Arrest-Proof Pages.Indd

Total Page:16

File Type:pdf, Size:1020Kb

Arrest-Proof Pages.Indd � ��������������������� • How Easy It Is for Anyone to Get Arrested ����������������� • How Even a Single Arrest Could Ruin Your Life��� • What to Do If the Police Get in Your Face Dale C. Carson and Wes Denham Library of Congress Cataloging-in-Publication Data Carson, Dale C. Arrest-proof yourself : an ex-cop reveals how easy it is for anyone to get arrested, how even a single arrest could ruin your life, and what to do if the police get in your face / Dale C. Carson and Wes Denham. p. cm. ISBN-13: 978-1-55652-637-4 ISBN-10: 1-55652-637-7 1. Arrest. 2. Detention of persons. I. Denham, Wes. II. Title. HV8080.A6C38 2006 363.2'32—dc22 2006017597 All photographs courtesy of Dale Carson or Wes Denham unless otherwise noted. Cover design: Emily Brackett, Visible Logic Front cover image: Howard Berman/The Image Bank/Getty Images Interior design: Sarah Olson © 2007 by Dale C. Carson and Sam Wesley Denham III All rights reserved Published by Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN-13: 978-1-55652-637-4 ISBN-10: 1-55652-637-7 eBook ISBN: 1-55652-700-4 Printed in the United States of America 5 4 3 2 1 To the thousands of young men in jail for petty offenses. It’s not right. It’s not just. America can do better. disclaimer: Laws vary from state to state. Find a competent attorney in your state and rely on his or her advice first. CONTENTS Introduction: Talking Shop with an Old Cop ................................................1 » PART I « CRIMINAL JUSTICE PLAYERS: COPS, BAD GUYS, THE CLUELESS HORDE 1 New Plantations for New Generations ..................................................29 2 To Hunt and Arrest Is the Quest of the Best ........................................50 3 When You’re Living Free and Tall, Don’t Become a Score in Police Pinball ..................................................61 4 Getting Wise to Real Bad Guys ...............................................................76 5 Get on Board with the Clueless Horde ...................................................83 6 Those Freaking Jits Will Give You Fits ...................................................95 7 Why Minorities Get Hammered ...........................................................109 8 Law Enforcement Shouldn’t Give a Pass to All Those Crooks in the Middle Class .............................................122 9 Some Modest Suggestions ......................................................................132 » PART II « ARREST PROOFING ON THE STREETS 10 Cop a ’Tude and You Get Screwed .......................................................139 11 Dirty Cop Tricks .....................................................................................142 12 Peekaboo! Peekaboo! Don’t Let Big Bad Cops See You .................... 147 13 Whatcha Gonna Do When They Come for You? ...............................158 14 Blue Light? Stay Out of Sight! ............................................................... 161 15 If You Lie, the Cops Will Pry ................................................................164 16 Mama Was Right: Stay Home at Night! .............................................. 170 17 You Can Win by Giving In .................................................................... 173 18 To Avoid the Tragic, Use Words That Are Magic ..............................177 19 Street Creds Are Tops for Dealing with Cops ....................................184 20 There Ain’t No Hope When You Carry Dope ....................................193 21 Emergency Procedures ..........................................................................197 22 When Girls Tell a Tale That Sends You to Jail ....................................202 » PART III « ARREST PROOFING IN YOUR CAR 23 Citizen Inspection? Revenue Collection? Or Driver Protection? .... 213 24 Mirror, Mirror in the Car, Will the Cops Stay Near or Far? ............223 25 Staying Free During a Traffic Stop Means the Guy Who Loses Is the Cop ................................................235 26 To Be Searched or Not to Be Searched? That Is the Question! ........241 27 Tips That Never Fail to Keep You Out of Jail ......................................250 28 Car Creds Are the Key to Keep You Free ............................................255 29 Don’t Get in a Lurch. Do a Search! ......................................................263 30 You Can Tell Cops “Toodle-oo” When You Squirt the Yellow Goo ........................................................270 » PART IV « AIDS TO LEARNING The Golden Rules ..........................................................................................277 The Magic Words ..........................................................................................277 Index ...............................................................................................................279 INTRODUCTION TALKING SHOP WITH AN OLD COP ou’ve heard about how-to books? This is a how-not-to book—how not Yto get arrested and tossed into jail for petty and avoidable offenses of the sort that fill every jail in the United States. The title,Arrest-Proof Your- self, is hype, since no one, not even the president, is arrest proof. What this book does is make you arrest resistant. This book is for people who are not career criminals. It’s not about how to beat the system, but about how to avoid letting the system roll over you and ruin your life in ways that may not become apparent until years after an arrest. For career criminals, arrest is inevitable. For people with lapses in judgment, bad manners, a taste for marijuana, and no knowledge of how the criminal justice system operates, arrest is not inevitable, it’s optional. That’s right—optional. Far too many black Americans, Hispanics, and poor whites think that arrest and prison are just going to happen—that resistance, as they say, is futile. They think the system is rigged against them. Get over this attitude. By understanding cops and the criminal justice system, you can make choices and adapt your behavior—especially in the presence of police—to minimize your chances of getting arrested. Even if you’re not the most upstanding citizen, you can take charge and stay out of the system long enough to give yourself a second chance. Clear your brain of thoughts about victimhood, racism, social ills, poverty, etc. Those things are not going away. This book is not about sav- ing society; it’s about saving you when you’re standing in front of a police officer who is wearing a blue uniform and a gun. It’s about your choices— how you can act, speak, and behave in order not to get arrested. The police officer can choose to arrest you or not arrest you. You can choose to act in 1 INTRODUCTION ways that will encourage the police to let you go or, better yet, to not stop and question you at all. This book uses the word you to mean “the person most likely to get arrested.” If you’re a parent, you generally means your kids. “Who, me?” you say. Yes, you! Changes in law enforcement technique and doctrine that have occurred over the last few years mean that police are making more arrests than ever. You are more likely to get busted today than in the past. “But I’m a good guy,” you protest. If you’re a parent, you may say, “I have nice kids. Why should I worry about them getting arrested?” No matter how upstanding you are, you are likely to have encounters with police that can result in arrest. Here’s why: » Improved technology and training enable police to arrest people for petty crimes that in the past were ignored due to lack of manpower and resources. » A law enforcement doctrine called proactive policing has spread across the land. It calls for zero tolerance of petty offenses, including such things as jaywalking, loitering, and drinking a beer on the street. Proactive policing has reduced crime—no question—but to do so it requires huge numbers of arrests of petty offenders who in years past would never have seen the inside of a jail. » The volume of arrests has caused a boom in jail and court construction and the creation of a criminal justice system that employs hundreds of thousands and requires ever more arrests to justify its existence. » The near universal installation of computers in police cruis- ers, and their ability to access law enforcement databases instantly, allows police to make more arrests for what I call administrative crimes. These are failure to maintain tags, licenses, and car insurance; outstanding arrest warrants; driving with suspended licenses; failure to appear at court 2 INTRODUCTION hearings; and violation of probation and parole. None of these crimes involves theft, violence, or injury. They are not offenses against people but against the state. In the past, paper records made arrests for these crimes difficult, especially when the offender moved to another state. With the advent of comput- ers, the jails are stuffed with people guilty of not paying fees, not doing paperwork, not showing up in court, and in general thumbing their noses at the system. » People are shocked to discover that they can be arrested for things they didn’t even know were illegal. For example, mil- lions of parents chauffeuring the kids in the van or SUV don’t realize that the stimulants and antidepressants pre- scribed for hyperactive children are scheduled narcotics. Kids carry these pills around in their pockets and book bags. The pills scatter inside the vehicle and can get Mom busted if she cannot produce a written prescription during a routine traffic stop. » Dope, my friends, let’s talk about dope.
