A step-by-step guide to more than 100 dog tricks, specially designed for effective training, for pure fun, and even for turning your dog into a YouTube star, from the coauthor of the tremendously successful and much-praised Training the Best Dog Ever and the genius behind "The Stunt Dog Show," which performs more than 1,000 shows a year.
Featured on the Today show! Not only does training your dog new tricks give you something to show-off at parties, but it also keeps your dog engaged and moving, and helps you become closer and more in-tune with your pet. And who better to learn from than the pros? Babette Haggerty has trained Jack Nicklaus' Golden Retriever to bark the number of his major tournament wins on command, Curt Gowdy's Rottweiler to say, "Go Reds" and Jimmy Buffett's Maltese to dance on cue to "Margaritaville". In The Best Dog Tricks on the Planet, she offers up more than 100 of her best dog tricks, many of them featured by her famous father, Captain Haggerty, on David Letterman's Stupid Pet Tricks. Tricks include: - Bring Me the Ringing Phone - Wipe Your FeetWeave Poles - Open the Door - Balance an Egg on Your Nose - Strum a Guitar Step-by-step photos, more than 500 of them, pack the pages showing you the tricks to the tricks. In no time your dog will not only bring in the paper, play dead and roll over but also count objects, jump into your arms, crawl like a soldier and take a bow. Babette was voted "Palm Beach's Favorite Dog Trainer." She has been featured on television and radio, including Animal Planet, Martha Stewart's "Living Radio" and most recently, the E! reality series, Married to Jonas. She has also published several articles in Dogs USA and Dog World magazines. She splits her time between Palm Beach and New York City with her two children as well as French Bulldog named Babe and German Shepherd named Barkley.
A revolutionary way to raise and train your dog, with “a wealth of practical tips, tricks, and fun games that will enrich the lives of many dogs and their human companions” (Dr. Ian Dunbar, veterinarian and animal behaviorist). Zak George is a new type of dog trainer. A dynamic YouTube star and Animal Planet personality with a fresh approach, Zak helps you tailor dog training to your pet’s unique traits and energy level—leading to quicker results and a much happier pup. For the first time, Zak has distilled the information from his hundreds of videos and experience with thousands of dogs into this comprehensive dog and puppy training guide that includes: • Choosing the right pup for you • Housetraining and basic training • Handling biting, leash pulling, jumping up, barking, aggression, chewing, and other behavioral issues • Health care essentials like finding a vet and selecting the right food • Cool tricks, traveling tips, and activities to enjoy with your dog • Topics with corresponding videos on Zak’s YouTube channel so you can see his advice in action Packed with everything you need to know to raise and care for your dog, this book will help you communicate and bond with one another in a way that makes training easier, more rewarding, and—most of all—fun!
Find the remote control. Pull off your kids' socks. Open and close the refrigerator door. Bet you never imagined your dog could accomplish such feats! In this fun, easy-to-use trick-training guide, longtime trainer and cofounder of Canine University, Gerilyn J. Bielakiewicz, shows you how to teach your dog all sorts of great tricks that will strengthen your bond and bring you both endless enjoyment. From simple beginner moves for young pups to complex tricks for super-smart pooches, there's something in here for everyone, including tricks that teach your dog how to: Shake, wave, and give high fives Play scared and be brave Fetch his dinner bowl Retrieve your keys, mail, and phone Ring a bell to go outside Put away his toys and more Whether your dog's a natural-born ham or a shy guy, these tricks will bring out his best - and help you be the best trainer you can be.
The author has trained Jack Nicklaus' Golden Retriever to bark the number of his major tournament wins on command, and Jimmy Buffett's Maltese to dance on cue to "Margaritaville". In this book, she offers up more than 100 of her best dog tricks, many of them featured by her famous father, Captain Haggerty, on David Letterman's Stupid Pet Tricks.
In Super Dog Tricks, dog training celebrity and America’s Got Talent star Sara Carson shares her fun take on training for easy and ambitious dog tricks!
Chaser has a way with words. She knows over a thousand of them—more than any other animal of any species except humans. In addition to common nouns like house, ball, and tree, she has memorized the names of more than one thousand toys and can retrieve any of them on command. Based on that learning, she and her owner and trainer, retired psychologist John Pilley, have moved on to further impressive feats, demonstrating her ability to understand sentences with multiple elements of grammar and to learn new behaviors by imitation. John’s ingenuity and tenacity as a researcher are as impressive as Chaser’s accomplishments. His groundbreaking approach has opened the door to a new understanding of animal intelligence, one that requires us to reconsider what actually goes on in a dog’s mind. Chaser’s achievements reveal her use of deductive reasoning and complex problem-solving skills to address novel challenges. Yet astonishingly, Chaser isn’t unique. John’s training methods can be adopted by any dog lover. Through the poignant story of how he trained Chaser, raised her as a member of the Pilley family, and proved her abilities to the scientific community, he reveals the positive impact of incorporating learning into play and more effectively channeling a dog’s natural drives. John’s work with Chaser offers a fresh perspective on what’s possible in the relationship between a dog and a human. His story points us toward a new way of relating to our canine companions that takes into account our evolving understanding of the way animals and humans learn.
