#styling itself the Irish Republican Army

[faerie-daydream]

Using relevant data, investigate and evaluate how punk music lyrics have changed over time to convey political ideologies and identities.

An essay I wrote for my English language coursework two years ago where some of the songs have now become kind of relevant

The punk scene exploded in the mid 70’s, with influences from 1960’s ‘garage rock’ along with a need to rebel against the expectations of society. Bands such as The Clash and Sex Pistols drew attention to themselves by unapologetically expressing their controversial political views, they provoked thought in people, encouraging people to explore their individuality and question authority. I chose to investigate this topic because although the word ‘punk’ means something different to everyone, there are common connotations that are universal across the scene. I am personally quite involved in the Punk scene so I get to witness modern day punk first hand; therefore, I can see any changes in the language or general culture over the last fifty years; the diversifications and the ways in which it has stayed the same.

I am going to be investigating how much the language used in the punk scene has been affected by the politics of the time. Has it changed that much over the years, and if so why? What drew the members of this scene to using such language? I expect that during this research I will find lots of politically themed lexis during times of more republican and conservative government. I think I will also find some taboo lexis, as coming from a working class majority, the punk scene has often been heavily influenced by drugs, and taboo lexis was traditionally language more typically used by working class citizens. It will also be interesting to look at grammatical structures such as imperatives, pronoun usage and modals to see if the lyrics aim to involve the audience.

To gather the data for my investigation, I picked out songs I already knew, and took some suggestions from other people I know who listen to this genre of music. To help with the political and social contexts, I asked family members who were around at the time of the release of the song.

Musicians in the early days of the punk scene used their songs as a way to educate people about contemporary politics. Because information wasn’t as readily available as it is today, they used their music as a platform to make it available. ‘Know your rights’ by The Clash, starts off with “this is a public service announcement” this phrase denotes important information due to its earliest use being in World War 2 as a way of informing the general public of important events. This pragmatically suggests that the band are like another government, or in a position of power, as usually it is these people making Public Service Announcements. This is followed up by a juxtaposed prepositional phrase “with guitar”. The addition of that phrase is putting emphasis on how popular music can be beneficial to the public, and how bands have a level of influence. Also by using the 2nd person possessive determiner ‘your’, they are addressing the listener personally. Both of these techniques create a sense of synthetic personalisation, where the band puts the audience in the position of active participants in political discourse, which is opposed to mainstream politics.

At the time of release in 1982, the U.K. Had a higher unemployment than there had been since the 1930’s, reaching 14% unemployment by September. The IRA were in a strong position because of hunger strikes the year before, leading to the deaths of 10 people. In this song, The Clash mostly use monosyllabic lexis, because the purpose was to educate the lower class citizens, and they were generally less educated, and wouldn’t trust the typical Latinate lexis associated with the formal register of mainstream political discourse. However, there is no use of taboo lexis in this song, because sometimes the lack of taboo is more powerful. They are trying to out across an informed opinion at the same time as informing people, so they want to sound educated, and taboo lexis was seen as the language of lesser educated people. By not including taboo lexis, the band ensure that their song will be played on the radio, reaching a wider audience – with less chance of being censored, they are making it easier for the young people who make up their target audience to discover. The imperative phrase “know your rights” is used frequently, and always followed up by “all three of them” and this juxtaposition gives the sentence more negative and critical meaning. The bald on record style of this phrase is an openly positive face threatening act towards the government and people in power. In the next verse, the band name the first right. This first right is a human right ‘right to life’, and again they have used very simple Germanic lexis, and are accommodating for their audience of working class citizens as well as differentiating themselves from political registers. The syntax choice in this sentence makes it a passive phrase, highlighting that the addressee is in the position of a helpless victim. The next ‘right’ mentioned is “the right to food money”. This listing of abstract nouns suggests that these two things are equivalent. This song was released not long after child benefits were introduced in the UK in 1970, because families would get money from the government to help feed themselves. The implications of this are altered in the next line; “investigation, humiliation” are what you have to experience in order to access this right. At the end, they use some ambiguous imagery “cross your fingers”. This phrase can have connotations of lying and also of hope. As this verse is a comment on benefits, and there is a stereotype attached to working class citizens who get benefits lying in order to ‘live off the government’. On the other hand, there are people who really do need the support, and so in this context would “cross their fingers” in hope that they get some financial aid to feed their family.

