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Fourteen stories from New York's criminal past cover the field, from draft riots during the Civil War to prohibition, modern-day gang violence, and murder.
Cites successful examples of community-based policing.
Discusses many of the ways that New York City dropped its crime rate between the years of 1991 and 2000.
When night falls on New York, the shadows are everywhere and death wears many faces. How the victims leave their bodies is deeply personal, but the witnesses to their death and the factors that brought it about belong to the public world—a somber world which is encapsulated in this gruesome survey of crime and violence in the 1910s. Parts of the city that are today among its trendiest neighborhoods were once the battlegrounds of evil forces, which left their mark in unforgettable ways. Here, newspaper clippings, police reports and testimonies are placed alongside the scenes that they describe, fleshing them out and giving life to the departed. Complete with an introduction from German actor and writer Joe Bausch, this book is a must for anyone who has ever anxiously imagined how dark an activity like dying can be—and isn’t that everyone?
Dorothy Sayers called William Roughead "the best showman who ever stood before the door of the chamber of horrors," and his true crime stories, written in the early 1900s, are among the glories of the genre. Displaying a meticulous command of evidence and unerring dramatic flair, Roughead brings to life some of the most notorious crimes and extraordinary trials of eighteenth- and nineteenth-century England and Scotland. Utterly engrossing, these accounts of pre-meditated mayhem and miscarried justice also cast a powerful light on the evil that human beings, and human institutions, find both tempting to contemplate and all too easy to do.
A spellbinding account of the real facts of the Central Park jogger case that powerfully reexamines one of New York City's most notorious crimes and its aftermath. • A must-read after watching Ava DuVernay's When They See Us On April 20th, 1989, two passersby discovered the body of the "Central Park jogger" crumpled in a ravine. She'd been raped and severely beaten. Within days five black and Latino teenagers were apprehended, all five confessing to the crime. The staggering torrent of media coverage that ensued, coupled with fierce public outcry, exposed the deep-seated race and class divisions in New York City at the time. The minors were tried and convicted as adults despite no evidence linking them to the victim. Over a decade later, when DNA tests connected serial rapist Matias Reyes to the crime, the government, law enforcement, social institutions and media of New York were exposed as having undermined the individuals they were designed to protect. Here, Sarah Burns recounts this historic case for the first time since the young men's convictions were overturned, telling, at last, the full story of one of New York’s most legendary crimes.
In 1978, Ed Koch assumed control of a city plagued by filth, crime, bankruptcy, and racial tensions. By the end of his mayoral run in 1989 and despite the Wall Street crash of 1987, his administration had begun rebuilding neighborhoods and infrastructure. Unlike many American cities, Koch's New York was growing, not shrinking. Gentrification brought new businesses to neglected corners and converted low-end rental housing to coops and condos. Nevertheless, not all the changes were positive--AIDS, crime, homelessness, and violent racial conflict increased, marking a time of great, if somewhat uneven, transition. For better or worse, Koch's efforts convinced many New Yorkers to embrace a new political order subsidizing business, particularly finance, insurance, and real estate, and privatizing public space. Each phase of the city's recovery required a difficult choice between moneyed interests and social services, forcing Koch to be both a moderate and a pragmatist as he tried to mitigate growing economic inequality. Throughout, Koch's rough rhetoric (attacking his opponents as "crazy," "wackos," and "radicals") prompted charges of being racially divisive. The first book to recast Koch's legacy through personal and mayoral papers, authorized interviews, and oral histories, this volume plots a history of New York City through two rarely studied yet crucial decades: the bankruptcy of the 1970s and the recovery and crash of the 1980s.
Providing a front row seat at critical courtroom battles over seduction, pimping, rape, and sodomy in early twentieth-century New York City, Brian Donovan uses verbatim trial transcripts to understand the city's history during the so-called "first sexual revolution." By tracing the revolutionary and repressive dimensions of this time period, Donovan reveals how conflicting ideas about sex and gender shaped the city's criminal justice system. He unearths stories of sexual violence and legal injustice that contradict the image of early twentieth-century America as a time of sexual revolution and progress. Police and courts often served the interests of the upper classes, men, and racial and ethnic majorities, but the trial transcripts included here reveal the considerable extent to which members of working-class and immigrant communities used the machinery of law enforcement for their own ends. Many previous books have fully documented and analyzed the sensational trials of turn-of-the-century New York City, but none have paid such close attention to the courtroom experiences of common city dwellers.
'City Crimes; Or, Life in New York and Boston' is a shocking and graphic novel that takes readers deep into the dark underbelly of city life. The story follows protagonist Frank Sydney, but also explores the lives of several other characters, all at odds with each other. Through vivid descriptions of violence and sexual promiscuity, the novel portrays the city in a close-up and claustrophobic manner, emphasizing individual experience over crowd experiences. Critics have categorized it as both sensational literature and urban gothic, and credit it with laying the groundwork for the urban mystery genre.