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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.
Gang- and drug-related inner-city violence, with its attendant epidemic of incarceration, is the defining crime problem in our country. In so! me neighborhoods in America, one out of every two hundred youn! g 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 m! arkets 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.
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 wha! t few had imagined: a solution.
Don't Shoot! tel ls 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 Le! ader 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.
Every Wim Wenders soundtrack delivers heaping helpings of class, intellect, and soul, and these 18 all-new tracks rate with
Until the End of the World as a start-to-finish treat. There are too many sublime moments to mention, but definitely check out Spain (the low-key combo led by jazzman Charlie Haden's son Josh), D.J. Shadow, Roy Orbison (a newly discovered track massaged by Brian Eno of all people), Raul Malo of the Mavericks, and Michael Stipe with Vic Chesnutt (the pleasingly primitive "Injured Bird"). Sinead O'Connor's tangle with U2 on "I'm Not Your Baby" is also particularly intriguing.
--Jeff BatemanCelebrated director Wim Wenders (Wings of Desire) brings Bill Pullman, Andie MacDowell, and Gabriel Byrne together in an electrifying suspense-thriller that is an "audacious and sedu! ctive" (Los Angeles Times) tale of paranoia and murder that Ge! ne Siske l calls "one of my favorite filmsof the year!" Manufacturing on-screen violence has created an entertainment empire for fast-lane Hollywood producer Mike Max (Pullman). But when Max comes into possession of details concerning a top-secret, anti-crime satellite surveillance system, the information turns this master of imaginary mayhem into a real-life victim. Escaping into L.A.'s shadowy underworld, Max is forced into a heart-stopping confrontation with forces beyond his comprehension and violence beyond his deadliest fictional creations. Is this the end of violence...or just the beginning?If Wim Wenders falls prey to overambition in this sprawling story of identity, conscience, and voyeurism in modern Los Angeles, it pays off in a richness absent from so many of Hollywood's safe, sterile films. Bill Pullman is the ostensible hero, a Roger Corman-like producer abruptly kidnapped by a pair of dim thugs who prepare to kill him in the shadow of the L.A. freeway. Gabriel Byrne w! atches, powerless, from on high, a meek Big Brother wired up through surveillance cameras hidden throughout the city. When Pullman disappears into the faceless population of L.A., adopted by a family of Hispanic gardeners, he begins his own covert investigation in parallel with the official inquiry conducted by movie-buff cop Loren Dean. Ostensibly a thriller, the film has little onscreen violence, but shadowy threats prowl around the edges, and echoes of unseen murders permeate the picture. The narrative is a tangle, neglecting characters and leaving the vast conspiracy more a suggestion than a fully conceived plot, possibly the victim of last-minute reworking after a disastrous showing at Cannes. But Wenders's unerring eye for image and color creates a stunning, often startlingly beautiful film of unsettling menace and haunting mystery, and his generosity of character fills this world with vivid personalities. Cult director Sam Fuller and character actor Henry Silva have ! small roles, and Traci Lind costars as a young stuntwoman with! ambitio ns of an acting career. As always, Ry Cooder's score is superb.
--Sean AxmakerCelebrated director Wim Wenders (Wings of Desire) brings Bill Pullman, Andie MacDowell, and Gabriel Byrne together in an electrifying suspense-thriller that is an "audacious and seductive" (Los Angeles Times) tale of paranoia and murder that Gene Siskel calls "one of my favorite filmsof the year!" Manufacturing on-screen violence has created an entertainment empire for fast-lane Hollywood producer Mike Max (Pullman). But when Max comes into possession of details concerning a top-secret, anti-crime satellite surveillance system, the information turns this master of imaginary mayhem into a real-life victim. Escaping into L.A.'s shadowy underworld, Max is forced into a heart-stopping confrontation with forces beyond his comprehension and violence beyond his deadliest fictional creations. Is this the end of violence...or just the beginning?If Wim Wenders falls prey to overambition in this spra! wling story of identity, conscience, and voyeurism in modern Los Angeles, it pays off in a richness absent from so many of Hollywood's safe, sterile films. Bill Pullman is the ostensible hero, a Roger Corman-like producer abruptly kidnapped by a pair of dim thugs who prepare to kill him in the shadow of the L.A. freeway. Gabriel Byrne watches, powerless, from on high, a meek Big Brother wired up through surveillance cameras hidden throughout the city. When Pullman disappears into the faceless population of L.A., adopted by a family of Hispanic gardeners, he begins his own covert investigation in parallel with the official inquiry conducted by movie-buff cop Loren Dean. Ostensibly a thriller, the film has little onscreen violence, but shadowy threats prowl around the edges, and echoes of unseen murders permeate the picture. The narrative is a tangle, neglecting characters and leaving the vast conspiracy more a suggestion than a fully conceived plot, possibly the victim of la! st-minute reworking after a disastrous showing at Cannes. But ! Wenders' s unerring eye for image and color creates a stunning, often startlingly beautiful film of unsettling menace and haunting mystery, and his generosity of character fills this world with vivid personalities. Cult director Sam Fuller and character actor Henry Silva have small roles, and Traci Lind costars as a young stuntwoman with ambitions of an acting career. As always, Ry Cooder's score is superb.
--Sean AxmakerThere's an easy way to end gun violence. Let the law-abiding citizens carry concealed weapons. Nra Tee, TShirt, Shirt. About our White T-Shirt: You wouldn't judge a book by its cover, just as you wouldn't judge a person by their shirt. No wait, yes you would. This is anything but a plain white-t. Be comfortable in this cotton shirt, and show off your style and personality in the process.6.1 oz. 100% cotton. Standard fit..Blue and white bumper sticker calling for your involvement in helping to end gun violence.