The third ‘right’ is “the right to free speech [unless you’re] dumb enough to try it”. This phrasing has some irony, as by writing these lyrics, and using them to criticize the government so openly, the band is practising their own freedom of speech. There is some underlying pragmatic irony used in the word ‘dumb’ as the originally, this referred to a person who was silent and unable to speak. In the last verse, they say “it has been suggested in some quarters that this is not enough”. By using the indeterminate pronoun ‘it’, the sentence is passive, and the person actually making the suggestion has been left out, creating a sense of mystery. The use of the adjective ‘some’ implies the people with this opinion are a minority.

Contemporaries of The Clash, Stiff Little Fingers brought out their song ‘Suspect device’ in 1979. The song title itself had strong political connotations as the band are from Northern Ireland and at the time of release, the Irish Republican Army (IRA) were still a prominent part of the politics. ‘Suspect Device’ was a euphemism used by police officers in reference to the bombs exploding more and more often in both Ireland and England as a result of ‘the Troubles’. The band then uses the phrase ‘suspect device’ in the second line, and say it has “left two thousand dead”. Over time, 1800 civilians have been killed by the IRA, so the band have used a dysphemism in putting a figure on the number of people dead to shock the audience into seeing the extent of the damage done during the conflict, and by not using a noun, specifying two thousand ‘people’ dead, there is emphasis put on the number.

Later in the song, the band use 3rd person pronouns to refer to the opposing side, however, don’t make it clear whose side (if any) they’re on. In the chorus, there is some use of colloquialism: “suss” was slang for ‘street smarts’ and could also have connotations of a law that was in place in the late 70’s until the early 80’s that gave police officers the right to arrest someone if they thought they looked suspicious. What with the dress sense and refusal to conform, there is a likelihood people who identified with the punk community would have been singled out with this law. In the first line, the lexical verb ‘planted’, is used and is a typical collocation with ‘bomb’. However, the meaning here is ambiguous as it has more than one possible meaning. They say inflammable material is “planted in my head”; this underlying metaphor suggests that ideas and thoughts can be just as dangerous as a bomb.

Throughout the song, pronouns and possessive determiners are used to create an ‘us vs them’ discourse. “They put up a wall…make sure we get fuck all”, this puts the government in a position of almost ownership, insinuating they can do as they please and make sure ‘we’, the citizens, get nothing from them, the government. By using a semantic field of a card game, the band are metaphorically implying the government is cheating them and “dealing them to the bottom”. In the second verse “they make us feel indebted for saving us from hell” is implying that life in Northern Ireland at the time was ‘hell’, and the British government are trying to put it right. However, from some points of view, the British government are the ones responsible for this ‘hell’. In the next line, a mild dysphemism is used, as during this time, more taboo lexis would most likely have them banned from the radio. As with The Clash, this song is meant to inform the listeners of the issues, and highlight another, less mainstream point of view, so radio play would have been essential.

In the next verse, they address the audience directly, with an imperative sentence “question everything you’re told” this is mild, and possibly unintended irony, as by questioning everything they’re told, the audience should be questioning the song and lyrics themselves. This could also be a reference to the typical punk nihilistic idea, and the rejection of fitting in that the punk scene promotes, encouraging the audience to think for themselves. Interestingly, during the last verse, they change the pronoun from 3rd person to 1st person, by saying ‘don’t believe us’, further encouraging independent thought. Using the phrase “we’re a suspect device if we do what we’re told” is further building this independent thought, as they are saying that if we try too hard to conform and fit it, we’ll eventually end up exploding. It is then implied that this is a purposeful act on the government’s part – they are building up these ideologies, trying to push people into becoming angry enough to fight. There is then a football related metaphor ‘score an own goal’, and this fits with the violence implied, as football fans have a reputation for violence, especially in the 70’s and 80’s. The closing line in the song is “we’re gonna blow up in their face”. The image used here fits with the semantic field of bombing that runs through the whole song, but could also be a metaphor suggesting that strategies put in place by the government are likely to backfire.

In 2001, the American people elected another Republican president, and this caused a re-sparking of angry political punk music. In ‘American Idiot’ by Green Day, they open the song with a negative face threatening act aimed at the government, and president himself: “don’t wanna be an American idiot”. The term ‘American idiot’ is allusion to George Bush Jr, who was the president at the time. In the first verse, there is a semantic field of media related panic. They are implying that the media stirs up anxiety (‘hysteria’) in a way that goes unnoticed by most of the American population – it is ‘subliminal’ to the ‘idiots’. “Mind-fuck” is an example of compound neologism to express an idea of emotional and mental manipulation. The verse as a whole is also commenting on how the population of America will believe anything they’re told on TV, and the use taboo lexis is to add to the feeling of severity and frustration at the population of their country.

