From a classically trained piano-playing gangster named Buddha, to the next-door neighbor, a foster mother turned basehead named Crazy Betty, to Uncle Mike, a freeloading relative who has a knack for showing up when times are good and a knack for leaving just before they turn bad -- these characters and more take you on a journey like never before.
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With growing conflicts in the streets, and at home with his mother, Bing, and his mother's new live-in boyfriend Harvey, Ulysses is forced to make decisions that will forever alter his life. It's clear that his only chance of survival is through close friends, family, and the music he loves.
Love Don't Live Here No More : Book One of Doggy Tales
Love Don't Live Here No More is the first in a drama-filled series of novels called Doggy Tales that takes readers from the unforgiving streets of Long Beach to the bright lights of show business. The novel also comes with an original single that provides the backdrop to this compelling tale.
For those even broadly familiar with the details of rapper, actor and now author Dogg's troubled past, this book will read as a thinly-veiled memoir. Dogg's teen protagonist, Ulysses Jeffries, lives in the drug-infested Los Angeles neighborhood of Long Beach in the early s, along with his younger brother Bing and their no-nonsense but loving single mother. When she gets religion, the two turn for attention to a local thug named Buddha, who takes Ulysses in as a kind of protege. While a horse figures in some allusions by later writers, the ox is the preferred beast in Renaissance emblem books.
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Later on the dog's behaviour is reinterpreted as malicious, a reading made clear in Roger L'Estrange 's pithy version: "A churlish envious Cur was gotten into a manger, and there lay growling and snarling to keep the Provender. The Dog eat none himself, and yet rather ventur'd the starving his own Carcase than he would suffer any Thing to be the better for't. Envy pretends to no other Happiness than what it derives from the Misery of other People, and will rather eat nothing itself than not to starve those that would. However, a recent study has noted that it seems to be falling out of use, in America at least, concluding that "the majority of [respondents] do not know it or even recall ever having heard it".
One of Lucian's allusions to the fable gives it a metaphorically sexual slant: "You used to say that they acted absurdly in that they loved you to excess, yet did not dare to enjoy you when they might, and instead of giving free rein to their passion when it lay in their power to do so, they kept watch and ward, looking fixedly at the seal and the bolt; for they thought it enjoyment enough, not that they were able to enjoy you themselves, but that they were shutting out everyone else from a share in the enjoyment, like the dog in the manger that neither ate the barley herself nor permitted the hungry horse to eat it.
In the Francis Barlow edition of the fables, Aphra Behn similarly sums up the sexual politics of the idiom: "Thus aged lovers with young beautys live, Keepe off the joys they want the power to give.
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In this case, De Vega's title alludes to the parallel European idiom involving a variant story in which a gardener sets his dog to guard his cabbages or lettuces. After the gardener's death the dog continues to forbid people access to the beds, giving rise to the simile "He's like the gardener's dog that eats no cabbage and won't let others either" or, for short, "playing the gardener's dog" faire le chien du jardinier.
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Popular artistic allusions to the fable, or the idiom arising from it, were especially common during the 19th century. Where Lope de Vega had adapted the theme to a problem play in the 17th century, the Belgian composer Albert Grisar used it as the basis for his one-act comic opera of , Le chien du jardinier. Hoyt , where a horse rather than the more common ox figured on the poster see left.
The title has also been used in various media since then, but without reference to the fable in publicity or on covers. Several well-known artists had illustrated fable collections and their designs were recycled for various purposes. Among these may be mentioned Wenceslaus Hollar 's print for the Ogilby edition of Aesop's fables, in which a dog occupies the manger and barks at a single ox being driven into a wooden barn. Such illustrations were influential too on those who created designs for crockery.
That on a Spode serving dish from is also related to the Barlow design, although the action takes place outside the barn. In Britain artistic preference was for the anecdotal and the sentimental among 19th century genre artists, who found the fable ideal for their purposes.
Love Don't Live Here No More (Doggy Tales, book 1) by Snoop Dogg and David E Talbert
The most successful, and typical of many others, was Walter Hunt — , whose "Dog in the Manger" was bought by the Chantrey Bequest and is now in Tate Britain. At least two versions exist of the work. In one two calves peer at a Jack Russell puppy that sits looking back in the hay that they want to eat. The idiom was also put to figurative use during the 19th century.
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In much the same anecdotal tradition, the print-maker Thomas Lord Busby active —37 used the title to show a dyspeptic man eyeing askance a huge dinner, while hungry beggars and an importunate dog look on, in a work from Later on Charles H. Bennett revisited the scene in his The Fables of Aesop and Others Translated into Human Nature , where a dog dressed as a footman and carrying food to his master bares his teeth at the poor ox begging at the door.
Such work, bordering on the cartoon, provided a profitable avenue for social commentary. An American example appeared in the illustration to a children's book of , where a dog dressed as a ruffian stands on the straw, cudgel in hand, warning off a cow and her calf see above.
It ushers in use of the theme in illustrated papers a little later.
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