“Hard-boiled computer hacker Kidd and his sometime girlfriend, LuEllen, make for a refreshingly roguish couple” (Entertainment Weekly). Now they’re back in #1 New York Times bestselling author John Sandford’s electrifying novel of murder, intrigue, and revenge—Kidd style. When Kidd’s superhacker friend Bobby is murdered and his laptop is stolen, Kidd knows it’s panic time. The secrets stashed in Bobby’s computer are enough to hang Kidd and everyone else in Bobby’s criminally ingenious cyber-circle. It’s up to Kidd and his partner, LuEllen, to track it down, find Bobby’s killer, and save their own necks—because the secrets are downloading faster than anyone anticipated. And they’re far more staggering than anyone imagined.
Henry Mancini's Peter Gunn theme. Lalo Schifrin's Mission: Impossible theme. Isaac Hayes' theme from Shaft. These iconic melodies have remained a part of the pop culture landscape since their debuts back when movie studios and TV production companies employed full orchestral ensembles to provide a jazz backdrop for the suspenseful adventures of secret agents, private detectives, cops, spies and heist-minded criminals. Hundreds of additional films and television shows made from the mid-1950s and beyond have been propelled by similarly swinging title themes and underscores, many of which have (undeservedly) faded into obscurity. This meticulously researched book begins with Hayes' game-changing music for Shaft, and honors the careers of traditional jazz composers who--as the 1970s gave way to the '80s and beyond--resolutely battled against the pernicious influx of synth, jukebox scores and a growing corporate disinterest in lavish ensembles. Fans frustrated by the lack of attention paid to jazz soundtrack composers--including Mort Stevens, Laurie Johnson, Mike Post, Earle Hagen, David Shire, Elmer Bernstein and many, many others--will find solace in these pages (along with all the information needed to enhance one's music library). But this is only half the story; the saga's origins are discussed in this book's companion volume, Crime and Action Jazz on Screen: 1950-1970.
At a meeting of thirteen of Santa Fe's leading New Age healers, Quentin Bouvier, a magician and possibly a reincarnated Egyptian pharaoh, has been hanged from the rafters. He outbid Leonard Quarry for astrologer Eliza Remington's antique tarot card and now he's dead and the tarot card is missing. The police quickly arrest Giacamo Bernardi, a tarot reader, and charge him with the murder and theft. Bernardi's court-appointed attorney hires private investigator Joshua Croft to prove Bernardi's innocence. Suspects from the meeting and the community abound, including astrologers and psychics, a young hermit immersed in "Spiritual Alchemy," an aging movie star who acts as a medium for an entity from Alpha Centauri, a Native American shaman who gets accountants in touch with their warrior within, and a mysterious Asian woman whose equally mysterious brother displays a near-lethal familiarity with martial arts.
The Hanged Man is the twelfth card in the major arcana of the tarot pack. It represents a time of withdrawal, waiting and spiritual healing. THE HANGED MAN offers a brief, sometimes humorous, glimpse into the life of a young woman named Crystal, and individualist and a loner who believes in the mystical power of the universe. THE HANGED MAN follows her faltering transition from helpless pawn to--if not exactly an active participant in the game of life--then at least to becoming a more aware pawn.
In a quiet home in the Fort Lauderdale suburbs, a woman psychically witnesses a murder. In a posh estate, a few miles away, a man lies dead. The only clues are a collection of Tarot cards sent to the victim's home and a nuisance call from a Fort Lauderdale woman who claims to have had a vision of the killing. For Detective Wayne Sheppard, the killing of famous criminologist Andrew Steele and the disappearance of his beautiful wife is about to test everything he has ever believed and everything he knows about logic, police work, and scientific truth. Nora Roberts: "Taut, tricky and terrifying...a dark and suspenseful page-turner." Booklist: "A gripping tale of revenge and obsessions that's filled with pulse-pounding suspense, bizarre twists, and nonstop action. A mesmerizing thriller." Publishers Weekly: "A tense and provocative suspense novel."