In the next verse, they use the nouns “faggot” and “redneck”; these are an example of juxtaposing imagery. The liberal ‘faggot’ and conservative ‘redneck’ are opposite ends of the political spectrum, however both nouns are dysphemism, offensive terms used by the opposing side as an insult. There are underlying implications here that at the time, the US debates were very polarized, and the protagonist here can’t identify with either side, because the extremism on both sides are as bad as the other. However, the use of the slur against gay people hints that the protagonist is leaning more towards the ‘left-wing’ liberal view, labelling himself the ‘faggot’. It is also a reference to the band themselves, as all three members are openly bisexual. In the next two lines, the nouns ‘propaganda’ and ‘paranoia’, are used together, implying that propaganda causes paranoia. In the chorus they use a pun “alien nation” as it sounds like ‘alienation’, and that is what the protagonist is experiencing. The world ‘alien’ refers to a person or thing that doesn’t belong, or doesn’t originate in the country or place it is currently. In this instance, it is implying that the citizens of America are ‘aliens’ because the country has become a stranger to its own people. They use the word ‘dreams’ later in the chorus, though the implied meaning is ambiguous. It isn’t clear if ‘dreams’ is meant to be a verb or a noun, this adds to the sense of being alienated and distanced: does the protagonist know how it is meant? The term “television dreams” used with the previous line “everything isn’t meant to be okay” almost juxtapose each other, as in TV drama and advertising, life is often portrayed in an unrealistically positive manner. However, if a person switches the channel and looks at the news, they are faced with the harsh reality that the happy ending goal people strive for is rarely, if ever achievable. Also, the mention of the ambiguous noun phrase or clause “television dreams” alludes to the ‘American dream’, a very powerful inspirational ideology, which is being presented as reduced to an illusionary failure.

Moving forwards 12 years to 2013, a small band from Northern California – Emily’s Army – released a song called ‘Bad Cop’. The title of the song hints at the political problems the band are commenting on. The monosyllabic lexis used are one half of a common collocation ‘good cop, bad cop’, and by leaving off the ‘good cop’ part, it is implied that there is no longer a ‘good cop’ to counter the ‘bad cop’. In total in 2010-2011, 470 people were killed by law enforcement officers in the United States, giving the song its context. They use an oxymoron ‘police brutality and battery’ in the pre-chorus to outline this at face value. The brutality and battery parts are taboo topics, as this is a subject people usually tend to avoid. In the first verse, they talk about how the police man pulls out his gun instead of his stun gun, and they hint that it is an accident, but then follow up by pointing out the “stun gun is yellow, and his pistol is black.” The subtext here is saying that the officer knew exactly what he was doing. The use of the conjunction ‘but’ throws doubt over the first two lines – presumably the policeman’s explanation as to why he shot a person instead of stunning them. The parallel grammatical structure of a copular verb and colour adjective highlights this obvious contrast, implying it wasn’t an accident.

By using the abstract noun “police” as a modifier for the phrase “brutality and battery” creates powerful imagery, as stereotypically the word “police” has connotations of safety and protection, so the contrast of the phrase and the word is implying that the word is starting to undergo a semantic change, as people are associating the word “police” with violence and the things they’re meant to protect against. At the end of this verse, they use a common idiomatic expression that usually means to ‘finish something in a notable way’. However, in the context used here, it is also referencing the phrase to ‘top someone off’ – a common euphemism for killing someone, reinforcing the horror of a police officer doing these things. The shift to first person pronouns in the next verse is trying to give a voice to the thoughts of this sort of police officer. The word ‘mindset’ – used in the next verse has positive connotations, as a mindset implies having a beneficial approach to doing things. However the word ‘mentality’ has negative connotations, suggesting a detrimental approach to a situation, despite the two words being synonymous and carrying the same denotation. The juxtaposition used in the next line of ‘one hand on his gun’ and ‘one hand in his pants’ – here used as a euphemism implying masturbation – alludes to the common metaphor of a weapon symbolising a penis, and the penis as a weapon, and suggests the officer is getting an emotional response from the violence that is similar to sexual excitement.

