By Norm Stamper
Commencing with a strong letter to former Tacoma police leader David Brame, who shot his estranged spouse ahead of turning the gun on himself, Norm Stamper introduces us to the violent, mystery international of household abuse that police officers mustn't ever basically navigate, yet which a few additionally perpetrate. Former leader of the Seattle police strength, Stamper is going directly to reveal a troubling tradition of racism, sexism, and homophobia that remains pervasive in the twenty-first-century strength; then he explores how such prejudices might be addressed. He finds the hazards and temptations that law enforcement officials face, describing in gripping element the split-second life-and-death judgements. Stamper attracts on classes realized to make strong arguments for drug decriminalization, abolition of the dying penalty, and appreciably revised ways to prostitution and gun keep watch over. He deals penetrating insights into the "blue wall of silence," police undercover paintings, and what it capacity to kill a guy. And, Stamper offers his own account of the realm exchange association debacle of 1999, whilst protests he was once in control of controlling became violent within the streets of Seattle. Breaking Rank unearths Norm Stamper as a courageous guy, a pioneering public servant whose impressive existence has been devoted to the carrier of his neighborhood.
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Extra resources for Breaking Rank: A Top Cop's Exposé of the Dark Side of American Policing
All of a sudden he started doing this strange-sounding music, almost overnight. " You can hit anything, any kind of chord. Like John Cage playing the shit he's playing, making all them strange sounds and noises. Music is wide open for anything. " Like, he'd be playing "My Funny Valentine" in a major key and it's supposed to be 94 played in D minor. But he would just smile that sweet smile of his and keep doing what he was doing. Mingus was something else, man, a pure genius. I loved him. Anyway, during the summer of 1946-late August I think-Billy Eckstine's band came to Los Angeles.
On the first day of rehearsal, everybody showed up but Bird. We waited around for a couple of hours and I ended up rehearsing the band. Now, opening night, the Three Deuces is packed. We ain't seen Bird in a week, but we'd been rehearsing our asses off. So here this nigger comes in smiling and shit, asking is everybody ready to play, in that fake British accent of his. " I tell him. He nods, counts off the beat and plays every motherfucking tune in the exact key we had 102 rehearsed it in. He played like a motherfucker.
Sonny Criss, an alto player, used to sit in, and Art Farmer, Red Callender, the bassist, and Red's protege, that crazy, beautiful motherfucker, Charlie Mingus. Charlie Mingus loved Rird, man, almost like I have never seen nobody love. Maybe Max Roach loved Bird that much. But Mingus, shit, he used to come to see and hear Bird almost every night. He couldn't get enough of Bird. He also liked me a lot. But Mingus could play the bass and everybody knew when they heard him that he would become as bad as he became.