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Please Don't Shoot Anyone Tonight by Dave Newman Pdf
When Matt's girlfriend Susan decides she's pregnant, everything explodes. A plan to rob the paint store where Danny works part-time becomes the only way to raise the money Susan needs. But Danny's not a good thief, Matt's unraveling, and Susan is desperate and capable of more than they know. Somewhere between a James Cain novel and a Larry Clark photo, PLEASE DON'T SHOOT ANYONE TONIGHT details a world where parents barely exist, lonely adults can't always recognize teenagers, and the only way to save yourself is by making everything worse.
Don't Shoot! I'm the Guitar Man by Buzzy Martin Pdf
This is the story of lifelong musician Buzzy Martin, music teacher to the hardened criminals inside the walls of San Quentin Prison-and what he learned, note by incredible note.
The remarkable story of David Kennedy's crusade to combat America's plague of gang- and drug-related violence - with methods that have been astonishingly effective across the country. 'If you want to read a book on urban gangs and find out why they exist and why they kill each other, read this ... this is a sociology book, but it's like immersing yourself in The Wire ... When Kennedy says something, you believe him' Scotsman Gang- and drug-related inner-city violence, with its attendant epidemic of incarceration, is the defining crime problem in our country. In some neighborhoods in America, one out of every two hundred young black men is shot to death every year, and few initiatives of government and law enforcement have made much difference. But when David Kennedy, a self-taught and then-unknown criminologist, engineered the "Boston Miracle" in the mid-1990s, he pointed the way toward what few had imagined: a solution. Don't Shoot tells the story of Kennedy's long journey. Riding with beat cops, hanging with gang members, and stoop-sitting with grandmothers, Kennedy found that all parties misunderstood each other, caught in a spiral of racialized anger and distrust. He envisioned an approach in which everyone-gang members, cops, and community members-comes together in what is essentially a huge intervention. Offenders are told that the violence must stop, that even the cops want them to stay alive and out of prison, and that even their families support swift law enforcement if the violence continues. In city after city, the same miracle has followed: violence plummets, drug markets dry up, and the relationship between the police and the community is reset. This is a landmark book, chronicling a paradigm shift in how we address one of America's most shameful social problems. A riveting, page-turning read, it combines the street vérité of The Wire, the social science of Gang Leader for a Day, and the moral urgency and personal journey of Fist Stick Knife Gun. But unlike anybody else, Kennedy shows that there could be an end in sight.
Robert Bedford a very rich man is found in his locked Study dead. The police close the case as a suicide, but a young Architect and his girlfriend question the manner of the death. What happens next upsets the heirs to the Bedford fortune and the closed case.
Between 1933 and 1939, the FBI pursued an aggressive, highly publicized nationwide campaign against a succession of Depression era "public enemies," including John Dillinger, George "Baby Face" Nelson, Charles Arthur "Pretty Boy" Floyd, George "Machine Gun Kelly" Barnes, Bonnie Parker and Clyde Barrow, and the Ma Barker Gang. Bureau Director J. Edgar Hoover's successes in this crusade made him the hero of law and order in the public mind. This historical analysis reveals the agency's often illegal tactics, including torture, frame-ups, and summary executions--later expanded throughout Hoover's 48-year reign in Washington, D.C., and exposed only after his death (some say murder) in 1972.
Understanding the explosive protests over police killings and the legacy of racism Following the high-profile deaths of eighteen-year-old Michael Brown in Ferguson, Missouri, and twenty-five-year-old Freddie Gray in Baltimore, Maryland, both cities erupted in protest over the unjustified homicides of unarmed black males at the hands of police officers. These local tragedies—and the protests surrounding them—assumed national significance, igniting fierce debate about the fairness and efficacy of the American criminal justice system. Yet, outside the gaze of mainstream attention, how do local residents and protestors in Ferguson and Baltimore understand their own experiences with race, place, and policing? In Hands Up, Don’t Shoot, Jennifer Cobbina draws on in-depth interviews with nearly two hundred residents of Ferguson and Baltimore, conducted within two months of the deaths of Brown and Gray. She examines how protestors in both cities understood their experiences with the police, how those experiences influenced their perceptions of policing, what galvanized Black Lives Matter as a social movement, and how policing tactics during demonstrations influenced subsequent mobilization decisions among protesters. Ultimately, she humanizes people’s deep and abiding anger, underscoring how a movement emerged to denounce both racial biases by police and the broader economic and social system that has stacked the deck against young black civilians. Hands Up, Don’t Shoot is a remarkably current, on-the-ground assessment of the powerful, protestor-driven movement around race, justice, and policing in America.