While the language used in the punk music scene has changed since the 70’s due to the different political contexts, and its spreading to the USA, and although the purpose has changed somewhat, the overall intention hasn’t. The purpose of these kinds of songs has changed somewhat since the early stages. The Clash used their music as a way to inform people of political issues in a world where the information was not as readily available, whereas the more modern political punk music is trying to put things in a simple, factual form, because their listeners have almost too much access to information and it can get overwhelming. There is a semantic field of fighting against injustice and war across all four songs I have investigated, and there are common themes of the cultural encouragement to ‘think for yourself’.

The songs I have looked at and the culture associated with punk music overall is encouraging people to go against the grain of society and embrace their individuality. The common boldness when it comes to criticizing those in power is a part of what draws people to the punk culture, and throughout the years, bands have expressed their anger and distaste with the government and current political affairs in an open manner, all with the intention of shocking the listener enough to help make a change.

However, despite the similarities, the language used has changed over time. In the earlier days of the punk music scene, less taboo lexis were used in songs, as these would result in radio ban and the band wouldn’t be able to spread the information. In later years, swear words have become less of a taboo and wouldn’t shock people as much, so they can be used in songs and the message of the song wouldn’t become overshadowed by the use of taboo lexis. Although the critical nature of the lyrics used in punk songs hasn’t change too much, the ability to openly criticize people in power has increased the number of songs that directly criticize political figures. The generally more accepting state of the society we live in today has meant the punk culture has become less of an underground scene, it has opened the songwriters up to a wider audience, getting more mainstream media attention. Overall, despite the language changes in the songs over time, the semantics and overall messages have stayed relatively similar.

However, the sample, if typical for classic punk and more up-to-date American punk, is fairly small. So, it would be interesting to collect a lager sample from a wider range of performers to see whether these tentative conclusions would still apply; perhaps using some female fronted, or all female punk bands to see how the message they are trying to display differs.

[seachranaidhe]

Monaghan man found guilty of IRA membership

James Joseph Cassidy. Picture Collins Courts

A Monaghan mechanic has been found guilty of IRA membership by the non-jury Special Criminal Court.

James Joseph Cassidy, 55, of Tullycollive, Castleblayney, Co Monaghan, had denied membership of an unlawful organisation, styling itself the Irish Republican Army, otherwise Óglaigh na hÉireann, otherwise the IRA on September 21, 2016.

In his opening…

[asfeedin]

The true, cocaine-fueled story behind Back to the Future’s DeLorean

What’s the link between Hollywood, an American businessman, time-travel, and a mountain of cocaine big enough to make even Keith Richards’ knees tremble? Answer: the DMC DeLorean, AKA the DMC-12, AKA the car from Back to the Future.

This weekend marks the 35th anniversary of Back to the Future, so let’s travel back in time and pay homage to the real version of that Mr Fusion-powered 88 mph gull-winged chariot. Strap in, because it’s a wild ride.

[Read: Remembering the Nucleon, Ford’s 1958 nuclear-powered concept car that never was]

But why a time-travelling DeLorean?

Most of the world, certainly outside the US, probably had no idea about the eponymous DeLorean until it featured in Back to the Future, which first hit screens in 1985.

First off, the time machine in Back to the Future was never actually even meant to be a car, let alone a DeLorean. According to director Robert Zemeckis, speaking on the DVD commentary of the films, the time machine was first a laser device, which was scrapped because, uh, dull!

In the second draft it was a refrigerator. But apparently the filmmakers were concerned it would encourage children to climb into fridges and get stuck, so that idea was scrapped too.

Credit: Ewan Roberts

The DeLorean dressed up as it was in Back to the Future Part 3. Arguably the best of the trilogy?

Eventually, the film’s producers decided that you’d want the time machine to be mobile, so they looked to cars. The DeLorean was chosen because of its radical look, and iconic gull-wing doors. Incidentally, its “spaceship” like appearance has been credited as one of the main reasons for it being chosen as well. The DMC-12 was made of brushed stainless steel and was left unpainted, because DeLorean apparently didn’t want to spend money on painting equipment.

In an interview with Esquire, the film’s co-creator Bob Gale said that the film was offered $75,000 to use a Ford Mustang. Gale basically told Ford to get stuffed, and responded with: “Doc Brown doesn’t drive a fucking Mustang!” and so, history was made.

Credit: Wikimedia CC

Original artist designs for the DeLorean time machine were “too good.” Film makers wanted it to look like the Doc had indeed made it in his garage. Many hardcore film fanatics restore and build up Back to the Future DeLorean replicas, just for fun. (This one seems to have something to do with Uber, eurgh.)

