AUTHOR Clay, Katherine; Davis, James E. TITLE National Education Practice File
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Wire the Complete Guide
The Wire The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Tue, 29 Jan 2013 02:03:03 UTC Contents Articles Overview 1 The Wire 1 David Simon 24 Writers and directors 36 Awards and nominations 38 Seasons and episodes 42 List of The Wire episodes 42 Season 1 46 Season 2 54 Season 3 61 Season 4 70 Season 5 79 Characters 86 List of The Wire characters 86 Police 95 Police of The Wire 95 Jimmy McNulty 118 Kima Greggs 124 Bunk Moreland 128 Lester Freamon 131 Herc Hauk 135 Roland Pryzbylewski 138 Ellis Carver 141 Leander Sydnor 145 Beadie Russell 147 Cedric Daniels 150 William Rawls 156 Ervin Burrell 160 Stanislaus Valchek 165 Jay Landsman 168 Law enforcement 172 Law enforcement characters of The Wire 172 Rhonda Pearlman 178 Maurice Levy 181 Street-level characters 184 Street-level characters of The Wire 184 Omar Little 190 Bubbles 196 Dennis "Cutty" Wise 199 Stringer Bell 202 Avon Barksdale 206 Marlo Stanfield 212 Proposition Joe 218 Spiros Vondas 222 The Greek 224 Chris Partlow 226 Snoop (The Wire) 230 Wee-Bey Brice 232 Bodie Broadus 235 Poot Carr 239 D'Angelo Barksdale 242 Cheese Wagstaff 245 Wallace 247 Docks 249 Characters from the docks of The Wire 249 Frank Sobotka 254 Nick Sobotka 256 Ziggy Sobotka 258 Sergei Malatov 261 Politicians 263 Politicians of The Wire 263 Tommy Carcetti 271 Clarence Royce 275 Clay Davis 279 Norman Wilson 282 School 284 School system of The Wire 284 Howard "Bunny" Colvin 290 Michael Lee 293 Duquan "Dukie" Weems 296 Namond Brice 298 Randy Wagstaff 301 Journalists 304 Journalists of The Wire 304 Augustus Haynes 309 Scott Templeton 312 Alma Gutierrez 315 Miscellany 317 And All the Pieces Matter — Five Years of Music from The Wire 317 References Article Sources and Contributors 320 Image Sources, Licenses and Contributors 324 Article Licenses License 325 1 Overview The Wire The Wire Second season intertitle Genre Crime drama Format Serial drama Created by David Simon Starring Dominic West John Doman Idris Elba Frankie Faison Larry Gilliard, Jr. -
Download Download
2013 WRITING BOOK (VOL 10) - 12-2012_WRITING BOOK 2004 2/4/13 6:04 AM Page 91 The Hook behind the Rapper: The Tension in a Diegetic Rhetoric of Music in The Wire Sam Borowik Pennsylvania State University, Berks The Wire, often considered one of the best shows on television, utilizes long-form storytelling tech - niques to great success. Scholars have often looked at the show from the perspective of cultural the - ory and rhetoric, often considering both at the same time. However, one rhetorical element of the show is often overlooked: its music. This is not surprising, since the show primarily utilizes diegetic music—that is, the music is part of the narrative and not used as a direct emotional manipulator or hailing device, which is often the case in other TV shows. In this essay, I argue that music is an important rhetorical device in the show, one that displays a tension between its use as a purely diegetic sonic prop and its function as a device that draws the audience into a deeper, subtler rhet - oric occurring between characters. The Wire, a show that first aired in 2002, followed the wave of long-form storytelling in American television that began in the 2000s. HBO, which aired The Wire, led this wave, with shows like Oz, The Sopranos, Six Feet Under, and Deadwood . The show received numerous accolades despite its not-quite-stellar ratings—though after its cancellation, HBO’s DVD sales were high (Mittell, “All in the Game”). It was, and still is, frequently called “the best show on television.” 1 As a long-form TV narrative, the show is quite complex. -
Second Chances in the Wire: Perspectives from Psychology and the Judiciary
University of Chicago Legal Forum Volume 2018 Article 9 2019 Second Chances in The irW e: Perspectives from Psychology and the Judiciary Rebecca R. Pallmeyer Dan P. McAdams Follow this and additional works at: https://chicagounbound.uchicago.edu/uclf Recommended Citation Pallmeyer, Rebecca R. and McAdams, Dan P. (2019) "Second Chances in The irW e: Perspectives from Psychology and the Judiciary," University of Chicago Legal Forum: Vol. 2018 , Article 9. Available at: https://chicagounbound.uchicago.edu/uclf/vol2018/iss1/9 This Article is brought to you for free and open access by Chicago Unbound. It has been accepted for inclusion in University of Chicago Legal Forum by an authorized editor of Chicago Unbound. For more information, please contact [email protected]. Second Chances in The Wire: Perspectives from Psychology and