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William J. Burns (1880-1930) was the immediate succor of J. Edgar Hoover at the Federal Bureau of Investigation. He had taken the director's job when Warren Harding was elected and appointed Burns' friend, Harry Daugherty, as Attorney General. Both Daugherty and Burns misused their offices and were forced to resign.
"The heart of David Weinstein's book examines DuMont's programs and personalities, including Dennis James, Captain Video, Morey Amsterdam, Jackie Gleason and The Honeymooners, Ernie Kovacs, and Rocky King, Detective. Weinstein uses rare kinescopes, archival photographs, exclusive interviews, trade journal articles, and corporate documents to tell the story of a "forgotten network" that helped invent the very business of network television."--Jacket.
An Inside View into the Dark Side of a Music Icon He was the King of Pop, a superstar without equal, the idol of millions of young people around the world. But was Michael Jackson also a sexual predator without equal, someone who preyed on the very fans who adored him? Bad is the revelatory untold true story of the strange and larger-than-life career of Michael Jackson, the King of Pop. In the wake of the controversial two-part documentary Leaving Neverland, which told the stories of two young boys who were befriended by the singer and have claimed they suffered years of agonizing abuse, Dylan Howard set out to investigate Jackson’s life and death in unprecedented depth, to determine—as one lawyer suggested—that the pop star ran “the most sophisticated child sexual abuse procurement and facilitation operation the world has known.” After all the highly publicized trials and unfounded accusations, stunning new information has finally come to light: irrefutable evidence that one of the best-known, best-loved figures in the world was a monster behind closed doors—a foul-mouthed, abusive, drug-sodden freak whose deeds and the reasons for those deeds are revealed now for the first time. A dramatic narrative account based on dozens of interviews, Howard shares Jackson’s own riveting personal journal—obtained exclusively for this book—interviews with family members, multiple first-person sources—some of whom have asked to remain anonymous—as well as thousands of pages of court documents. What he uncovers is a man who was both naive and Machiavellian, unorthodox, a devoted father, shrewd businessman, and drug addict whose life was cut short but whose sound and style have influenced artists of various genres and generations. Remarkably though, in death, there remains two portraits of Michael Jackson: the reigning King of Pop, and a pedophile whose pattern of abuse ruined his reputation. Fans and individuals alike will forever be asking if the insidious claims being made about MJ are true. This is the new narrative and the sad legacy of one of the best-selling music artists of all time. Here is his life story, told for the first time with stories and testimony that will leave you shaken.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
Visual evidence is the sine qua non of the modern criminal process—from photographs and video to fingerprints and maps. Siam's New Detectives offers an analytical history of these visual tools as employed by the Thai police when investigating crime. Covering the period between the late nineteenth century and the end of the Cold War, the book provides both an extended overview of the development and evolution of modern police practices in Thailand, and a window into the role of the Thai police within a larger cultural system of knowledge production about crime, violence, and history. Based on a diverse set of primary sources—police reports, detective training manuals, trial records, newspaper stories, memoirs, archival documents, and hard-to-find crime fiction—the book makes two related arguments. First, the factuality of the visual evidence used in the criminal justice system stems as much from formal conventions—proper lighting in a crime scene photo, standardized markings on maps—as from the reality of what is being represented. Second, some images, once created, function as tools, helping the police produce truths about the criminal past. This generative power makes images such as crime scene maps useful as investigative aids but also means that scholars cannot analyze them simply in terms of mimetic accuracy or interpret them in isolation for deeper meaning. Understanding how modern legal systems operate requires an examination of the visual culture of the law, particularly the aesthetic rules that govern the generation and use of documentary evidence. By examining modern policing in terms of visual culture, Siam's New Detectives makes important methodological contributions. The book shows how a historical analysis of form can supplement the way many scholars have traditionally approached visual sources, as symbols requiring a close reading. By acknowledging the productive nature of images in addition to their symbolic functions, the book makes clear that policing is fundamentally an interactive, creative endeavor as much as a disciplinary one.