Recommended publications
  • United States Patent and Trademark Office
    UNITED STATES PATENT AND TRADEMARK OFFICE TRADEMARK PUBLIC ADVISORY COMMITTEE MEETING Alexandria, Virginia Friday, February 11, 2011 2 1 PARTICIPANTS: 2 TPAC Members: 3 JOHN B. FARMER, Chair 4 JAMES G. CONLEY 5 MARY BONEY DENISON 6 TIMOTHY J. LOCKHART 7 KATHRYN B. PARK 8 DEBORAH HAMPTON 9 MAURY TEPPER 10 ANNE CHASSER 11 Union Members: 12 HOWARD FRIEDMAN 13 RANDALL P. MYERS 14 HAROLD E. ROSS 15 Also Present: 16 DEBORAH COHN, Commissioner 17 DANA ROBERT COLARULLI Director, Office of Government Affairs 18 ANTHONY P. SCARDINO ………………………………………..Chief Financial Officer 20 JOHN OWENS Chief Information Officer 21 GERARD ROGERS TTAB Chief Judge 22 3 1 PARTICIPANTS (CONT'D): 2 WILLIAM COVEY Office of Enrollment and Discipline 3 ………..CYNTHIA LYNCH Administrator for Examination Policy 4 HARRY I. MOATZ Office of Enrollment and Discipline 5 ERIK M. PELTON Erik M. Pelton and Associates 6 7 8 9 10 11 12 * * * * * 13 14 15 16 17 18 19 20 21 22 4 1 P R O C E E D I N G S 2 (9:00 a.m.) 3 CHAIRMAN FARMER: If everyone can take 4 their seats, please. I'd like to welcome 5 everybody to the TPAC meeting. My name is John 6 Farmer and I chair the committee. 7 I know this is old hat to perhaps 8 everybody in the room because I look around the 9 room and see so many familiar faces, but just in 10 case someone is new -- or for folks watching at 11 home -- this meeting is being webcast and it's 12 also being transcribed.
    [Show full text]
  • Mitch Maclay Sings Just for You
    MITCH MACLAY SINGS JUST FOR YOU A Play in One Act by Craig Bailey Craig Bailey 350 Woodbine Rd Shelburne VT 05482-6777 (802) 655-1197 ©2019 Craig Bailey [email protected] All rights reserved www.mitchmaclay.com CHARACTERS CHRISTOPHER WOOD Early-30s. Program Director and morning board operator for radio station TRU-92. HE capitalizes on the invisibility of his medium by dressing in casual clothing including baggy khakis, sneakers with no socks, and a comfortable T-shirt sporting the logo of an alternative band. His cynical attitude and occasionally snide veneer reflect the mind-set of an up-and- coming industry man who somehow made a wrong turn only to find himself, inexplicably, in rural Iowa. LORALIE KENT Early- to mid-20s. Evening board operator for TRU-92. SHE is dressed in simple slacks, blouse and stocking feet at rise -- with a fresh, natural, cheerful face that's wasted on the radio. Her eccentricity and inclination for seemingly pointless chatter disguise her high level of intelligence -- an asset that's thwarted only by her rose-colored naivete. SETTING Front office of radio station TRU-92 in a small Iowa town TIME A Saturday in the late-1980s 1. ACT I Scene 1 (The second story front office of radio station TRU-92 in a small Iowa town, late-1980s. The furnishings and decor are about 30 years behind the times. The overall atmosphere is drab, bordering on depressed. A doorway UC leads to a hallway. Entranceways DR and DL lead to the air studio and sales offices, respectively.
    [Show full text]
  • Closing the Human-Robot Interaction Loop Underwater
    learning provided by such a system. Twenty-four participants the addition of other devices, which is costly and increases tested the system against a baseline system comprised of complexity. One of the more unique proposals is the use of colored lights flashing in codes, and the resultant data was an AUV’s light system in [16], where illumination intensity analyzed to determine whether motion-based communication is modulated to communicate simple ideas. This case study could be adequately accurate, efficient, and easy to learn for proved that a robot and a human could collaborate to achieve use in underwater robot-to-human communication. a task underwater, but the communication methods used were In this paper, we make the following contributions: not validated by a multi-user study. • We propose a unique system: motion-based (kineme) B. Nonverbal, Non-facial and Non-Humanoid HRI communication for underwater robots which purely uses Nonverbal methods form only a small portion of HRI, motion to communicate information to human collabo- much of which focuses on displaying emotions in humanoid rators. platforms, therefore, their results are only tangentially related • We show that there is a statistically significant improve- to the problem of nonverbal underwater HRI, as our focus ment in the accuracy of communication when using is non-humanoid robots displaying information rather than kinemes compared to light codes. emotion. That said, there are a number of works which • We show that kinemes outperform light codes in ease directly relate to our problem of robot-to-human commu- of learning and that given enough education, they can nication using nonverbal, non-facial methods with a non- be nearly as quick to understand as light codes.
