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When Johnny's underpants are stolen, such is his outrage that he takes a solemn vow: Until the day he tracks down the underpants thief and brings him to justice, he will 'go commando.' Deprived of his jocks and driven by a relentless desire for justice, he investigates not only the theft of his undergarment but also the circumstances surrounding a trail of bodies left in south London by the 'underpants killer.' Could the underpants thief and the underpants killer be the same person? Is the serial killer a 'trophy hunter'? With no jocks on, will Johnny get a chill in his kidneys? These are the questions Johnny must answer as he 'rides bareback' in his quest to find the culprit.
When Thelma and Louise outfought the men who had tormented them, women across America discovered what male fans of action movies have long known—the empowering rush of movie violence. Yet the duo's escapades also provoked censure across a wide range of viewers, from conservatives who felt threatened by the up-ending of women's traditional roles to feminists who saw the pair's use of male-style violence as yet another instance of women's co-option by the patriarchy. In the first book-length study of violent women in movies, Reel Knockouts makes feminist sense of violent women in films from Hollywood to Hong Kong, from top-grossing to direct-to-video, and from cop-action movies to X-rated skin flicks. Contributors from a variety of disciplines analyze violent women's respective places in the history of cinema, in the lives of viewers, and in the feminist response to male violence against women. The essays in part one, "Genre Films," turn to film cycles in which violent women have routinely appeared. The essays in part two, "New Bonds and New Communities," analyze movies singly or in pairs to determine how women's movie brutality fosters solidarity amongst the characters or their audiences. All of the contributions look at films not simply in terms of whether they properly represent women or feminist principles, but also as texts with social contexts and possible uses in the re-construction of masculinity and femininity.
In this powerful memoir about three generations of New York City policemen, Brian McDonald chronicles a hundred years of dedication, disillusion, heroism, and tragedy behind the blue wall of silence that separates a cop from the rest of the world. His grandfather, Thomas Skelly, entered the department in 1893, when the NYPD was little more than a brutal gang of organized enforcers and Tammany Hall a corrupt political machine that could make or break an honest cop's career. His father Frank's career would span World War II through the 1960s, taking him from street cop to squad commander of the Forty-first Precinct. Better known as "Fort Apache", it was a place from which few cops emerged whole. His brother Frank McDonald, Jr., went on to become a decorated officer, waging an undercover war on drugs and crime. From turn-of-the-century Brooklyn to the South Bronx in the 1970s to the bedroom communities of upstate New York, My Father's Gun combines a rare and intimate family story with turbulent social history.
The author describes in vivid detail his experiences in various assignments during his thirty year career from vice squad to uniform patrol, detective and patrol supervisor.
Lt. Patrick J. Ciser (Ret.) of the City of Clifton Police Department, in New Jersey, is also known to his many karate students as Sensei (Teacher). Ciser achieved national and international fame by representing the United States in five international karate tournaments, winning gold medals in South America and Europe. Pat Ciser, as he is known in North Jersey, grew up and became a police officer in Clifton in 1977. Growing as a police officer, he started to realize that with his martial arts skills, he could save lives, surprisingly, on both sides of the law. Newspaper accounts of Cisers exploits over the years bear witness to the true stories recounted in this book. Headlines and quotes give a glimpse of his illustrious career as he was continually called upon, in life and death situations. The Clifton Journal read, Pat Ciser, Cliftons answer to Superman New Jerseys Record wrote, Veteran officer compared to Chuck Norris; while the Heard News read, Action hero calling it quits, when announcing his retirement in 2008. Join Ciser as he recalls mastering karate, kicking in doors, and dodging bullets and blades. The only difference between the stories in Budo and the Badge, and the ones on the big screen, are that these stories are real.
From the Cold War through today, the U.S. has quietly assisted dozens of regimes around the world in suppressing civil unrest and securing the conditions for the smooth operation of capitalism. Casting a new light on American empire, Badges Without Borders shows, for the first time, that the very same people charged with global counterinsurgency also militarized American policing at home. In this groundbreaking exposé, Stuart Schrader shows how the United States projected imperial power overseas through police training and technical assistance—and how this effort reverberated to shape the policing of city streets at home. Examining diverse records, from recently declassified national security and intelligence materials to police textbooks and professional magazines, Schrader reveals how U.S. police leaders envisioned the beat to be as wide as the globe and worked to put everyday policing at the core of the Cold War project of counterinsurgency. A “smoking gun” book, Badges without Borders offers a new account of the War on Crime, “law and order” politics, and global counterinsurgency, revealing the connections between foreign and domestic racial control.
Deputy U.S. Marshal Bass Reeves appears as one of ?eight notable Oklahomans,? the ?most feared U.S. marshal in the Indian country.? That Reeves was also an African American who had spent his early life as a slave in Arkansas and Texas makes his accomplishments all the more remarkable. Bucking the odds (?I?m sorry, we didn?t keep black people?s history,? a clerk at one of Oklahoma?s local historical societies answered a query), Art T. Burton sifts through fact and legend to discover the truth about one of the most outstanding peace officers in late nineteenth-century America?and perhaps the greatest lawman of the Wild West era. ø Fluent in Creek and other southern Native languages, physically powerful, skilled with firearms, and a master of disguise, Reeves was exceptionally adept at apprehending fugitives and outlaws, and his exploits were legendary in Oklahoma and Arkansas. A finalist for the 2007 Spur Award, sponsored by the Western Writers of America, Black Gun, Silver Star tells Bass Reeves?s story for the first time and restores this remarkable figure to his rightful place in the history of the American West.
In Who I Am: The Man Behind the Badge, I'm going to describe all the gore, all the horrors and all the emotions I felt, not to gross you out but to let you know what I experienced.
The Badge, The Balls, and The Bull Sh-t By: Henry (Hank) J. Silva Detective Bobby Olivarez and his partner, Detective Brent Olson, are the lead detectives in several investigations that include murder, extortion and corruption. They involve punk thieves, Mexican cartels and terrorists from the Middle East with a grand plan to take over the island of Hawaii. These detectives are former military, can outshoot most, can bench press four hundred plus pounds and have the will to never lose. They are innovative, clever and deadly. You certainly would want them on your side.
Banks has told his story in a raw and honest autobiography. It is the best true crime book published in Australia in a decade.' -John Silvester, Crime Reporter for The Age on Drugs, Guns and Lies 'Fear and exhilaration are blood brothers; that's what drives risk. I should have been careful what I wished for.' Keith Banks was a member of the Queensland Police Force when not everyone with a badge could be trusted. After serving as an undercover cop and declining an opportunity to participate in a lucrative and totally corrupt enterprise, Keith found himself sidelined from the Drug Squad. In 1984 he was transferred to the Taringa Criminal Investigation Branch as a Detective Senior Constable. That had its moments, but he wanted more. He missed the adrenaline charge of his days as an undercover cop. He discovered that rush again when, ultimately, he became one of the first full-time members of the Tactical Response Group. This was challenging and dangerous work. Not only did Keith find himself facing off against some of Australia's most brutal criminals, but he also had to confront the demons of constantly living on the edge, of finding that fine line between good and bad where violence was normal. Raw and confronting, Gun to the Head exposes a world of policing that few have lived.