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Inspired by the Robert De Niro film, this story spans three generations of a family of Jewish immigrants to the United States. A gang of friends discover - through trust, hard work and brutality - the true meaning of the American Dream.
Two childhood friends form an uneasy partnership in crime which leads to death and corruption.
A distinctive feature of the conflict in Northern Ireland over the past forty years has been the way Catholic and Protestant paramilitaries have policed their own communities. This has mainly involved the violent punishment of petty criminals involved in joyriding and other types of antisocial behavior. Between 1973 and 2007, more than 5,000 nonmilitary shootings and assaults were attributed to paramilitaries punishing their own people. But despite the risk of severe punishment, young petty offenders--known locally as "hoods"--continue to offend, creating a puzzle for the rational theory of criminal deterrence. Why do hoods behave in ways that invite violent punishment? In The Hoods, Heather Hamill explains why this informal system of policing and punishment developed and endured and why such harsh punishments as beatings, "kneecappings," and exile have not stopped hoods from offending. Drawing on a variety of sources, including interviews with perpetrators and victims of this violence, the book argues that the hoods' risky offending may amount to a game in which hoods gain prestige by displaying hard-to-fake signals of toughness to each other. Violent physical punishment feeds into this signaling game, increasing the hoods' status by proving that they have committed serious offenses and can "manfully" take punishment yet remained undeterred. A rare combination of frontline research and pioneering ideas, The Hoods has important implications for our fundamental understanding of crime and punishment.
Extreme right-wing groups have always been a part of the American religious and political landscape. The era between the world wars, especially the 1930s, was a particularly volatile period, and by 1940, racist, nativist, and fascist groups had become so visible as to arouse public fears of insurrection or pro-Nazi sabotage.
"White Hoods" is the first book about the Hooded Empire in Canada. Award-winning journalist and author Julian Sher traces the Canadian Ku Klux Klan from its birth in the early 1920s, through its powerful influence within Saskatchewan's Conservative party in the 1920s and 1930s, to its renaissance under James McQuirter in the 1980s. McQuirter led the Klan to new heights in the 1980s, until he was jailed for conspiracy to commit murder and his role in a bungled coup in the Caribbean. Sher uses personal investigations and candid interviews, as well as unpublished studies and the Klan's own publications to shed light on the KKK's links with the police, with neo-Nazi movements throughout the world, and with its American counterpart.
In 2004, the murder of a middle-aged couple in their village bungalow lifted the lid on the great untold story of British organised crime. The slaughter of Joan and John Stirland revealed an evil empire of powerful ganglords, contract killings and police corruption. At its dark heart was the East Midlands city of Nottingham. A prosperous centre of business, education and leisure, Nottingham had fallen under the shadow of vicious gangsters. Eventually its police were investigating so many murders that their boss had to appeal to other forces for help, and the influx of drugs and weapons saw the city labelled "Gun Capital UK". HOODS traces the roots of the gangs, revealing how economic dislocation and the clash of cultures between working-class white residents and black immigrants from the 1950s onwards created an alienated underclass. In the 1990s, a more malignant breed of organised criminal emerged. Crime families who had been involved in armed robbery, protection rackets and extortion now sought to control the recreational drugs trade and forged links across Europe to import wholesale quantities of cocaine, ecstasy and amphetamines. By 2002, shootings were running at one a week. HOODS uncovers how outlaw Yardies pioneered the sale of crack cocaine and imported the ruthless violence of the Jamaican ghettos; how young black gangs from the so-called NG Triangle of the Meadows, St Ann’s and Radford areas clashed in a series of turf wars; how the shadowy Dawes Cartel built a lucrative international drugs empire; and how the Bestwood Cartel and its terrifying leader, Colin Gunn, corrupted police officers and left dead and maimed in its wake. As local police struggled to cope with the mayhem, MI5 and the National Crime Squad launched a massive undercover investigation into the Nottingham ‘untouchables’. It led ultimately to the dismantling of some of the UK’s most powerful crime networks. HOODS is a stark account of what happens when the rule of the gun supplants the rule of law and fear stalks the streets.
Dr. Smith brings us along in "Journey Through the Hoods" to inspire, motivate, and remind us that it's less about where you've been and more about the lessons you learn along the way.
This haunting dossier--anonymously assembled and found in a thrift store--gives an unprecedented and intimate lowdown on the Chicago mafia In the early 2000s, Chicago author, curator and gallerist John Corbett struck thrifter's gold in a going-out-of-business Chicago junk shop when he stumbled onto a 1933 manuscript intimately documenting the Chicago Mafia. The tone of the browned and brittled pages immediately grabbed him--sensationalistic and funny, they read like an embellished police blotter as they named names, gave addresses, and detailed crimes. Presented here in facsimile in order to capture the physicality of the typewritten and annotated document, Bullets for Dead Hoods: An Encyclopedia of Chicago Mobsters, c. 1933offers an expanded overview of the Chicago Outfit through 140 character sketches that range from the infamous--Al Capone, Big Jim Colosimo, the Everleigh Sisters--to their lesser-known aiders and abetters. Whoever dared to put this testament together was clearly someone with access to information--a cop? a detective? a newspaperman? a bitter mafioso?--but who would've risked sharing this information, and why, is a mystery that will most likely never be solved. What is left for us is a concise introduction to a particularly gripping chapter in American history that, through its details, knits Chicago together in a new way. In addition to the 1933 manuscript in facsimile (approximately 185 pages), the book includes an introduction by John Corbett; a compilation of the 500+ locations referenced in the manuscript; and a map featuring those street addresses in Chicago.
Marien and Robin Hood's daughter must join the Merry Men to save her parents.
At once the most lucrative, popular, and culturally oppositional musical force in the United States, hip hop demands the kind of interpretation Imani Perry provides here: criticism engaged with this vibrant musical form on its own terms. A scholar and a fan, Perry considers the art, politics, and culture of hip hop through an analysis of song lyrics, the words of the prophets of the hood. Recognizing prevailing characterizations of hip hop as a transnational musical form, Perry advances a powerful argument that hip hop is first and foremost black American music. At the same time, she contends that many studies have shortchanged the aesthetic value of rap by attributing its form and content primarily to socioeconomic factors. Her innovative analysis revels in the artistry of hip hop, revealing it as an art of innovation, not deprivation. Perry offers detailed readings of the lyrics of many hip hop artists, including Ice Cube, Public Enemy, De La Soul, krs-One, OutKast, Sean “Puffy” Combs, Tupac Shakur, Lil’ Kim, Biggie Smalls, Nas, Method Man, and Lauryn Hill. She focuses on the cultural foundations of the music and on the form and narrative features of the songs—the call and response, the reliance on the break, the use of metaphor, and the recurring figures of the trickster and the outlaw. Perry also provides complex considerations of hip hop’s association with crime, violence, and misogyny. She shows that while its message may be disconcerting, rap often expresses brilliant insights about existence in a society mired in difficult racial and gender politics. Hip hop, she suggests, airs a much wider, more troubling range of black experience than was projected during the civil rights era. It provides a unique public space where the sacred and the profane impulses within African American culture unite.