    [Show full text]
  • Fall 2010 Voices 3
    Fall 2010 VOICES UNIVERSITY OF HOUSTON LANGUAGE AND CULTURE CENTER 2 VOICES FALL 2010 Inside this issue: From the Director 3 Scholarship Winners 4 Our Life in the U.S. 5 About Me and My Country 6 Our Cultures, Our Values, and Our Assumptions 8 If I Were the Leader of My Country 11 Marriage Customs Around the World 12 Tourism 15 Education 16 Photos: Sports Tournament,, Class Trips, Halloween 17 The Texas Renaissance Festival 20 Cultural Adjustment 23 Sounds, Sights, and Smells from Our Childhood 24 What I Don’t Want to Lose 28 Funny Essays 30 Dave’s Page 32 The Culture Festival 35 FALL 2010 VOICES 3 From the Director Joy Tesh As the fall term of 2010 closes, the teachers, administrators, and support staff of the Language and Cul- ture Center wish you happy holidays and a safe and productive academic break from our program. The LCC office will be open through December 23, 2010, and then will close for the holidays and open again on January 3, 2011. We look forward to seeing many of you again in the new year. If you are leaving our program for any reason, we encourage you to stay in touch with us through email or through our web site. We love to hear from you. We are eager to hear from students who continue their studies at the University of Houston or at another school in the United States or who return to their countries to continue their journey. We have a great network of former LCC students all over the world.
    [Show full text]
  • Leksykon Polskiej I Światowej Muzyki Elektronicznej
    Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H.
    [Show full text]
  • Marquette Literary Review, Issue 7, Spring 2014
    Spring 2014, Issue 7 Michele Furman, General Editor Erin McKay & Ivana Osmanovic, Poetry Editors Katie Murphy, Prose Editor Mary Cate Simone, Taylor Gall & Shannon Cassells, Assistant Editors Dr. Larry Watson, Consulting Adviser Marquette Literary Review ~ Spring 2014 Table of Contents: The Late Worm……………………………………………………………………………………………3 Katelyn Bishop Leroy Brown……………………………………………………………………………………………3 - 4 County Line Road, Indiana………………………………………………………………...…………4 - 6 N. Searles We Don't Even Have an Interstate Exit………………………………………………………………..6 Katelyn Bishop Lawyers Don’t Ride Buses………………………………………………………..……………….....7 - 8 Ghosts of Our Own Making……………………………………………………………………….….8 - 9 Unnecessary Roughness…………………………………………………………...……...……….…...9 Riptide………………………………………………..…………………………………………………....9 Erin McKay Untitled……….………………………………………………………………………………………...9-10 Ivana Osmanovic The Prayer……………………………………………………………………………………………10-11 Taylor Gall 1973-Now……….…………………………………………………………………………..…......…….11 What Happened When You Left Me………………………………………………..……………...11-12 Weighted Wings………………………………………………………..………………………………..12 Mary Klauer Nostalgia’s Bliss…………………………………………………………………………………………13 Shannon Cassells On The Rocks…………………………………………………………………………………….….14-17 Brian Torbik Good Girls….……………………….………………………………………...………………..........17-18 Jared Golub Birthday Stroganoff.……………….… ………………………………...…...……………………...18-20 Sunny Days of Solitude………..…………….……………………………...……………….......…20-23 Meredith Augspurger Rotten…………………………………………………………………………….………..………….….23 Color Blind………………………………………………………………………….........................23-24
    [Show full text]
  • Q: Today Is the 30Th of January 2006
    The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project AMBASSADOR MARC GROSSMAN Interviewed by: Charles Stuart Kennedy Initial interview date: January 30, 2006 Copyright 2016 ADST Q: Today is the 30th of January 2006. This is an interview with Marc Grossman done on behalf of the Association for Diplomatic Studies and Training and I’m Charles Stuart Kennedy. You go by Marc? GROSSMAN: I do. Q: What happens, why are some Marcs spelled with a C and some with a K? Do you have any idea? GROSSMAN: My dad always said it was his contribution to culture. Q: Okay. Well, we’ll start talking about him but first, when and where were you born? GROSSMAN: I was born in September of 1951 in Los Angeles, California. Q: Where in Los Angeles? GROSSMAN: In East Los Angeles. My parents lived in Pico Rivera, or then, just Pico. Q: Okay. Let’s talk about your, sort of your background. On your family’s side, let’s talk about the father’s family, the Grossmans. Do you have any idea where they came from? GROSSMAN: We have a vague idea. Both of my father’s parents, my grandmother and grandfather, were immigrants to the United States. They came separately from Chernowitz, which is now Ukraine but my father believes at the time of their immigration it was Romania. I think they came to the United States in the 1920s. They moved to New York, met in the US and settled in the Bronx. They then moved, first to Arizona and then to California in the 1940s, where my grandfather used to sew.