It’s 1915 in New York City and an intrepid young journalist is about to get her biggest story yet... The Lusitania has just been sunk, and headlines about a shooting at J.P. Morgan’s mansion and the Great War are splashed across the front page of every newspaper. Capability “Kitty” Weeks would love nothing more than to report on the news of the day, but she’s stuck writing about fashion and society gossip over on the Ladies’ Page – until a man is murdered at a high society picnic on her beat. Determined to prove her worth as a journalist, Kitty finds herself plunged into the midst of a wartime conspiracy that threatens to derail the United States’ attempt to remain neutral – and to disrupt the privileged life she has always known. The first book in a highly anticipated mystery series featuring rising journalism star Kitty Weeks packed full of historical detail, A Front Page Affair is perfect for fans of Rhys Bowen and Jacqueline Winspear Praise for A Front Page Affair ‘A delightfully spunky heroine defies convention as an investigative reporter in this engaging historical mystery. The small factual details of New York life are gems’ Rhys Bowen ‘This lively and well-researched debut introduces a charming historical series and an appealing fish-out-of-water sleuth who seeks independence and a career in an age when most women are bent on getting married, particularly to titled Englishmen. Devotees of Rhys Bowen’s mysteries will enjoy making the acquaintance of Miss Weeks.’ Library Journal ‘The fascinating historical details add flair to this thoroughly engaging mystery starring an intelligent amateur sleuth reminiscent of Rhys Bowen’s Molly Murphy. Vatsal’s debut will leave readers eager for Kitty’s next adventure.’ Booklist ‘The mystery plot was enthralling in and of itself, but it was the portrait of Old New York that provided the wow factor - there are very few writers who can conjure up this kind of authenticity. A fun, fascinating, feminist read – especially if you love New York!’ Reader review ⭐⭐⭐⭐⭐ ‘It is very rare to find a debut novel so well written and so engrossing’ Reader review ⭐⭐⭐⭐⭐
As television grew more enticing for both viewers and filmmakers in the 1950s, several independent film producers with knowledge of making low-cost films and radio shows transferred their skills to producing shows for the small screen. Rather than funding live programs that were popular at the time, these producers saw the value in pre-taped shows, which created large financial returns through episode reruns. This low-cost, high-yield production model resulted in what are known and beloved as "B" television shows. Part historical account and part filmography, this book documents the careers of over a dozen "B" television producers. It chronicles the rise of situation comedies and crime dramas and explores the minds behind popular shows like My Little Margie, The Lone Ranger, Lassie, Highway Patrol and Sea Hunt. Divided into 14 chapters of producer profiles, this work is rich in both trivia and critical assessments of the first years of television. A chapter detailing the work of early female television producers rounds out the text.
Since the beginning of network television, many shows have been preceded by an announcement or theme song that served various purposes. In the 1950s and ’60s, it was common for announcers to declare that a program had been “brought to you by” a sponsor who paid for the privilege of introducing a show. Other programs, such as The Twilight Zone, Star Trek, and The Odd Couple,provided a brief encapsulation of the show’s subject matter, a practice that has continued for recent shows like Alias, Battlestar Galactica, Person of Interest, and the various editions of Law & Order. In Television Introductions: Narrated TV Program Openings since 1949, Vincent Terrace has assembled openings for more than nine hundred television shows from the past seven decades. The only documented history of narrated television program introductions, this volume is arranged by type of programming, such as comedy, drama, Western, game show, soap opera, and children’s show. In addition to quoting the opening material, entries provide information about each show’s network history and years of broadcast. Many entries include descriptions of the show, the names of announcers, and a list of main cast members, as well as a sponsor pitch exactly as spoken. Openings for programs with multiple introductions like The Adventures of Ozzie and Harriet and Charlie’s Angels are also included. For programs that featured new guest stars every episode—such as game shows and variety programs—Terrace has selected a representative introduction. In addition to the theme song credits found in the main text, there are also appendixes of theme songs and their composers and/or singers, as well as a listing of commercial releases (on DVD, VHS, CD, and LP) of shows and their soundtracks. A comprehensive resource for researchers and pop culture aficionados alike, Television Introductions provides a fascinating look at this neglected part of TV history.
