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Everything has an origin. For a police officer, that starting point is the Police Academy. It is the months of training at the police academy that prepares the new cop mentally and physically to handle the complex, sensitive, and dangerous life on patrol. It is also the first taste of the dark cop sense of humor. Humor is a very important stress relieving tool for a Police Officer. In the prior volumes of the Dark Knights series, the author draws on his career as a Police Officer and Border Patrol Agent to illustrate how funny cops can be, even in situations that may appear to be dark and tragic. In this volume of Dark Knights, the author details his time as a Police Academy instructor and supervisor to demonstrate that the dark cop sense of humor is not reserved for patrol - it begins at the Police Academy. Buy DARK KNIGHTS 4 today and see where the cop sense of humor begins.
In even the toughest of jobs, and in the harshest of environments, what else can we rely upon to get us through the day but our sense of humor? This is the fundamental premise behind Dark Knights 4 The Dark Humor of Police Officers: The Police Academy, a daring, illuminating, and deeply funny and sideways look at law enforcement in the USA, as well as at the eccentric and outrageous characters who work within and outside of the system. You might have thought that the distinctive, instantly recognizable, and world-weary dark humor possessed only by big city cops is the product of many, many years on the force. You might have thought that the jokes they tell, their sideways view of life, and their whole perspective on people, the system they work in, and where the world is heading comes about at some point between the peak of their career and the final stretch before retirement. You'd be wrong: it begins at police academy. Training to be a police officer, especially one preparing to patrol the mean streets of New York City, is one of the most physically and mentally exhausting processes anyone can go through. The shocks and surprises come thick and fast, and not everybody finds their way through to the other side or gets their badge at the end. As such, developing a sense of humor in line with your fellow officers - and a wit as quick as your instructors and superiors - isn't just a good idea to get ahead, it's essential for your survival on the job. From his work as a police academy instructor, patrol cop, and border patrol agent, Robert L. Bryan lifts the lid on the dark humor of the police force. By diving once again into the fray with yet another compendium, explores some of the oddest, funniest, and most memorable stories from his time working on the thin blue line.
"A first-rate thrill ride."—Publishers Weekly, Starred Review HE'S GONE ROGUE Ex-navy SEAL Rock Babineaux is as Cajun as they come—spicy, sexy, and more than a bit wicked. But would he actually betray his country? Even his best friends on the special-ops Black Knights team aren't sure they can trust him. Now the target of a massive manhunt, Rock knows the only way to protect the team—especially his partner, Vanessa—is to run... SHE WON'T BACK DOWN Rock might think he can outmaneuver them all, but he hasn't counted on how stubborn Vanessa Cordero can be. And she refuses to cut him loose. Sure, her partner has his secrets, but there's no one in the world she'd rather have by her side in a tight spot. Which is good because she and Rock are about to get very tight... Praise for Black Knights Inc. Series: "Julie Ann Walker is one of those authors to be put on a keeper shelf along with Nora Roberts, Suzanne Brockmann, and Allison Brennan."—Kirkus
For use in schools and libraries only. After ten years away from the public eye, a wave of violence in Gotham City brings Batman back as a vigilante.
This book examines political humor as a reaction to the lost war, the post-war chaos, and antisemitic violence in Hungary between 1918 and 1922. While there is an increased body of literature on Jewish humor as a form of resistance and a means of resilience during the Holocaust, only a handful of studies have addressed Jewish humor as a reaction to physical attacks and increased discrimination in Europe during and after the First World War. The majority of studies have approached the issue of Jewish humor from an anthropological, cultural, or linguistic perspective; they have been interested in the humor of lower- or lower-middle-class Jews in the East European shtetles before 1914. On the other hand, this study follows a historical and political approach to the same topic and focuses on the reaction of urban, middle-class, and culturally assimilated Jews to recent events: to the disintegration of the Dual Monarchy, the collapse of law and order, increased violence, the reversal of Jewish emancipation and the rise of new and more pernicious antisemitic prejudices. The study sees humor not only as a form of entertainment and jokes as literature and a product of popular culture, but also as a heuristic device to understand the world and make sense of recent changes, as well as a means to defend one’s social position, individual and group identity, strike back at the enemy, and last but not least, to gain the support and change the hearts and minds of non-Jews and neutral bystanders. Unlike previous scholarly works on Jewish resistance during the Holocaust, this study sees Budapest Jewish humor after WWI as a joint adventure: as a product of urban and Hungarian culture, in which Jewish not only played an important role but also cofounded. Finally, the book addressed the issue of continuity in Hungarian history, the "twisted road to Auschwitz": whether urban Jewish humor, as a form of escapism, helped to desensitize the future victims of the Holocaust to the approaching danger, or it continued to play the same defensive and positive role in the interwar period, as it had done in the immediate aftermath of the Great War.
