanie "Oh" Morelli said. "That lie " - Morelli "Well?" - Stephanie "I cant tell you anything about that lie" - Morelli -Two For The Dough
Janet Evanovich
[I]nternalized experiences of selfhood are linked to autobiographical narratives, which are linked to biographies, legal testimonies, and medical case histories, which are linked to forms of therapy and theories of the subject. . .
Anthony Kenny
Think no more about it,” Jim assured them. “We have a charge account at Wimpy’s. Dad set it up for Honey and me in case of an emergency. We can fill up on hamburgers, French fried potatoes, and malts at least. Let’s go.
Kathryn Kenny (The Mysterious Code (Trixie Belden Book 7))
Gentile’s office in downtown Las Vegas, I got on the elevator and turned around and there was a TV camera. It was just the two of us in the little box, me and the man with the big machine on his shoulder. He was filming me as I stood there silent. “Turn the camera off,” I said. He didn’t. I tried to move away from him in the elevator, and somehow in the maneuvering he bumped my chin with the black plastic end of his machine and I snapped. I slugged him, or actually I slugged the camera. He turned it off. The maids case was like a county fair compared with the Silverman disappearance, which had happened in the media capital of the world. It had happened within blocks of the studios of the three major networks and the New York Times. The tabloids reveled in the rich narrative of the case, and Mom and Kenny became notorious throughout the Western Hemisphere. Most crimes are pedestrian and tawdry. Though each perpetrator has his own rap sheet and motivation and banged-up psyche, the crime blotter is very repetitive. A wife beater kills his wife. A crack addict uses a gun to get money for his habit. Liquor-store holdups, domestic abuse, drug dealer shoot-outs, DWIs, and so on. This one had a story line you could reduce to a movie pitch. Mother/Son Grifters Held in Millionaire’s Disappearance! My mother’s over-the-top persona, Kenny’s shady polish, and the ridiculous rumors of mother-son incest gave the media a narrative it couldn’t resist. Mom and Kenny were the smart, interesting, evil criminals with the elaborate, diabolical plan who exist in fiction and rarely in real life. The media landed on my life with elephant feet. I was under siege as soon as I returned to my office after my family’s excursion to Newport Beach. The deluge started at 10 A.M. on July 8, 1998. I kept a list in a drawer of the media outlets that called or dropped by our little one-story L-shaped office building on Decatur. It was a tabloid clusterfuck. Every network, newspaper, local news station, and wire service sent troops. Dateline and 20/20 competed to see who could get a Kimes segment on-air first. Dateline did two shows about Mom and Kenny. I developed a strategy for dealing with reporters. My unusual training in the media arts as the son of Sante, and as a de facto paralegal in the maids case, meant that I had a better idea of how to deal with reporters than my staff did. They might find it exciting that someone wanted to talk to them, and forget to stop at “No comment.” I knew better. So I hid from the camera crews in a back room, so there’d be no pictures, and I handled the calls myself. I told my secretary not to bother asking who was on the line and to transfer all comers back to me. I would get the name and affiliation of the reporter, write down the info on my roster, and
Kent Walker (Son of a Grifter: The Twisted Tale of Sante and Kenny Kimes, the Most Notorious Con Artists in America (True Crime (Avon Books)))
Puri found the walls bare, his secretary having put away all his accolades, including his signed and personalized Kenny G album cover
Tarquin Hall (The Case of the Love Commandos (Vish Puri, #4))
Studies from all over the world offer proof positive: Free money works. Already, research has correlated unconditional cash disbursements with reductions in crime, child mortality, malnutrition, teenage pregnancy, and truancy, and with improved school performance, economic growth, and gender equality.13 “The big reason poor people are poor is because they don’t have enough money,” notes economist Charles Kenny, “and it shouldn’t come as a huge surprise that giving them money is a great way to reduce that problem.”14 In their book Just Give Money to the Poor (2010), scholars at the University of Manchester furnish countless examples of cases where cash handouts with few or no strings attached
Rutger Bregman (Utopia for Realists: How We Can Build the Ideal World)