The leading journal devoted to all aspects of popular culture and cult media, Headpress 25 turns its attention to the Dream, or Flicker, Machine. Featuring interviews with William Burroughs and Paul Bowles, Headpress 25 also includes a detailed look at the neglected life and career of the late Luis de Jesus, a star of diminutive stature whose film appearances range from sadistic sidekick in the cult 1976 feature Blood Sucking Freaks, to numerous hardcore porn features, of which the most notorious is The Anal Dwarf.
Edgar Allan Poe's "Murders in the Rue Morgue" launched the detective story in 1841. The genre began as a highbrow form of entertainment, a puzzle to be solved by a rational sifting of clues. In Britain, the stories became decidedly upper crust: the crime often committed in a world of manor homes and formal gardens, the blood on the Persian carpet usually blue. But from the beginning, American writers worked important changes on Poe's basic formula, especially in use of language and locale. As early as 1917, Susan Glaspell evinced a poignant understanding of motive in a murder in an isolated farmhouse. And with World War I, the Roaring '20s, the rise of organized crime and corrupt police with Prohibition, and the Great Depression, American detective fiction branched out in all directions, led by writers such as Dashiell Hammett and Raymond Chandler, who brought crime out of the drawing room and into the "mean streets" where it actually occurred. In The Oxford Book of American Detective Stories, Tony Hillerman and Rosemary Herbert bring together thirty-three tales that illuminate both the evolution of crime fiction in the United States and America's unique contribution to this highly popular genre. Tracing its progress from elegant "locked room" mysteries, to the hard-boiled realism of the '30s and '40s, to the great range of styles seen today, this superb collection includes the finest crime writers, including Erle Stanley Gardner, Raymond Chandler, Ross Macdonald, Rex Stout, Ellery Queen, Ed McBain, Sue Grafton, and Hillerman himself. There are also many delightful surprises: Bret Harte, for instance, offers a Sherlockian pastiche with a hero named Hemlock Jones, and William Faulkner blends local color, authentic dialogue, and dark, twisted pride in "An Error in Chemistry." We meet a wide range of sleuths, from armchair detective Nero Wolfe, to Richard Sale's journalist Daffy Dill, to Robert Leslie Bellem's wise-cracking Hollywood detective Dan Turner, to Linda Barnes's six-foot tall, red-haired, taxi-driving female P.I., Carlotta Carlyle. And we sample a wide variety of styles, from tales with a strongly regional flavor, to hard-edged pulp fiction, to stories with a feminist perspective. Perhaps most important, the book offers a brilliant summation of America's signal contribution to crime fiction, highlighting the myriad ways in which we have reshaped this genre. The editors show how Raymond Chandler used crime, not as a puzzle to be solved, but as a spotlight with which he could illuminate the human condition; how Ed McBain, in "A Small Homicide," reveals a keen knowledge of police work as well as of the human sorrow which so often motivates crime; and how Ross Macdonald's Lew Archer solved crime not through blood stains and footprints, but through psychological insight into the damaged lives of the victim's family. And throughout, the editors provide highly knowledgeable introductions to each piece, written from the perspective of fellow writers and reflecting a life-long interest--not to say love--of this quintessentially American genre. American crime fiction is as varied and as democratic as America itself. Hillerman and Herbert bring us a gold mine of glorious stories that can be read for sheer pleasure, but that also illuminate how the crime story evolved from the drawing room to the back alley, and how it came to explore every corner of our nation and every facet of our lives.