Volume V (of X) - Great Britain and Ireland Ever since civilized man has had a literature he has apparently sought to make selections from it and thus put his favorite passages together in a compact and convenient form. Certain it is, at least, that to the Greeks, masters in all great arts, we owe this habit. They made such collections and named them, after their pleasant imaginative fashion, a gathering of flowers, or what we, borrowing their word, call an anthology. So to those austere souls who regard anthologies as a labor-saving contrivance for the benefit of persons who like a smattering of knowledge and are never really learned, we can at least plead in mitigation that we have high and ancient authority for the practise. In any event no amount of scholarly deprecation has been able to turn mankind or that portion of mankind which reads books from the agreeable habit of making volumes of selections and finding in them much pleasure, as well as improvement in taste and knowledge. With the spread of education and with the great increase of literature among all civilized nations, more especially since the invention of printing and its vast multiplication of books, the making of volumes of selections comprizing what is best in one's own or in many literatures is no longer a mere matter of taste or convenience as with the Greeks, but has become something little short of a necessity in this world of many workers, comparatively few scholars, and still fewer intelligent men of leisure. Anthologies have been multiplied like all other books, and in the main they have done much good and no harm. The man who thinks he is a scholar or highly educated because he is familiar with what is collected in a well-chosen anthology, of course, errs grievously. Such familiarity no more makes one a master of literature than a perusal of a dictionary makes the reader a master of style. But as the latter pursuit can hardly fail to enlarge a man's vocabulary, so the former adds to his knowledge, increases his stock of ideas, liberalizes his mind and opens to him new sources of enjoyment. The Greek habit was to bring together selections of verse, passages of especial merit, epigrams and short poems. In the main their example has been followed. From their days down to the "Elegant Extracts in Verse" of our grandmothers and grandfathers, and thence on to our own time with its admirable "Golden Treasury" and "Oxford Handbook of Verse," there has been no end to the making of poetical anthologies and apparently no diminution in the public appetite for them. Poetry indeed lends itself to selection. Much of the best poetry of the world is contained in short poems, complete in themselves, and capable of transference bodily to a volume of selections. There are very few poets of whose quality and genius a fair idea can not be given by a few judicious selections. A large body of noble and beautiful poetry, of verse which is "a joy forever," can also be given in a very small compass. And the mechanical attribute of size, it must be remembered, is very important in making a successful anthology, for an essential quality of a volume of selections is that it should be easily portable, that it should be a book which can be slipt into the pocket and readily carried about in any wanderings whether near or remote. An anthology which is stored in one or more huge and heavy volumes is practically valueless except to those who have neither books nor access to a public library, or who think that a stately tome printed on calendered paper and "profusely illustrated" is an ornament to a center-table in a parlor rarely used except on solemn or official occasions. I have mentioned these advantages of verse for the purposes of an anthology in order to show the difficulties which must be encountered in making a prose selection. Very little prose is in small parcels which can be transferred entire, and therefore with the very important attribute of completeness, to a volume of selections. From most of the great prose writers it is necessary to take extracts, and the chosen passage is broken off from what comes before and after. The fame of a great prose writer as a rule rests on a book, and really to know him the book must be read and not merely passages from it. Extracts give no very satisfactory idea of "Paradise Lost" or "The Divine Comedy," and the same is true of extracts from a history or a novel. It is possible by spreading prose selections through a series of small volumes to overcome the mechanical difficulty and thus make the selections in form what they ought above all things to be—companions and not books of reference or table decorations. But the spiritual or literary problem is not so easily overcome. What prose to take and where to take it are by no means easy questions to solve. Yet they are well worth solving, so far as patient effort can do it, for in this period of easy printing it is desirable to put in convenient form before those who read examples of the masters which will draw us back from the perishing chatter of the moment to the literature which is the highest work of civilization and which is at once noble and lasting. Upon that theory this collection has been formed. It is an attempt to give examples from all periods and languages of Western civilization of what is best and most memorable in their prose literature. That the result is not a complete exhibition of the time and the literatures covered by the selections no one is better aware than the editors. Inexorable conditions of space make a certain degree of incompleteness inevitable when he who is gathering flowers traverses so vast a garden, and is obliged to confine the results of his labors within such narrow bounds. The editors are also fully conscious that, like all other similar collections, this one too will give rise to the familiar criticism and questionings as to why such a passage was omitted and such another inserted; why this writer was chosen and that other passed by. In literature we all have our favorites, and even the most catholic of us has also his dislikes if not his pet aversions. I will frankly confess that there are authors represented in these volumes whose writings I should avoid, just as there are certain towns and cities of the world to which, having once visited them, I would never willingly return, for the simple reason that I would not voluntarily subject myself to seeing or reading what I dislike or, which is worse, what bores and fatigues me. But no editor of an anthology must seek to impose upon others his own tastes and opinions. He must at the outset remember and never afterward forget that so far as possible his work must be free from the personal equation. He must recognize that some authors who may be mute or dull to him have a place in literature, past or present, sufficiently assured to entitle them to a place among selections which are intended above all things else to be representative. To those who wonder why some favorite bit of their own was omitted while something else for which they do not care at all has found a place I can only say that the editors, having supprest their own personal preferences, have proceeded on certain general principles which seem to be essential in making any selection either of verse or prose which shall possess broader and more enduring qualities than that of being a mere exhibition of the editor's personal taste. To illustrate my meaning: Emerson's "Parnassus" is extremely interesting as an exposition of the tastes and preferences of a remarkable man of great and original genius. As an anthology it is a failure, for it is of awkward size, is ill arranged and contains selections made without system, and which in many cases baffle all attempts to explain their appearance. On the other hand, Mr. Palgrave, neither a very remarkable man nor a great and original genius, gave us in the first "Golden Treasury" a collection which has no interest whatever as reflecting the tastes of the editor, but which is quite perfect in its kind. Barring the disproportionate amount of Wordsworth which includes some of his worst things—and which, be it said in passing, was due to Mr. Palgrave's giving way at that point to his personal enthusiasm—the "Golden Treasury" in form, in scope, and in arrangement, as well as in almost unerring taste, is the best model of what an anthology should be which is to be found in any language.