Karen Pryor’s clear and entertaining explanation of behavioral training methods made Don’t Shoot the Dog a bestselling classic with revolutionary insights into animal—and human—behavior. In her groundbreaking approach to improving behavior, behavioral biologist Karen Pryor says, “Whatever the task, whether keeping a four-year-old quiet in public, housebreaking a puppy, coaching a team, or memorizing a poem, it will go fast, and better, and be more fun, if you know how to use reinforcement.” Now Pryor clearly explains the underlying principles of behavioral training and reveals how this art can be applied to virtually any common situation. And best of all, she tells how to do it without yelling threats, force, punishment, guilt trips—or shooting the dog. From the eight methods for putting an end to all kinds of undesirable behavior to the ten laws of “shaping” behavior, Pryor helps you combat your own addictions and deal with such difficult problems as a moody spouse, an impossible teen, or an aged parent. Plus, there’s also incredibly helpful information on house training the dog, improving your tennis game, keeping the cat off the table, and much more! “In the course of becoming a renowned dolphin trainer, Karen Pryor learned that positive reinforcement…is even more potent that prior scientific work had suggested…Don’t Shoot the Dog looks like the very best on the subject—a full-scale mind-changer” (The Coevolution Quarterly). Learn why pet owners rave, “This book changed our lives!” and how these pioneering techniques can work for you, too.
Daddy, Tell Them We Don't Shoot Bambi by Ollie T. Moye Pdf
Daddy, Tell Them We Dont Shoot Bambispins a true account of what one man did to introduce his sons to the basics of hunting and firearms safety, resulting in major quality time during their formative years. More important than tips on getting started, the author underscores strengthening father-son relationship. The authors closeness to nature is accented as he enthusiastically paints an accurate portrait of the average hunter. Included also are the agonies and disappointments of the hunt, often swept aside by the hunter, as well as some laugh out loud stuff hunters encounter. The author offers a 53-year writing background, with many published credits (including hunting) as well as tenure as editor of regional newspapers. He is past-president of the South Carolina Press Association.
Don't Shoot from the Saddle by Donald Alexander Holley Pdf
A lot about Al Holley was larger than life: his size 13 custom-made riding boots; how his surgical ability extended to animals as well as peop≤ his endless renditions of "You Are My Sunshine" on the harmonica—the only song he was able to play; and his love of riding a good horse on a bright fall day. Dr. Al Holley had a storyteller's ability to captivate an audience. First, he would clear his throat, then, with eyes twinkling, he would [begin]. His stories were often a reflection of Al himself and generally went to the very essence of people. He had the unique ability to laugh, not only at what life tossed up but also at himself. Al Holley was not a man who minced his words. What he said was what he thought, no more no less; even if at times he had to extract a foot out of his mouth at a later date. Medicine was only one part of his life. Among other things, Dr. Holley was a Justice of the Peace in the Northwest Territories, a cowboy, an author, a stagecoach driver and actor in Barkerville, a historian, an artist, a hunter, an explorer, a rodeo doctor, a dogmusher, a train robber, a lieutenant in the RCA Medical Corp, a husband, a father, and a grandfather." —Dr. Geoff Thomas
When his parents decide to move to an old house in the country, Chase Riley uses email to his friends back in Columbus, Ohio, and to his sister in college to help him deal with cicadas, deer hunters, and other changes in his life. Originally published as ChaseR. Reprint.
“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.
When James Work took a teaching job at the College of Southern Utah in the mid-1960s, he knew little about teaching and even less about the customs of his Mormon neighbors. For starters, he did not know he was a “Gentile,” the Mormon term for anyone not a member of the Church of Jesus Christ of Latter-day Saints. But just as he learned to be a religious diplomat and a black-market bourbon runner, he also discovered that his master’s degree in literature apparently qualified him to teach journalism, photography, creative writing, advanced essay and feature article writing, freshman composition, and “vocabulary building.” With deadpan humor, Work pokes fun at his own naïveté in Don’t Shoot the Gentile, a memoir of his rookie years teaching at a small college in a small, mostly Mormon town. From the first pages, Work tells how he navigated the sometimes tricky process of being an outsider, pulling readers—no matter their religious affiliation—into his universal fish-out-of-water tale. The title is drawn from a hunting trip Work made with fellow faculty members, all Mormons. When a load of buckshot whizzed over his head, one of the party hollered, “Don’t shoot the Gentile! We’ll have to hire another one!” Today the College of Southern Utah is a university, and Cedar City, like most small towns in the West, is no longer so culturally isolated. James Work left in 1967 to pursue a doctorate, but his remembrances of the place and its people will do more than make readers—Mormon and non-Mormon alike—laugh out loud. Work’s memoir will resonate with anyone who remembers the challenges and small triumphs of a first job in a new, strange place.
