An in-depth look into America’s first modern school shooting, featuring interviews with witnesses, local reporters, and the killer herself. In 1979, Brenda Spencer, a seemingly average teenage girl living in a nice suburban neighborhood, made and executed plans that would place her in infamy and set a violent and terrifying national precedent. She receives a rifle for Christmas and a month later set her sights and opens fire on the elementary school across the street. The event is forever glorified by the song “I Don’t Like Mondays” by The Boomtown Rats and marks the bloody beginning of the American phenomenon of school shootings. Long before Columbine and Sandy Hook, there was Brenda Spencer . . . I Don’t Like Mondays: The True Story of America’s First Modern School Shooting sifts through the mythology that has sprung up around this fateful day, presenting the raw and riveting facts for the first time. This book lays bare this seemingly average teenage girl’s brutal motives and subsequent arrest. N. Leigh Hunt spent years researching and uncovering shocking details from officers, investigators, and lost police dispatches. He has interviewed people who were on the scene and local reporters who spoke with the perpetrator directly after her shooting spree. Hunt has even cultivated an unlikely rapport with the killer and through personal interviews, has shed light on previously unknown details about her upbringing and influences.

I Don’t Know What It Is but I Don’t Think It’s Serious provides a broad analysis of the issues behind medical confidence and decision making. It looks at how the GP role is seen and the status that backs it, and explores the issues patients and others bring to the consultation. The book also covers: • practical communication skills around the issue of uncertainty, such as teasing out reasons for attendance and reassurance techniques • sharing the burden with patients • dealing with things that have gone wrong • using the same skills we acquire for good consulting to become better organised and more effective • informing our personal development plans. The book does not solve all a GP’s problems. It seeks to understand the ones that undermine us and help us to cope, to enjoy and to look forward to the uncertainty of whatever is going to happen tomorrow. The book supports the need for using communication skills training as the basis for both registrar and ongoing medical education, trying to make these seem solutions rather than problems. All chapters are lightly referenced and have a conclusion, with anecdotal text boxes peppered amongst the text to ease the strain of reading.

Sixteen-year-old Alexandria Lee Mary Evans, better known as Alex to her friends, is a self-proclaimed nerd. She would rather play on her PS4 or watch TV before even thinking about leaving the house. She can name every character in the Marvel and DC universe, cite every movie from Disney, and lip sync every line from Teen Wolf. When the school administration enacts a new policy requiring each student to join at least one school club or activity, Alex is not pleased. This will certainly be something out of her comfort zone. New friends convince Alex to join the volleyball club. And no one is more surprised than Alex to discover she actually likes the sport and the new friendships she’s formed. Don’t Drop It, a novel for teens, shares the story of one young woman as she transforms from an anti-social, introverted teen to an outgoing person who enjoys newfound relationships.

From menopause to moving in, from losing weight to starting a business, this organized book is filled with 1,500 quotations that capture the mundane and the magnificent and covers 150 occasions.

The Jam had 18 consecutive Top 40 singles in the United Kingdom, from their debut in 1977 to their break-up in December 1982, including four number one hits. As of 2007, That’s Entertainment and Just Who Is the 5 O’Clock Hero? remained the best-selling import singles of all time in the UK. They released one live album and six studio albums, the last of which, The Gift, hit number one on the UK album charts.

In Ambient Rhetoric, Thomas Rickert seeks to dissolve the boundaries of the rhetorical tradition and its basic dichotomy of subject and object. With the advent of new technologies, new media, and the dispersion of human agency through external information sources, rhetoric can no longer remain tied to the autonomy of human will and cognition as the sole determinants in the discursive act. Rickert develops the concept of ambience in order to engage all of the elements that comprise the ecologies in which we exist. Culling from Martin Heidegger's hermeneutical phenomenology in Being and Time, Rickert finds the basis for ambience in Heidegger's assertion that humans do not exist in a vacuum; there is a constant and fluid relation to the material, informational, and emotional spaces in which they dwell. Hence, humans are not the exclusive actors in the rhetorical equation; agency can be found in innumerable things, objects, and spaces. As Rickert asserts, it is only after we become attuned to these influences that rhetoric can make a first step toward sufficiency. Rickert also recalls the foundational Greek philosophical concepts of kairos (time), chora (space/place), and periechon (surroundings) and cites their repurposing by modern and postmodern thinkers as "informational scaffolding" for how we reason, feel, and act. He discusses contemporary theory in cognitive science, rhetoric, and object-oriented philosophy to expand his argument for the essentiality of ambience to the field of rhetoric. Rickert then examines works of ambient music that incorporate natural and artificial sound, spaces, and technologies, finding them to be exemplary of a more fully resonant and experiential media. In his preface, Rickert compares ambience to the fermenting of wine—how its distinctive flavor can be traced to innumerable factors, including sun, soil, water, region, and grape variety. The environment and company with whom it's consumed further enhance the taste experience. And so it should be with rhetoric—to be considered among all of its influences. As Rickert demonstrates, the larger world that we inhabit (and that inhabits us) must be fully embraced if we are to advance as beings and rhetors within it.

Worzel is still an enormous Lurcher with 'issues.' Now in his 4th year with his forever family, life is changing. As the children grow up and spread their wings, Worzel's world should be more peaceful. As life rolls on, a changing of the guard brings new challenges and whilst Worzel might be ready for an easy life, his family has other plans ...