The importance of Gale’s remark shouldn’t be understated. The films were littered with other product placements — everyone remembers Nike’s self-lacing shoes and Mattel’s Hoverboard. But by 1985, the DeLorean Motor Company (DMC) had already folded, meaning Gale’s steadfastness on the DeLorean was even more valuable and stopped the car from being lost in the annals of time. Instead, we got one of the most iconic film cars ever.

By the time the films were released, the car had already developed a name for itself, for reasons that had little to do with the vehicle and everything to do with the jet-setting playboy that invented it.

The man, the legend

John DeLorean, the man who would later go on to found the DeLorean Motor Company (DMC), was a stalwart of the automotive world. He was the lead engineer behind iconic muscle cars, like The Pontiac GTO, and the Pontiac Firebird. He worked for many years at General Motors before parting ways with the American automotive giant in 1973.

In 1975 he set up the DeLorean Motor Company with the goal of producing an “ethical” sportscar. One that’s safe, reliable, and built to last. Think of DMC as the Tesla of its day. It wanted to challenge the status quo.

Credit: Wikimedia

John DeLorean was born in 1925. He rose through the ranks of the automotive trade thanks to his risk taking, take no crap attitude. He’d end up being one of the youngest high-ranking executives at GMC by 40 years old.

For design of the DMC-12, DeLorean called on one of the most influential yet unknown car designers, Giorgetto Guigiaro. The Italian designer had a way with the pencil that would see his designs go from paper to the silver screen on more than one occasion. His Lotus Esprit went on to become James Bond’s famous underwater car.

With such pedigree behind the project, you’d think the DMC-12 would find its way into the history books on its own merit. But that wasn’t to be, as the car wasn’t exactly any good and John DeLorean had a habit for going a bit over the top.

The first and only, DeLoreans

The first DMC-12 made its way onto the road in 1981, and around 9,000 units were ever made.

To build the car, DeLorean approached the British government, which threw £100 million of tax payer money at him to build a factory in Northern Ireland. The British government thought they were generating thousands of jobs in an area struck by war, DeLorean thought he was getting a great deal to realize his dream.

DMC-12s had a 2.85 liter V6 motor, putting out 130 hp, mounted behind the drivers powering the rear wheels. Drivers had a choice of 5-speed manual or 3-speed automatic transmissions which were pretty typical for the early 80s.

Credit: Wikimedia CC

The DMC-12 was ran on a 2.85 liter V6 made my Peugeot, Renault, Volvo. Nothing screams pedigree like those three names, right?

There was just one body style, featuring those iconic gull-wing doors, and no choice of paint. Every car was finished with brushed stainless steel, which some owners maintain using WD-40, not soap and water like every other car.

All of this came together to produce a car that wasn’t practical, particularly fast, and didn’t handle like a sportscar should. And because of mechanical flaws that needed to be worked out, production was delayed, and the car ended up costing far more than was initially forecast.

It was called the DMC-12 as it was originally going to be sold for $12,000, but various overruns and production challenges pushed its price tag closer to $25,000.

Credit: Wikimedia CC

Perhaps the most iconic part of the DMC-12 are its gull-wing doors. Any guesses where Elon Musk got the idea for his “Falcon” doors from?

Even though no accurate records exist of how many DeLoreans were ever sold, reports suggest the car had no problem initially capturing the hearts and minds of the American motoring public. But it couldn’t turn the initial interest into consistent sales.

A year later in early 1982, nearly a decade after DeLorean left GMC to set up his eponymous company, some 7,000 vehicles remained unsold.

Add this to economic recession and DeLorean‘s company was on the ropes.

A slippery slope

The British PM at the time, Margaret Thatcher, ordered DeLorean to raise more money to keep the company in business and support his employees. DeLorean, enraged, claimed that the British Government was closing his Northern Ireland plants on the grounds that its Catholic employees were “tithing the Irish Republican Army.”

But the reality was that DeLorean needed some $17 million to save his company from bankruptcy — that’s $46.5 million accounting for inflation.

Over the course of 1982, DMC’s financial situation worsened, and DeLorean was left with few options.

In October 1982 he found himself in a Los Angeles hotel room with a man he half-trusted in the hope he could save his company. The man, James Hoffman, a previously convicted drug smuggler, alleged that DeLorean had come to him looking to carry out a cocaine deal to generate funds to support his failing business.