Death of the Family part 5, the shocking conclusion to the Bat-Family epic. Who lives? Who dies? Who laughs last? Find out as Batman and The Joker face off one last time!
An illustrated YA novel about first love amid racial tensions in an urban Connecticut town, from the author of Happyface.
Publishing alongside the world premiere of Christopher Nolan's third Batman film "The Dark Knight Rises", Will Brooker's new book explores Batman's twenty-first century incarnations. Brooker's close analysis of "Batman Begins" and "The Dark Knight" offers a rigorous, accessible account of the complex relationship between popular films, audiences, and producers in our age of media convergence. By exploring themes of authorship, adaptation and intertextuality, he addresses a myriad of questions raised by these films: did "Batman Begins" end when "The Dark Knight began? Does its story include the Gotham Knight DVD, or the 'Why So Serious' viral marketing campaign? Is it separate from the parallel narratives of the Arkham Asylum videogame, the monthly comic books, the animated series and the graphic novels? Can the brightly campy incarnations of the Batman ever be fully repressed by "The Dark Knight", or are they an intrinsic part of the character? Do all of these various manifestations feed into a single Batman metanarrative? This will be a vital text for film students and academics, as well as legions of Batman fans.
Fans and scholars have long regarded the 1980s as a significant turning point in the history of comics in the United States, but most critical discussions of the period still focus on books from prominent creators such as Frank Miller, Alan Moore, and Art Spiegelman, eclipsing the work of others who also played a key role in shaping comics as we know them today. The Other 1980s offers a more complicated and multivalent picture of this robust era of ambitious comics publishing. The twenty essays in The Other 1980s illuminate many works hailed as innovative in their day that have nonetheless fallen from critical view, partly because they challenge the contours of conventional comics studies scholarship: open-ended serials that eschew the graphic-novel format beloved by literature departments; sprawling superhero narratives with no connection to corporate universes; offbeat and abandoned experiments by major publishers, including Marvel and DC; idiosyncratic and experimental independent comics; unusual genre exercises filtered through deeply personal sensibilities; and oft-neglected offshoots of the classic “underground” comics movement of the 1960s and 1970s. The collection also offers original examinations of the ways in which the fans and critics of the day engaged with creators and publishers, establishing the groundwork for much of the contemporary critical and academic discourse on comics. By uncovering creators and works long ignored by scholars, The Other 1980s revises standard histories of this major period and offers a more nuanced understanding of the context from which the iconic comics of the 1980s emerged.
From King Kong to Candyman, the boundary-pushing genre of the horror film has always been a site for provocative explorations of race in American popular culture. In Horror Noire: Blacks in American Horror Films from 1890's to Present, Robin R. Means Coleman traces the history of notable characterizations of blackness in horror cinema, and examines key levels of black participation on screen and behind the camera. She argues that horror offers a representational space for black people to challenge the more negative, or racist, images seen in other media outlets, and to portray greater diversity within the concept of blackness itself. Horror Noire presents a unique social history of blacks in America through changing images in horror films. Throughout the text, the reader is encouraged to unpack the genre’s racialized imagery, as well as the narratives that make up popular culture’s commentary on race. Offering a comprehensive chronological survey of the genre, this book addresses a full range of black horror films, including mainstream Hollywood fare, as well as art-house films, Blaxploitation films, direct-to-DVD films, and the emerging U.S./hip-hop culture-inspired Nigerian "Nollywood" Black horror films. Horror Noire is, thus, essential reading for anyone seeking to understand how fears and anxieties about race and race relations are made manifest, and often challenged, on the silver screen.