This thrilling story memorializes one of the most dangerous--and successful--series of undercover operations conducted by the Bureau of Alcohol, Tobacco, Firearms and Explosives. Written by the special agent who took these operations from disrupting small time fencing schemes to infiltrating major criminal organizations, this book is the first story of these secretive operations. During the operation's run from 2006 to 2014, Lou Valoze's fictitious businesses allowed his team of undercover agents to take thousands of weapons out of circulation and millions of dollars of drugs off the street. Through these covert "storefront" operations, the author developed a unique investigative blueprint for removing guns from the hands of violent felons and drug dealers. This book also explores the dark reality of living a double life and how it becomes difficult to tell the difference between the good guys and bad guys.

Starting with Columbine, school shootings have brought the issue of gun control to the forefront of the American consciousness. Why it won't rise to the top of the political agenda is an important part of the story that Will Vizzard tells. Drawing on Congressional hearings, interviews, thirty years of research, and personal experience as a special agent of the Bureau of Alcohol, Tobacco, and Firearms, the author takes a step back from both advocates and opponents of gun control to survey the U.S. gun landscape. What he finds there is a scene dominated by policy and public opinion extremism as well as a powerful combination of history and symbolism that impede the resolution of this conflict. Neither a call for gun prohibition nor a diatribe against gun control, this book is intended for those with a particular interest in firearms as well as serious students of public policy and criminal justice. In addition to covering a century of gun control policy, the author addresses such current issues as assault weapons, right-to-carry and concealed-carry laws, school shootings, and recent elections. Unlike its several counterparts, SHOTS IN THE DARK sheds light on a balanced and pragmatic approach to gun control legislation.

Bad Blood reveals that Bastille is a synth-driven band that isn't particularly arty, something of a rarity during the electronic pop revival of the 2000s and 2010s. Where many of their contemporaries used the glamour of synth-pop's '80s heyday and electronic music's infinite possibilities to craft shiny pop fantasies, Bastille builds on the glossy, anthemic approach they set forth on the Laura Palmer EP (the title track, which is included here, might also be the least arty song inspired by David Lynch's surreal soap opera Twin Peaks). Early highlights like "Pompeii," "These Streets," and the title track boast panoramic choruses and sleek arrangements that hint at a kinship with Empire of the Sun and Delphic, while the handclaps and popping bassline on the otherwise moody "Icarus" recall Hot Chip at their most confessional. However, most of Bad Blood suggests that Bastille are actually an electronically enhanced upgrade of sweeping British pop traditionalists like Keane or Coldplay. The band updates "Oblivion"'s piano balladry with ping-ponging drums and contrasts Dan Smith's throaty singing and searching lyrics ("There's a hole in my soul/Can you fill it?") with a tumbling beat on "Flaws." Like the aforementioned acts, Bastille has a way with heartfelt melodies and choruses that resonate, particularly on the driving "Things We Lost in the Fire" and "Get Home," where the slightly processed vocals also evoke Sia, Imogen Heap, and other electronic-friendly singer/songwriters. While the band occasionally gets a little too self-serious on the album's second half, Bad Blood is a solid, polished debut that fans of acts like Snow Patrol (who don't mind more electronics in the mix) might appreciate more than synth-pop aficionados. ~ Heather Phares