During the meeting a briefcase supposedly filled with 27 kg (about $6.5 million worth) of cocaine was laid out on a table. Discussions had also alluded to a bigger deal, in which DeLorean would part finance the sale of $24 million worth of the drug. He agreed and was even recorded on video as saying the white stuff is “better than gold.”

Credit: Jason Leung

Despite not being the best car, even at its time, the DMC-12 has a dedicated following. Many enthusiasts restore and care for their beloved vehicles. According to classic car forum Honest John and the DeLorean owners club, in July 2019 there were about 150 in the UK. Not all were registered, though.

DeLorean was promptly arrested at the hotel on grounds of narcotics law violations.

However, James Hoffman was working with the FBI as an informant. According to reports, DeLorean never actually wanted to go along with the cocaine trafficking. In fact, it was Hoffman who approached and coerced DeLorean into the bogus deal, in an attempt to provide information to the FBI and have his own sentence reduced.

DeLorean was able to prove that he had been “play-acting” all along. He went along with Hoffman after threats were made against his family.

By August 16, 1984, DeLorean was acquitted on grounds of government entrapment.

DMC will never be forgotten

Sadly, a week after DeLorean’s arrest, his company filed for bankruptcy and by December 1982, just two years after the first cars were sold, DMC was no more and the British government shutdown his NI factory.

It wasn’t just DeLorean’s drug smuggling antics that landed him in hot water, he also had a track record of misappropriating company funds. DeLorean went on to spend many years unpicking legal cases related to the downfall of his beloved car business. In 1999, he declared bankruptcy. The story of his life has been made into a film of its own, called Framing John DeLorean.

Back to the Future press poster, look for the subtle presence of the DeLorean, the film’s true leading star.

DeLorean never gave up on his dreams and in his final years he attempted to resurrect DMC by designing and selling watches, eyeglasses, and sunglasses. He hoped he would eventually be able to drum up enough support and funding to relaunch his car company. In March 2005, John DeLorean died of complications from a stroke.

The DMC-12 might not have been DeLorean’s greatest car, and it may have met its premature end because of his Machiavellian antics. But it was those antics and self-belief that gave birth to the idea in the first place, and eventually led Back to the Future’s filmmakers to pick it as their time machine.

Back to the Future may have helped make the DMC-12 one of the most iconic cars ever, but it — and its creator — should be remembered for so much more than that.

Sources: Reuters, Washington Post, New York Times 1, New York Times 2, Volo Auto Museum, Drive Tribe, Esquire, Back to the Future DVD commentary

Read next: Elon Musk bought $45M in Tesla stock since ‘that weed joke’ — now it’s worth double

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[mychaoticallyeclecticlife]

Another day, another blog tour. Today I’m one of the designated stops on the blog tour for Hunting Angels Diaries by Conrad Jones. This is a box set containing two books A Child for the Devil and Dark Angel. Also on today’s agenda are Have Books, Will Read; Kristin’s Novel Cafe and Everywhere and Nowhere.

There are still a few remaining stops on the tour, here’s where it’s heading next.

Synopsis

When an author is asked to help the police with the investigation into a double murder by identifying occult symbols, which had been carved into the victims, he is plunged into nightmare and forced to go on the run. Hunted by law and a powerful cult, he has to stay one step ahead to survive.

Review

I had the pleasure of being on one of Conrad’s recent tours for his novel Shadows so when the opportunity arose to review more of his books I jumped as the chance.

This review has been quite hard to write if I’m honest because I both loved and hated the books in equal measure. There was something about them that just didn’t click with me yet still had me turning the pages to find out how everything played out.

Both books are packed full of graphic violence so if this isn’t your thing then these books maybe aren’t for you. However if you can overcome the gruesome details surrounding ritualistic kills, torture and rape then they could well be two of the most dark and disturbing books you’ve ever read.

The opening chapter of A Child for the Devil did having me wondering if I could carry on reading. I won’t go into too much detail but it involved eyes and considering I have a minor phobia of putting my own contact lenses in I’m very proud of myself for continuing to read on. Luckily after this the book, although still very dark, didn’t have me squirming quite as much as I read it. Don’t get me wrong it was still very sick and not for the faint of heart, but it fits in well with what was happening in the story.

The story itself is unusual in the fact that the author is in fact the main character and at times I did find myself wondering what was real and what was fiction. I also found myself wanting to Google everything he told me to (here’s hoping they don’t come after me next!!).