the Judiciary The Hon. Rebecca R. Pallmeyer† & Dan P. McAdams†† ABSTRACT Playing off a scene in The Wire wherein prison inmates discuss whether Ameri- can lives have “second acts,” this essay considers psychological and legal issues at play in people’s efforts to turn their lives around, from bad to good. In the first half of the essay, a professor of psychology discusses empirical research into re- demptive life stories in which people find positive meaning in suffering and/or transform their lives from failure to relative success. While examples of redemp- tive life stories may be found in The Wire, making good on second chances seems to be a relatively rare occurrence. In the second half, a federal judge considers the issue of second chances in the American legal system, focusing on the issue of sen- tencing. -
To Enlarge the Machinery of Government Hoffer, Williamjames Hull
To Enlarge the Machinery of Government Hoffer, Williamjames Hull Published by Johns Hopkins University Press Hoffer, Williamjames Hull. To Enlarge the Machinery of Government: Congressional Debates and the Growth of the American State, 1858–1891. Johns Hopkins University Press, 2007. Project MUSE. doi:10.1353/book.3490. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/3490 [ Access provided at 25 Sep 2021 08:37 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. To Enlarge the Machinery of Government Reconfiguring American Political History Ronald P. Formisano, Paul Bourke, Donald DeBats, and Paula M. Baker Series Founders To Enlarge the Machinery of Government Congressional Debates and the Growth of the American State, 1858–1891 Williamjames Hull Hoffer The Johns Hopkins University Press Baltimore © 2007 The Johns Hopkins University Press All rights reserved. Published 2007 Printed in the United States of America on acid-free paper 987654321 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Hoffer, Williamjames Hull. To enlarge the machinery of government : congressional debates and the growth of the American state, 1858–1891 / Williamjames Hull Hoffer. p. cm. — (Reconfiguring American political history) Includes bibliographical references and index. isbn-13: 978-0-8018-8655-3 (hardcover : alk. paper) isbn-10: 0-8018-8655-4 (hardcover : alk. paper) 1. United States—Politics and government—19th century. 2. Federal government—United States. 3. United States. Congress. 4. Debates and debating—United States. -
And All the Pieces Matter: Thoughts on the Wire and the Criminal Justice System
And All the Pieces Matter: Thoughts on The Wire and the Criminal Justice System Susan A. Bandes* "Whatever it was, they don't teach it in law school."' I. INTRODUCTION The standard police procedural, even including great dramas like NYPD Blue and Hill Street Blues, adheres to time-honored narrative conventions. It focuses on good, if sometimes imperfect, cops trying to find the real bad guys-the perpetrators-and bring them to justice. The episode begins when a crime ruptures the social fabric, and ends when guilt is determined and things are put to right. The standard procedural is concerned mainly with individual fault and individual heroism. It does not raise disquieting questions about the criminal justice system, the legal system, or the social and political arrangements that lead to a permanent underclass. There are eight million stories in the Naked City,2 and in the police procedural, every one of them stands on its own. This standard cop show narrative reflects and reaffirms a deeply ingrained, reassuring view of the world. The Wire is a different kind of television. It aims not to reassure but to unsettle, or as David Simon once put it, "to pick[] a fight."3 On its surface a police procedural, The Wire has been aptly described as a portrayal of "the social, political, and economic life of an American city with the scope, observational precision, and moral vision of great literature." Unlike the standard police procedural, which presents and resolves a discrete problem every week, The * Distinguished Research Professor, DePaul University College of Law. -
I:\28531 Ind Law Rev 46-2\46Masthead.Wpd
