A sensational second book in The Biggest Gang trilogy from detective turned author Stephen Hayes. Fifty Shades Of Black 'N' Blue will not disappoint - the beatings continue, the culture of police corruption is further outlined with yet more real-life examples and there's yet more sex both in and out of uniform. Mr Hayes tells the truth, the whole truth and nothing but the truth in this shocking sequel to his first book The Biggest Gang In Britain .The new book is slicker and sicker than his first and as compelling as any kicking in the police cells. This volume starts with a bizarre death that led to life-changing alterations for the author and his family. It's already being considered as a movie storyline with one New York Times author describing the plot as "simply superb". Read it and weep - Daily Record Unlike a rubber truncheon this book will leave marks - Sunday Mirror The whole truth, like a kick in the crutch, can be very painful - Daily Star Sunday The honesty on the subject of police dishonesty is most refreshing - Stockport Express

Crime stories from 21 Chicago authors.

A devious killer who has been murdering famous musicians in Baltimore and Washington D.C. draws detective Denise Dory and her partner/lover Tom Phyfer into the world of classical music where they are forced to play a twisted game that puts their lives, as well as their love, in grave danger. Original.

Grab your walker, secure your catheter, and make sure there's double adhesive on your dentures! Then hang on for dear life because you are about to ride along with the covert Senile Squad-a bunch of elderly cops who refuse to stop catching crooks. Fighting street crime the old-fashioned way is their modus operandi. The Ol' Blues, led by their cigar-chewing Sarge, bring justice back to the streets of Omaha by taking down a brutal Sudanese kingpin who thinks he's a powerful gang lord. Crime fighting has never been so funny or effective when seasoned cops armed only with walkers, canes, and wheelchairs (and some gross tactics) take back the streets.

Watching Shakespeare on Television looks at Shakespeare as a cultural phenomenon and at the videocassette as "text" - that is, as an object fixed in time as well as in its assumptions about its medium. Even films made to be shown at a cinema are also designed to become cassettes for the vast "secondary" market. H. R. Coursen's study of Shakespearean films and television productions includes such classics as Olivier's Hamlet and Brook's and Welles's King Lear, as well as more recent productions such as Kevin Kline's and Mel Gibson's Hamlets, Kenneth Branagh's Henvy V, and Peter Greenaway's version of The Tempest, Prospero's Books. Shakespeare's scripts are designed to be "open to interpretation." That openness is not the invention of disciples of Foucault or Derrida. The "meaning" of a Shakespeare script can never be fixed; rather, it is a temporal quality that shows how a script reflects, reinterprets, or reemphasizes the cultural and ideological assumptions of a particular moment in history. Shakespeare remains popular, as Branagh's Henry V, Zeffirelli's Hamlet, and a proliferation of Shakespeare's festivals prove. The energy known as Shakespeare cannot be isolated from the culture that constantly reappropriates the scripts and creates new audiences for them. Shakespeare "works" on television because television is a linguistic medium, and because we are becoming accustomed to the diminished scale of the television (and the videocassette), as opposed to the grander dimensions of cinema. Shakespeare survives domestication, but in ways that demand investigation about why and how the scripts can work on television, and about the nature of this medium when it is charged with Shakespearean energy. Watching Shakespeare on Television looks at Gertrude, a character often clear in performance even if "unwritten" in the script, and at Hamlet's disquisition to Yorick's skull, subject to a wide range of options and interpretations. Other subjects covered are "style" in A Midsummer Night's Dream, particularly the 1982 ART production; the advantages film has over studio productions; and editing scripts for television, with a focus on the Nunn Othello and the Kline Hamlet. In the latter production, long takes contrast with the quicksilver montage technique of Zeffirelli's film version. Another chapter examines Othello as a script demanding a black actor in the lead, and it looks at the Nunn and Suzman versions as cases in point. Closure in Hamlet is analyzed as well: television, the modern medium of political closure, tends to include Fortinbras, as opposed to film which usually excludes him. Another chapter evaluates Prospero's Books, where the importation of television to film tends to erase film's field of depth and results in no improvement, regardless of the trumpeted "technological breakthrough" of high-definition television. Finally, the book peers into the future of Shakespeare's moving image, with attention paid to Peter Donaldson's Interactive Archive at M.I.T.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.