Some day, Tyler Cross will pay for his crimes. Until then, crime is his payday. When Tyler Cross went down south for this job he didn’t realize the whole job was about to go south… It’s 1950. Tyler Cross has just stolen 17 kilos of pure heroin from the Mafia. He’s on foot, alone, in deepest, darkest Texas with just his Colt for company. He’s heading for Black Rock, a down-and-out southern town under the thumb of an oil magnate and his sons. The hillbillies of Black Rock won’t be forgetting this gangster’s visit any time soon…
In the wake of his deeply powerful viral videos ("Before You Call the Cops" and "Walking While Black"), Tyler Merritt shares his experiences as a black man in America with truth, humor, and poignancy. Tyler Merritt's video "Before You Call the Cops" has been viewed millions of times. He's appeared on Jimmy Kimmel and Sports Illustrated and has been profiled in the New York Times. The viral video's main point—the more you know someone, the more empathy, understanding, and compassion you have for that person—is the springboard for this book. By sharing his highs and exposing his lows, Tyler welcomes us into his world in order to help bridge the divides that seem to grow wider every day. In I Take My Coffee Black, Tyler tells hilarious stories from his own life as a black man in America. He talks about growing up in a multi-cultural community and realizing that he wasn't always welcome, how he quit sports for musical theater (that's where the girls were) to how Jesus barged in uninvited and changed his life forever (it all started with a Triple F.A.T. Goose jacket) to how he ended up at a small Bible college in Santa Cruz because he thought they had a great theater program (they didn't). Throughout his stories, he also seamlessly weaves in lessons about privilege, the legacy of lynching and sharecropping and why you don't cross black mamas. He teaches readers about the history of encoded racism that still undergirds our society today. By turns witty, insightful, touching, and laugh-out-loud funny, I Take My Coffee Black paints a portrait of black manhood in America and enlightens, illuminates, and entertains—ultimately building the kind of empathy that might just be the antidote against the racial injustice in our society.
If Tyler Cross ever gets out, it won’t be for good behavior, Angola is not a prison. Its purpose is not to lock up criminals, let alone to rehabilitate them. Angola exists only to make money. It is a business… and business in booming. What seemed like a risk-free gig that should have made him some easy cash turns into a fast-track to Hell for Tyler Cross. A hell called “Angola”, the biggest high-security prison in the United States, surrounded by swamps and crushed by sweltering Louisiana heat. And just to put the cherry on the cake, the Mafia have put a price on his head, and there are a whole load of Sicilians in Angola… From the award-winning writer of the hit graphic novel, The Death of Stalin.
Murder, passion, and criminal enterprise are presented here at their darkest, directly from the most talented writers and artists in crime comics! In these thirteen pitch-black noir stories, you'll find deadly conmen and embittered detectives converging on femme fatales and accidental murderers, all presented in sharp black and white by masters of the craft. Featuring stories by Brian Azzarello, Jeff Lemire, Ed Brubaker, Sean Phillips, and many more of crime comics' top talent!
A poignant graphic novel that explores the life and death of American hero Chris Kyle. Discover the story of Chris Kyle, a Navy SEAL sniper who earned several awards for his service, for the first time in graphic novel form. He published his autobiography only a year before he was murdered, and has since been lauded as an American hero. This tragic tale adapts part of his memoir and also continues exploring the consequences and fate of those left behind after he was killed.
"Human Diastrophism" is the only full graphic novel length "Palomar" story ever created by Gilbert. In it, a serial killer stalks Palomar―but his depredations, hideous as they are, only serve to exacerbate the cracks in the idyllic Central American town as the modern world begins to intrude. "Diastrophism" concludes with the death (the suicide, in fact) of one of Palomar's most beloved characters, and a postscript that provides one of the most hauntingly magical moments of the entire series as a rain of ashes drifts down upon Palomar. Also included are all the post-"Diastrophism" stories, in which Luba's past (as seen in the epic Poison River) comes back to haunt her, and the seeds are sown for the "Palomar diaspora" that ends this dense, enthralling book.
A British Army veteran turned CIA agent races around the world to catch someone killing in his name in this action-packed thriller. Ryan Drake and his team are in hiding, having become sworn enemies of states and agencies around the world. But when a CIA operative and former adversary is killed in a car bomb attack, Drake is shocked to hear someone claiming responsibility using his name. Forced out of hiding by this mysterious new threat, Drake embarks alone on a dangerous and deadly search for answers; a journey that will take him from the slums of Rio to the deserts of Tunisia and the mountains of Afghanistan. But as the stranger’s insidious influence grows stronger, he begins to realize the key to unravelling the present lies in his own shadowy past. Following his trail of destruction, the team must fight to save Drake not only from a list of ruthless enemies, but even more urgently, from himself. Perfect for fans of Lee Child, David Baldacci, and Vince Flynn.
By the time Jimi Hendrix died in 1970, the idea of a black man playing lead guitar in a rock band seemed exotic. Yet a mere ten years earlier, Chuck Berry and Bo Diddley had stood among the most influential rock and roll performers. Why did rock and roll become “white”? Just around Midnight reveals the interplay of popular music and racial thought that was responsible for this shift within the music industry and in the minds of fans. Rooted in rhythm-and-blues pioneered by black musicians, 1950s rock and roll was racially inclusive and attracted listeners and performers across the color line. In the 1960s, however, rock and roll gave way to rock: a new musical ideal regarded as more serious, more artistic—and the province of white musicians. Decoding the racial discourses that have distorted standard histories of rock music, Jack Hamilton underscores how ideas of “authenticity” have blinded us to rock’s inextricably interracial artistic enterprise. According to the standard storyline, the authentic white musician was guided by an individual creative vision, whereas black musicians were deemed authentic only when they stayed true to black tradition. Serious rock became white because only white musicians could be original without being accused of betraying their race. Juxtaposing Sam Cooke and Bob Dylan, Aretha Franklin and Janis Joplin, Jimi Hendrix and the Rolling Stones, and many others, Hamilton challenges the racial categories that oversimplified the sixties revolution and provides a deeper appreciation of the twists and turns that kept the music alive.
Named a Best Book of 2017 by NPR and GQ Joining the ranks of the classics Please Kill Me, Our Band Could Be Your Life, and Can’t Stop Won’t Stop, an intriguing oral history of the post-9/11 decline of the old-guard music industry and rebirth of the New York rock scene, led by a group of iconoclastic rock bands. In the second half of the twentieth-century New York was the source of new sounds, including the Greenwich Village folk scene, punk and new wave, and hip-hop. But as the end of the millennium neared, cutting-edge bands began emerging from Seattle, Austin, and London, pushing New York further from the epicenter. The behemoth music industry, too, found itself in free fall, under siege from technology. Then 9/11/2001 plunged the country into a state of uncertainty and war—and a dozen New York City bands that had been honing their sound and style in relative obscurity suddenly became symbols of glamour for a young, web-savvy, forward-looking generation in need of an anthem. Meet Me in the Bathroom charts the transformation of the New York music scene in the first decade of the 2000s, the bands behind it—including The Strokes, The Yeah Yeah Yeahs, LCD Soundsystem, Interpol, and Vampire Weekend—and the cultural forces that shaped it, from the Internet to a booming real estate market that forced artists out of the Lower East Side to Williamsburg. Drawing on 200 original interviews with James Murphy, Julian Casablancas, Karen O, Ezra Koenig, and many others musicians, artists, journalists, bloggers, photographers, managers, music executives, groupies, models, movie stars, and DJs who lived through this explosive time, journalist Lizzy Goodman offers a fascinating portrait of a time and a place that gave birth to a new era in modern rock-and-roll.