    [Show full text]
  • World War I Veterans in Pre-Code Film
    The Pennsylvania State University The Graduate School School of Humanities SPENT BULLETS: WORLD WAR I VETERANS IN PRE-CODE FILM A Dissertation in American Studies by Tiffany I. Weaver ©2018 Tiffany I. Weaver Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2018 The dissertation of Tiffany I. Weaver was reviewed and approved* by the following: Charles Kupfer Associate Professor of American Studies and History Dissertation Advisor Chair of Committee Simon J. Bronner Distinguished Professor of American Studies and Folklore Anthony Buccitelli Associate Professor of American Studies and Communications Robin Redmon Wright Associate Professor of Lifelong Learning and Adult Education John Haddad Professor of American Studies and Popular Culture Chair of the Graduate Program in American Studies *Signatures are on file in the Graduate School ii ABSTRACT Films depicting World War I and its aftermath began production almost as soon as the war began, although it would be roughly a decade before these films became more prevalent and popular. Many of these films were important in helping the public navigate the aftermath of the conflict and reflected the changing society of the 1920s and early 1930s. Studying these films can help provide a better understanding of the culture in the United States that emerged during the Interwar period and how society reacted to these changes. Of particular importance are the films depicting the experience of the solider upon returning home. Following World War I, veterans across the United States and Europe experienced issues with readjustment to civilian life, struggled with shell shock, and faced unemployment.
    [Show full text]
  • Collection "Ma Collection" De Samafar
    Collection "ma collection" de samafar Artiste Titre Format Ref Pays de pressage 113 Tonton Du Bled Maxi 33T 37000784002 2 France 16 Bit Where Are You ? Maxi 45T 888 417-1 France 16 Bit Changing Minds Maxi 45T 888 814-1 France 2 Unlimited Tribal Dance Maxi 45T 190377 1 France 2 Unlimited The Real Thing Maxi 33T 190 667.1 France 2 Unlimited No One Maxi 33T 190 725.1 France 2 Unlimited No Limit Maxi 45T 190 319.1 France 2 Unlimited Maximum Overdrive Maxi 45T 190 539.1 France 2 Unlimited Faces Maxi 33T BYTE 12024 - 181.295.5Belgique 20 Years After Magical Medley Maxi 45T 560.136 France 49 Ers Die Walkure Maxi 45T 8.917 France 49 Ers Die Walkure Maxi 45T 8.917 France 501's Feat. Desiree Let The Night Take The Blame Maxi 45T 792849 France 99.9 % Check Out Th Groove Maxi 45T DEBTX 3054 Royaume-Uni A Caus Des Garcons A Caus Des Garcons Maxi 45T 248075-0 Allemagne A Taste Of Honey Boogie Oogie Oogie Maxi 45T 2S 052 52814 Z France A-ha Touchy ! Maxi 45T 921 044-0 D Allemagne A-ha The Sun Always Shine On T.v. Maxi 45T 920 410-0 D Allemagne A-ha Take On Me Maxi 45T 920 336-0 D Allemagne A-ha Stay On These Roads LP 925733-1 / WX 166 Allemagne A-ha Stay On These Roads LP 925733-1 Espagne A-ha I've Been Losing You Maxi 45T 920 557-0 D Allemagne A-ha Cry Wolf Maxi 45T 920 610-0 D Allemagne A.ha The Living Daylights Maxi 45T 920 736-0 D Allemagne Aaliyah Try Again (promo Club) Maxi 33T VUSTDJ167 EU Abba Vouley-vous (vinyl Rouge) Maxi 33T 310801 France Abba Vouley-vous (vinyl Bleu) Maxi 33T 310801 France Abba The Day Before You Came Maxi 33T 310954 France
    [Show full text]
  • The Fullness of Time
    Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-13-2008 The ulF lness of time Kevin Allen Florida International University DOI: 10.25148/etd.FI13101587 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Creative Writing Commons Recommended Citation Allen, Kevin, "The ulF lness of time" (2008). FIU Electronic Theses and Dissertations. 