Behind every good man is a good woman. But what lies behind every bad man? Gangsters' Wives tells the side of the story you didn't know--what it's like to live with Britain's most lawless men, from the women who married them. Devoted mum-of-three Judy Marks was imprisoned alongside her husband, notorious drug smuggler Howard Marks; while Flanagan, the first ever Page Three girl, found herself splashed across the papers as the fiancee of legendary East End villain Reggie Kray. Jenny Pinto, wife of gangster Dave Courtney, has given the police keys to their house to stop them breaking down the front door. In ten funny, moving, searingly honest first-person accounts, Gangsters' Wives tells you all you ever wanted to know about the lives and loves of the women who are, quite literally, married to the mob.

Sadie, Nicky, Poppy and Kate. Four women. On the surface - sexy, confident, wealthy. In reality, each is trapped in a loveless and sometimes violent marriage to four of the most feared gangsters in London. For years they have lived a life of idle luxury, shopping, lunching and occasionally playing away. All the while loyally staying behind the scenes while their men rule the underworld with violence and terror. Until times change, events conspire, and they decide to fight back and take the men on at their own game...

All Ebooks in This SeriesThe Men Behind Mob Wives: Sammy "The Bull" Gravano (Father of Karen Gravano)The Men Behind Mob Wives: Anthony "TG" Graziano (Father of Renee Graziano)The Men Behind Mob Wives: Salvatore "Sally Dogs" Lombardi (Uncle of Angela "Big Ang" Raiola)The Men Behind Mob Wives: Joseph Ferragamo, Louis Facciolo and Bruno Facciolo (Ex-husband, Father and Uncle of Carla Facciolo)The Men Behind Mob Wives: Benjamin "Lefty Guns" Ruggiero (Grandfather of Ramona Rizzo)The Men Behind Mob Wives: Lee D'Avanzo (Husband of Drita D'Avanzo)The Men Behind Mob Wives: Hector "Junior" Pagan (Ex-Husband of Renee Graziano)The Men Behind Mob Wives: Salvatore "Sally Dogs" Lombardi (Uncle of Angela "Big Ang" Raiola)The Men Behind Chicago Mob Wives: Frank "The German" Schweihs (Father of Nora Schweihs)The Men Behind Chicago Mob Wives: John A. "Big John" Fecarotta (Uncle of Renee Fecarotta)

Widely acclaimed as America's greatest living film director, Martin Scorsese is also, some argue, the pre-eminent Italian American artist. Although he has treated various subjects in over three decades, his most sustained filmmaking and the core of his achievement consists of five films on Italian American subjects - Who's That Knocking at My Door?, Mean Streets, Raging Bull, GoodFellas, and Casino - as well as the documentary Italianamerican. In Gangster Priest Robert Casillo examines these films in the context of the society, religion, culture, and history of Southern Italy, from which the majority of Italian Americans, including Scorsese, derive. Casillo argues that these films cannot be fully appreciated either thematically or formally without understanding the various facets of Italian American ethnicity, as well as the nature of Italian American cinema and the difficulties facing assimilating third-generation artists. Forming a unified whole, Scorsese's Italian American films offer what Casillo views as a prolonged meditation on the immigrant experience, the relationship between Italian America and Southern Italy, the conflicts between the ethnic generations, and the formation and development of Italian American ethnicity (and thus identity) on American soil through the generations. Raised as a Catholic and deeply imbued with Catholic values, Scorsese also deals with certain forms of Southern Italian vernacular religion, which have left their imprint not only on Scorsese himself but also on the spiritually tormented characters of his Italian American films. Casillo also shows how Scorsese interrogates the Southern Italian code of masculine honour in his exploration of the Italian American underworld or Mafia, and through his implicitly Catholic optic, discloses its thoroughgoing and longstanding opposition to Christianity. Bringing a wealth of scholarship and insight into Scorsese's work, Casillo's study will captivate readers interested in the director's magisterial artistry, the rich social history of Southern Italy, Italian American ethnicity, and the sociology and history of the Mafia in both Sicily and the United States.

The authors examine the role played by political communications in a variety of media in defining and shaping identity in China, Hong Kong, Taiwan and amongst overseas Chinese.

The iconic photo of Bonnie Parker—cigar clenched in jaw, pistol in hand—says it all: America loves its bad girls. Now Mary Elizabeth Strunk tells us why. Wanted Women is a startling look at the lives—and legends—of ten female outlaws who gained notoriety during the tumultuous decades that bracketed the tenure of FBI director J. Edgar Hoover. Strunk looks at real-life events and fictional portrayals to decipher what our obsession with these women says about shifting gender roles, evolving law-enforcement practices, and American cultural attitudes in general. These women's stories reveal what it takes-and what it has meant--to be a high-profile female lawbreaker in America. Strunk introduces us to Kathryn "Mrs. Machine Gun" Kelly, Ma Barker, and Bonnie Parker from the 1930s, and, from the 1970s, we meet heiress-turned-revolutionary Patty Hearst, five other women of the Symbionese Liberation Army, and Black Panther Assata Shakur. All saw themselves as struggling against an oppressive legal system. All became "wanted" criminals and would play a part in shaping Hoover's legacy. And all spent enormous amounts of energy attempting to manipulate public opinion in their favor. Strunk argues that each woman's public persona was to some degree invented by Hoover, who saw outlaw women as an alarming threat to public morality. He went after them with a vengeance, but in many ways his obsession only added to their reputations. Strunk shows how Hoover's repeated use of popular culture to publicize the threat of violent women initially succeeded in strengthening his FBI, but his approach became a liability by the time law enforcement was pitted against the women outlaws of the 1970s. The book chronicles the careers of these infamous outlaws both in the real world and in popular culture—film, ads, true-crime stories, autobiographies—as well as Hoover's own forays into filmmaking. It boasts 27 compelling images of movie stills, wanted posters, and other ephemera that have been assembled nowhere else, including rarely reproduced SLA artifacts. Strunk's book is the first study to define the narrow "formula" necessary for a woman to cross over from criminal to outlaw. Hitting on key notes of American culture from Black and gender studies to cinematic and legal history, Wanted Women sets a new benchmark for how we view women and crime as it contributes fresh insights into twentieth-century social history.