THE WIRE AND ALTERNATIVE STORIES OF LAW AND INEQUALITY ROBERT C. POWER* INTRODUCTION The Wire was a dramatic television series that examined the connections among crime, law enforcement, government, and business in contemporary Baltimore, Maryland.1 It was among the most critically praised television series of all time2 and continues to garner substantial academic attention in the form of scholarly articles,3 academic conferences,4 and university courses.5 One aspect * Professor, Widener University School of Law. A.B., Brown University; J.D., Northwestern University Law School. Professor Power thanks Alexander Meiklejohn and John Dernbach for their comments on an earlier draft of this Article. He also thanks Lucas Csovelak, Andrea Nappi, Gabor Ovari, Ed Sonnenberg, and Brent Johnson for research assistance. 1. Substantial information about the series is available at HBO.COM, http://www.hbo.com/ the-wire/episodes#/the-wire/index.html [hereinafter Wire HBO site]. This site contains detailed summaries of each episode. Subsequent references to specific episodes in this Article refer to the season, followed by the number of the episode counting from the beginning of season one, and then the name of the episode. For example, the first episode of season four, which introduces the four boys who serve as protagonists in season four, is The Wire: Boys of Summer (HBO television broadcast Sept. 10, 2006) [hereinafter Episode 4-38, Boys of Summer]. Additional information is available at The Wire, IMDB.COM, http://www.imdb.com/ title/tt0306414/ (last visited Mar. 26, 2013) [hereinafter Wire IMDB site]. Several books contain essays and other commentaries about the series. -
Politics, National Identity, and the Compromise of 1850
THE CATHOLIC UNIVERSITY OF AMERICA This Great Contest of Principle: Politics, National Identity, and the Compromise of 1850 A DISSERTATION Submitted to the Faculty of the Department of History School of Arts and Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy © Copyright All Rights Reserved By Robert R. Camilleri Washington, D.C. 2015 This Great Contest of Principle: Politics, National Identity, and the Compromise of 1850 Robert R. Camilleri, PhD. Director: Stephen West The Congressional debates leading to the Compromise of 1850 represented a critical turning point in the United States’ sectional crisis, and were the product of a contest between differing conceptions of national identity. This study examines the actions, motivations, ideologies, and principles of members of Congress and the executive branch to determine how their respective national ideals were reflected in their proposals for defusing the territorial crisis, and how the interactions of ideological principles and personal rivalries influenced legislation that impacted the political order of the 1850s. The study utilizes transcripts of Congressional debates, manuscript collections, newspaper articles, and voting analysis. It identifies three competing visions of nationalism in the 31st Congress, termed Unionists, transformational nationalists, and Southern nationalists, and describes how the territorial crisis was influenced by and in turn influenced the development of these visions. It also -
The Lesson of Stringer Bell (Or the Importance of Art) December 20, 2007 Kathy Emery (
The Lesson of Stringer Bell (or The Importance of Art) December 20, 2007 Kathy Emery (www.educationanddemocracy.org) According to a recent New Yorker article, only African Americans and TV critics watch HBO’s The Wire. If true, that’s too bad. For the last four seasons, this TV show has done what very few “cop shows” have done—challenged viewers to consider the real world. Unlike the worlds of Law and Order and CSI, the “bad” guys in The Wire are rarely caught and if so, often unsuccessfully prosecuted. Like the real world, some “cops” and some “robbers” on the HBO show are hard to distinguish from each other and true evil resides only in a very few people. Most people do bad things because they are in bad situations. Some people try to do good things and the system punishes them for it. Just about every TV cop show and movie reinforces a white middle class prejudice that police can solve every crime and catch every murderer. Such a prejudice puts pressure on real police and prosecutors to fudge the facts and then stubbornly refuse to come clean when the fudging is found out. (The Innocence Project has plenty of details on their website). Police and prosecutors fight reforms not so much out of a desire to avoid confronting their own failings but from a need to uphold the legitimacy of the system in the eyes of the middle class. HBO’s The Wire, however, shows the system warts and all. One of the warts, actually, is more like a tumor. -
Critical Response I Wired
