LONGLISTED FOR THE SAMUEL JOHNSON PRIZE FOR NON-FICTION A book like no other - the tale of a gripping quest to discover the identity of history's most notorious murderer and a literary high-wire act from the legendary writer and director of Withnail and I. For over a hundred years, 'the mystery of Jack the Ripper' has been a source of unparalleled fascination and horror, spawning an army of obsessive theorists, and endless volumes purporting finally to reveal the identity of the brutal murderer who terrorised Victorian England. But what if there was never really any 'mystery' at all? What if the Ripper was always hiding in plain sight, deliberately leaving a trail of clues to his identity for anyone who cared to look, while cynically mocking those who were supposedly attempting to bring him to justice? In THEY ALL LOVE JACK, the award-winning film director and screenwriter Bruce Robinson exposes the cover-up that enabled one of history's most notorious serial killers to remain at large. More than twelve years in the writing, this is much more than a radical reinterpretation of the Jack the Ripper legend, and an enthralling hunt for the killer. A literary high-wire act reminiscent of Tom Wolfe or Hunter S. Thompson, it is an expressionistic journey through the cesspools of late-Victorian society, a phantasmagoria of highly placed villains, hypocrites and institutionalised corruption. Polemic, forensic investigation, panoramic portrait of an age, underpinned by deep scholarship and delivered in Robinson's inimitably vivid and scabrous prose, THEY ALL LOVE JACK is an absolutely riveting and unique book, demolishing the theories of generations of self-appointed experts - the so-called 'Ripperologists' - to make clear, at last, who really did it; and more importantly, how he managed to get away with it for so long.

_______________________ 'Hums with particularity and vision' - Observer 'Never before has the painful, knotty journey to maturity been depicted with such gusto, and never has the venerable Bildungsroman received such riotously profane treatment' - New York Times _______________________ The acclaimed autobiographical debut novel by Oscar-winning screenwriter Bruce Robinson, the author of Withnail and I This is the story of a dysfunctional family. It is about a boy and his grandpa, life and death, sex and hate, dog's meat and cancer. It is also about pornography, enemas, Morse codes, puberty, secrets, God and loathing. It is also about love.

Bruce Robinson's celebrated cult comedy starring Richard E. Grant and Paul McGann. It's the end of the 1960s and two out-of-work actors, Withnail (Grant) and 'I' (McGann), subsist on a diet of booze, drugs and fags in their revolting Camden flat. In order to escape the depressing nexus of visits from their dealer and the months of untouched washing-up, they escape to the country, with the intention of getting some R and R at a cottage owned by Withnail's uncle Monty (Richard Griffiths). However, things do not exactly go as planned, Withnail being particularly unsuited to the quiet social mores of countrypeople. The pair's friendship starts to become sorely tested amid the vicissitudes of their 'holiday'. More ominously, uncle Monty appears in person seemingly with something of an eye for 'I'.

Presents the screenplay of the classic cult film by Bruce Robinson, with an introduction by the director.

Running 93 miles from the heathland and forest on the Norfolk-Suffolk border, via stunning sandy beaches, picturesque villages and wild, empty salt marsh to the traditional seaside resort of Cromer on the north Norfolk coast, the Peddars Way and Norfolk Coast Path is a wonderfully varied and interesting National Trail. There is the archaeological interest of the Roman road whose route the trail first follows to the coast, the magnificent architecture of Norfolk' s characteristic flint churches, and for birdwatchers an embarrassment of riches, from the rare stone curlews of Breckland to the marsh harriers sailing above the reedbeds at the spectacular nature reserves of Titchwell and Cley. This official guide, published in conjunction with Natural England, is the only companion you need.

Bruce Robinson writes and directs this drama based on the debut novel of Hunter S. Thompson. Johnny Depp, who also co-produces the film, stars as burned-out vagrant freelance journalist Paul Kemp, who leaves his life in New York behind and heads off south to work for a local newspaper in San Juan, Puerto Rico. There he adopts the debauched, liquor-soaked lifestyle of Hemingway's 'Lost Generation' and develops an unhealthy obsession with Chenault (Amber Heard), the beautiful fiancee of shady property developer Sanderson (Aaron Eckhart).

British drama which follows the relationship of a young couple. Author Peter (Bruce Robinson) takes time out from working to move in with his receptionist girlfriend, Ann (Susan Penhaligon), against the wishes of her parents. When Ann falls pregnant, Peter is torn between pursuing his artistic passion of writing and committing to the domestic lifestyle.

Franco Zeffirelli directs this version of Shakespeare's romantic tragedy - breaking with the norm and casting a 17 (Leonard Whiting) and 15-year-old (Olivia Hussey) to play the lead roles. The filming took place in Italy, broke another tradition by having nude love scenes, has a well-known score by Nino Rota (who went on to write the music for 'The Godfather') and is probably still one of the most profitable film adaptations of a Shakespeare play. The film was nominated for 4 Academy Awards and won 2 - for Costumes and Cinematography.

Afrodescendants' position at the lower-end of economic metrics in the US was reinforced during the Great Recession of 2008-2009. Social groups in such a position are expected to use all available resources to improve their plight-including religion. A key component of the Afrodescendant religious tradition (in and outside of religious liturgies) is Gospel Music. No question about it, Gospel Music has been used historically as a motive force for improving conditions for Afrodescendants. Did Afrodescendants use Gospel Music to improve their economic condition in response to the Great Recession? More broadly, what are the discernable effects of contemporary Gospel Music? THE TRAGEDY OF CONTEMPORARY GOSPEL MUSIC reflects findings from musical, content, and Probit regression analysis of contemporary Gospel Music. We find that, while economic concerns are strongly present in the Gospel Music exchange, the music is not widely used to motivate improved economic outcomes for Afrodescendants.