West Midlands 1980s, home to heavy metal. Black Sabbath and Judas Priest are household names, but over the smoking chimneys and factory yards something new and equally ugly formsa 'Grebo' was a media constructed music genre that even today sends a shudder down the spines of discerning music fans and critics. A homegrown proto-grunge a counterpart to the likes of Butthole Surfers, Mudhoney, early Nirvana, Alice In Chains, and Soundgarden in the US a grebo was a British phenomenon that drew on an eclectic range of influences, from punk, 60s garage and psychedelia, through to 70s heavy rock and thrash metal. It foreshadowed rave culture and was steeped in class politics. GAYE BYKERS ON ACID and CRAZYHEAD hailed from Leicester. They were not the first bands to be labelled grebo but they were the most unashamedly unkempt and came to be considered its greatest exponents. They were aa burst of dirty thundera and almost no one liked them. Based on interviews with band members, friends, fans, and roadies, this book is an uncompromising history of an overlooked music scene. Rich Deakin charts its course via the changing fortunes of the Bykers and Crazyhead, taking us on the booze-filled tour buses, behind the dodgy deals and onto the international stage and back again (with a pitstop for a rock movie that swallows lots of money). Their careers were short, but the two bands managed to shake up the UK indie scene and along the way became Britain's unlikely ambassadors of rock following the collapse of Soviet Russia. Strap yourself in for a rocket ride of a book. This is GREBO! a the complete loud and lousy story!
The Hanged Man is coming, and there's nothing you can do to stop him... Durrant was the most brutal, psychopathic killer the Met had ever come across. Captured in the early '80s, he should have been in prison for the rest of his life. Someone had other ideas. Thirty years later, DCI Jericho, the man who put Durrant away, is working in quiet anonymity in the West Country, living with the guilt of the one case he never solved: the disappearance of his own wife. The Hanged Man tarot card that arrives in the mail seems like a trivial joke, but it’s only the beginning. Soon people are disappearing, and Durrant is back to his old ways. Suddenly Jericho is being thrown to the wolves. The noose tightens, the body count rises, and events spin helplessly towards a shocking and bloody climax. The second book in the DCI Jericho series, We Are Death, will be published by Blasted Heath in June 2016. Praise for Douglas Lindsay "This chilling black comedy unfolds at dizzying speed" - Sunday Mirror "The plot, Russian literature fans, is a modern spin on Dostoyevsky's Crime and Punishment. The bloody ending, movie buffs, is pure Reservoir Dogs." - The Mirror "Fantastic plot, unforgettable scenes and plenty of twisted belly laughs." - New Woman "A mad, macabre romp with surreal characters and cutting black humour." - The Sunday Mirror "Gloriously over the top" - Daily Telegraph "Lindsay’s burlesque thrills offer no sex, no drugs, no desperation to be cool. Just straightforward adult story; fantastic plot, classic timing and gleeful delight in the grotesque. With more talent than Irvine Welsh could dream of, Lindsay has crafted a macabre masterpiece where content lives up to style." - What's On Douglas Lindsay is the author of more than a dozen novels, including The Unburied Dead (DS Hutton series), We Are The Hanged Man (DCI Jericho series), the surreal thriller Being For The Benefit of Mr Kite! and The Legend Of Barney Thomson, now a major movie starring Robert Carlyle and Emma Thompson.
The last member of a murdered House tries to protect his ward from forced marriage to a monster while uncovering clues to his own tortured past. The Tarot Sequence imagines a modern-day Atlantis off the coast of Massachusetts, governed by powerful Courts based on the traditional Tarot deck. Rune Saint John, last child of the fallen Sun Throne, is backed into a fight of high court magic and political appetites in a desperate bid to protect his ward, Max, from a forced marital alliance with the Hanged Man. Rune's resistance will take him to the island's dankest corners, including a red light district made of moored ghost ships; a surreal skyscraper farm; and the floor of the ruling Convocation, where a gathering of Arcana will change Rune's life forever.
A groundbreaking appreciation of Dylan as a literary practitioner WINNER OF THE ELIZABETH AGEE PRIZE IN AMERICAN LITERATURE The literary establishment tends to regard Bob Dylan as an intriguing, if baffling, outsider. That changed overnight when Dylan was awarded the 2016 Nobel Prize in Literature, challenging us to think of him as an integral part of our national and international literary heritage. No One to Meet: Imitation and Originality in the Songs of Bob Dylan places Dylan the artist within a long tradition of literary production and offers an innovative way of understanding his unique, and often controversial, methods of composition. In lucid prose, Raphael Falco demonstrates the similarity between what Renaissance writers called imitatio and the way Dylan borrows, digests, and transforms traditional songs. Although Dylan’s lyrical postures might suggest a post-Romantic, “avant-garde” consciousness, No One to Meet shows that Dylan’s creative process borrows from and creatively expands the methods used by classical and Renaissance authors. Drawing on numerous examples, including Dylan’s previously unseen manuscript excerpts and archival materials, Raphael Falco illuminates how the ancient process of poetic imitation, handed down from Greco-Roman antiquity, allows us to make sense of Dylan’s musical and lyrical technique. By placing Dylan firmly in the context of an age-old poetic practice, No One to Meet deepens our appreciation of Dylan’s songs and allows us to celebrate him as what he truly is: a great writer.