The character of Conrad Jones wasn’t the most likeable person but I found myself cheering from him as he hunted down the people that were hunting him. My favourite character and the overall star of the book (well the first one) has to be Evie Jones, Conrad’s beloved Staffie. I love her characterisation and was a little sad when she only had a fleeting mention in the second book.

I enjoyed the first book much more than the second. This is mainly due to some minor continuity issues between the two books. That said I would still highly recommend these books. If you enjoy dark, disturbing books with unexpected twists that will totally mess with your head and have you questioning reality, then this series is perfect.

Many thanks to Conrad and Emma for my advanced reader copy and inviting me on the tour!

Amazon UK | Goodreads | Amazon US

About the Author

I am Conrad Jones, a fifty-year-old author, originally from a sleepy green-belt called Tarbock Green, which is situated on the outskirts of Liverpool. I spent a number of years living in Holyhead, Anglesey, which I class as my home, before starting a career as a trainee manager with McDonalds Restaurants in 1989. I worked in management at McDonalds Restaurants Ltd from 1989-2002, working my way up to Business Consultant (area manager) working in the corporate and franchised departments.

On March 20th, 1993, I was managing the restaurant in Warrington’s Bridge St when two Irish Republican Army bombs exploded directly outside the store, resulting in the death of two young boys and many casualties. Along with hundreds of other people there that day I was deeply affected by the attack, which led to a long-term interest in the motivation and mind set of criminal gangs. I began to read anything crime related that I could get my hands on.

I link this experience with the desire to write books on the subject, which came much later on due to an unusual set of circumstances. Because of that experience my early novels follow the adventures of an elite counter terrorist unit, The Terrorist Task Force, and their enigmatic leader, John Tankersley, or `Tank` and they are the Soft Target Series, which have been described by a reviewer as ‘Reacher on steroids’  I had no intentions of writing until 2007, when I set off on an eleven-week tour of the USA. The day before I boarded the plane, Madeleine McCann disappeared and all through the holiday I followed the American news reports which had little or no information about her. I didn’t realise it at the time, but the terrible kidnap would inspire my book, The Child Taker years later. During that trip, I received news that my house had been burgled and my work van and equipment were stolen. That summer was the year when York and Tewksbury were flooded by a deluge and insurance companies were swamped with claims. They informed me that they couldn’t do anything for weeks and that returning home would be a wasted journey. Rendered unemployed on a beach in Clearwater, Florida, I decided to begin my first book, Soft Target. I have never stopped writing since. 

The Child Taker was the 6th book in the Soft Target Series but it also became the first book in the Detective Alec Ramsay Series when I signed a three-book deal with London based publishers, Thames River Press. The series is now seven books long with an average of 4.8 stars from over 2000 reviews. The first two books are always free with over 1100 5-star reviews. 

As far as my favourite series ever, it has to be James Herbert’s, The Rats trilogy. The first book did for me what school books couldn’t. It fascinated me, triggered my imagination and gave me the hunger to want to read more. I waited years for the second book, The Lair, and Domain, the third book to come out and they were amazing. Domain is one of the best books I have ever read. In later years, Lee Child, especially the early books, has kept me hypnotised on my sunbed on holiday as has Michael Connelly and his Harry Bosch Series.

Conrad is the author of seventeen novels, eight author guides and two biographies. He has three series

The Detective Alec Ramsay Series; seven books Gritty Crime Thrillers

The Soft Target Series; Gritty Thrillers six books (Reacher Style)

The Hunting Angels Diaries; three books Horror Thrillers

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      Today I'm the designated stop on the blog tour for Hunting Angels Diaries by Conrad Jones. Another day, another blog tour. Today I'm one of the designated stops on the blog tour for Hunting Angels Diaries by Conrad Jones.

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Damien Metcalfe seen coming and going from house where alleged IRA activity took place

The trial of a man accused of IRA membership has heard how the defendant was seen on numerous occasions, “entering” and “leaving” a premises where IRA activity is alleged to have been taking place.

Damien Metcalfe (33) is charged with membership of an unlawful organisation, styling itself the Irish Republican Army, otherwise Oglaigh na hEireann, otherwise the IRA, on November 24th, 2015.