1096. https://digitalcommons.fiu.edu/etd/1096 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida THE FULLNESS OF TIME A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS in CREATIVE WRITING by Kevin Allen 2008 To: Dean Kenneth Furton College of Arts and Sciences This thesis, written by Kevin Allen, and entitled The Fullness of Time, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. Jog Dufresne Kathleen McCormack Les Standiford, iar Professor Date of Defense: March 13, 2008 The thesis of Kevin Allen is approved. Dean Kenneth Furton College of Arts and Sciences Dean George Walker University Graduate School Florida International University, 2008 ii DEDICATION To Jill, for the kindness, intelligence, wit, and love that inspire and sustain me. iii ACKNOWLEDGMENTS I wish to thank the members of my committee for their support and guidance, particularly, Professor Les Standiford, for his unwavering encouragement from the inception of this project through to its completion.
    [Show full text]
  • Intercultural Business Etiquette
    Intercultural Business Etiquette The document includes a compilation of “basic” information for the Business Etiquette in several countries. The country files include all the necessary basic information from the main religion and language, to greeting habits and business behavior. Contents Armenia ...................................................................................................................................2 Azerbaijan ................................................................................................................................4 Belarus ....................................................................................................................................6 China.......................................................................................................................................8 Costa Rica .............................................................................................................................. 11 El Salvador ............................................................................................................................. 13 Georgia .................................................................................................................................. 15 Guatemala.............................................................................................................................. 17 Honduras ............................................................................................................................... 19
    [Show full text]
  • Famous First Words @ Writers' Camp
    Digital Proofer Famous First Words @ Writers' Camp Famous First Words Authored by Wake Forest Univer... 5.0" x 8.0" (12.70 x 20.32 cm) Black & White on Cream paper 258 pages ISBN-13: 9781618460578 ISBN-10: 1618460579 Please carefully review your Digital Proof download for formatting, grammar, and design issues that may need to be corrected. We recommend that you review your book three times, with each time focusing on a different aspect. Check the format, including headers, footers, page 1 numbers, spacing, table of contents, and index. 2 Review any images or graphics and captions if applicable. 3 Read the book for grammatical errors and typos. Once you are satisfied with your review, you can approve your proof and move forward to the next step in the publishing process. To print this proof we recommend that you scale the PDF to fit the size of your printer paper. 1 Famous First Words @ Writers' Camp By Wake Forest University Writers’ Camp 2018 2 3 To the marginalized and the silenced To all those who encouraged us to write!” ISBN 978-1-61846-057-8 Copyright © 2018 by the Authors Cover photography courtesy of Susan S. Smith All rights reserved, including the right of reproduction, in whole or in part, in any form. Produced and Distributed By: Library Partners Press ZSR Library Wake Forest University 1834 Wake Forest Road Winston-Salem, North Carolina 27106 www.librarypartnerspress.org Manufactured in the United States of America 4 5 ABOUT THE BOOK The inspiration for Writers' Camp @ ZSR came after a group of ZSR librarians heard Jane McGonigal present “Find the Future: The Game” during the American Library Association’s 2014 Annual Conference.
    [Show full text]