Mr…

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Kevin Braney refused bail on IRA membership charge

A man charged with murder and IRA membership was refused bail at the Central Criminal Court this morning. Kevin Braney (43) with a last address at Glenshane Crescent, Tallaght in Dublin is charged with the murder of Peter Butterly, a 35-year-old father of two who was shot dead on March 6, 2013 outside The Huntsman Inn in Gormanston, Co Meath. Mr Braney is further charged with membership of an…

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Trial date set for men facing charges arising out of Dave Cullen Supergrass evidence

Books of evidence were served on five men in connection with the case before the non-jury Special Criminal Court this morning. They were Michael McDermott (58), of Riverdale House, Garrymore, Ballinagh, Co. Cavan, who was one of the men charged with the actual killing of Mr Butterly outside the pub that day. Secondly, he is charged with membership of an unlawful organisation styling itself the…

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Two Dublin men charged with possession of 4kg of explosive TNT

A relative of former Lord Mayor of Dublin, Christy Burke has been granted bail on a charge of possessing four kilo’s of TNT One of the men was previously charged with membership of the IRA. Martin Manning TWO DUBLIN MEN have been charged at the non-jury Special Criminal Court this morning with possessing four kilograms of the explosive TNT in June this year. John O’Brien (55), of North Great…

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Darren Glesson pleads guilty to IRA membership charge

A Dublin man has admitted at the non-jury Special Criminal Court to being a member of the IRA. Darren Gleeson (34), with an address at Corduff Green, Blanchardstown, Dublin 15, pleaded guilty today to membership of an unlawful organisation, to wit an organisation styling itself as the Irish Republican Army, otherwise Oglaigh na hEireann, otherwise the IRA, within the State on May 18th, 2017. The…

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Darren Gleeson sentenced to 3.5 years on IRA membership charge

A Dublin man who ordered two grenades off the Dark Net has been jailed for three years and six months for IRA membership. Darren Gleeson (35), with an address at Corduff Green, Blanchardstown, Dublin 15, pleaded guilty last month at the Special Criminal Court to membership of an unlawful organisation, to wit an organisation styling itself as the Irish Republican Army, otherwise Oglaigh na…

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Special non-jury diplock court to rule on whether IRA membership case will proceed.

The judges at the Special Criminal Court trial of a Louth man accused of IRA membership will rule tomorrow on whether the case can go any further. Michael Connolly (44) of Grange Drive in Dundalk, County Louth, has pleaded not guilty to membership of an unlawful organisation, styling itself Oglaigh na hEireann, otherwise the Irish Republican Army, otherwise the IRA on December 16th, 2014. It is…

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IRA accused made no response to certain material questions, trial hears.

The Special Criminal Court trial of a Monaghan man charged with IRA membership has heard memos of garda interviews with the accused. Jim Smyth (44), with an address at Aghalissabeagh, Scotstown, County Monaghan has pleaded not guilty to membership of an unlawful organization, styling itself the Irish Republican Army, otherwise Oglaigh na hEireann, otherwise the IRA, on November 25th, 2015.…

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Arrest of Jim Smyth on trial for IRA membership legal, court rules.

The Special Criminal Court has ruled that a Monaghan man who was allegedly using his land for IRA activities was arrested legally. Jim Smyth (44), with an address at Aghalissabeagh, Scotstown, County Monaghan has pleaded not guilty to membership of an unlawful organization, styling itself the Irish Republican Army, otherwise Oglaigh na hEireann, otherwise the IRA, on November 25th, 2015. It is…

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A Monaghan man accused of IRA membership was using his mother-in-law's land for dissident activity, the Special Criminal Court has heard.

A Monaghan man accused of IRA membership was using his mother-in-law’s land for dissident activity, the Special Criminal Court has heard.

Jim Smyth (44), with an address at Aghalissabeagh, Scotstown, County Monaghan has pleaded not guilty to membership of an unlawful organization, styling itself the Irish Republican Army, otherwise Oglaigh na hEireann, otherwise the IRA, on November 25th, 2015. Today’s evidence was heard as part of a voir dire – or “trial within a trial” – and will help the court’s three judges to decide on a legal…

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Jim Smyth goes on trial accused of IRA membership.

A Monaghan man was seen walking up a “dark, muddy laneway” near two derelict houses on the night he was arrested for IRA membership, the Special Criminal Court has heard. Jim Smyth (44), with an address at Aghalissabeagh, Scotstown, County Monaghan has pleaded not guilty to membership of an unlawful organization, styling itself the Irish Republican Army, otherwise Oglaigh na hEireann, otherwise…