Critical Response I Wired Patrick Jagoda In the fourth season of HBO’s television show The Wire, a major may- oral debate unfolds shortly before the Baltimore city election. The debate comes through in a series of fragments, in audio sound bites addressing Baltimore’s crime epidemic and views of the three candidates—incum- bent Clarence Royce, challenger Tony Gray, and the eventual winner Tommy Carcetti—campaigning on different television screens. The visual focus of this sequence, however, is not on the debate itself but on the massive ensemble of characters that is either watching or not watching this episode of political theater. To a few of Baltimore’s citizens it is a central event, but to most this contest is entirely peripheral. During a series of short scenes that takes the debate as its nexus, members of the Royce and Carcetti camps scrutinize the television coverage. Meanwhile, detectives in the homicide unit watch with distant interest, listening selectively for is- sues that pertain to their daily criminal investigations. Ex-con Dennis “Cutty” Wise, in another vignette, notices the debate on his screen before immediately switching the channel to a football game. Even further at the edges, Namond Brice, a young aspiring drug dealer, turns off the debate as if it were televisual static and begins to play Halo 2, a first-person shooter videogame.1 In this series of shots, plotting is subordinated to the detailed mapping of Baltimore’s intersecting social and political worlds. Rather than com- 1. See David Simon, “Soft Eyes,” dir. Christine Moore, 2006, The Wire: The Complete Series, DVD, 23 discs (2002–8), season 4, episode 2. -
“All in the Game: the Wire, Serial Storytelling and Procedural Logic
“All in the Game: The Wire, Serial Storytelling and Procedural Logic” Jason Mittell, Middlebury College Forthcoming in Third Person, edited by Pat Harrigan & Noah Wardip-Fruin (MIT Press, 2008) The Wire is paradigmatic of a critical darling – few people watch it (at least in the numbers typical of commercial television), but it generates adoration and evangelism by nearly all who do. Television critics have taken it upon themselves to lobby their readers to give the show a chance, asking reluctant viewers to overlook its dark and cynical worldview to see the truth and beauty offered by its searing vision into the bleak heart of the American city. Thankfully for us scattered fans, HBO has allowed the show to continue for five seasons, even without a clear sense that the show’s dedicated fandom leads to overt profitability.1 What is most interesting to me about the critical praise deservedly lavished upon The Wire is not how it may or may not yield an increase in viewership, but how the critical consensus seems to situate the show distinctly within the frame of another medium. For many critics, bloggers, fans, and even creator David Simon himself, The Wire is best understood not as a television series, but as a “visual novel.” As a television scholar, this cross-media metaphor bristles – not because I don’t like novels, but because I love television. And I believe that television at its best shouldn’t be understood simply as emulating another older and more culturally valued medium. The Wire is a masterpiece of television, not a novel that happens to be televised, and thus should be understood, analyzed, and celebrated on its own medium’s terms. -
Aaron Spivey-Sorrells Hair: Bald Eyes: Black Height: 5’10
Aaron Spivey-Sorrells Hair: Bald Eyes: Black Height: 5’10 Film Lazer Team cop Day Player Mat Hullum, Director Burnie Burns, Producer FLAY Pham factory Mr. Hamilton Supporting Eric Pham, Director Jared Smith, Producer HOT AIR OFFICER TAYLOR Day Player Derek Sieg, Director Jeremy Goldstein, Producer Balls Out Police Officer Day Player Andrew Disney, Director Tucker Moore, Producer JOE Sammy Supporting David Gorden Green, Director Television DAY 5 Slade Supporting Director Todd McMullen Producer Ezra Ventos ABC: American Crime 206 Day out of Day Jeff Co-Star Jessica Yu, Director John Ridley , Producer Crunch Time ``We Mean Business`` Pamer Guest Star Andrew Disney, Director Bradley Jackson , Producer AMAZON: HYSTERIA ED BAKER Co-Star Otto Bathurst, Director Shaun Cassidy, Producer EL Rey Network: From Dusk Til Dawn ``BoxMan` ` Beefy Guest Star Nick Copus, Director Robert Rodriguez, Producer TNT: Dallas Playing Chicken 303 Cowpoke Guest Star Jesse Bochco, Director Cynthia Cidre, Producer NBC: Revolution 205-One Riot, One Ranger 206-Dead Man Walking Ranger 3 Recurring Fred Toye, Steve Boyum, Director J.J. Abrams, Producer NBC/Direct TV: Friday Night Lights Season 5 All Episode Coach Spivey Series Regular Peter Berg, Director Friday Night Lights Season 4 401, 402, 405, 412, 413, Coach Spivey Series Regular Jeffery Riener, Director Friday Night Lights Season 3 305, 311, 312, Coach Spivey NBC/Direct TV: Friday Night Lights Season 2 201, 206, 213 Coach Spivey Series Regular Jeffery Riener, Director NBC/Direct TV: Friday Night Lights Season 1 103,108, -
And All the Pieces Matter: Thoughts on the Wire and the Criminal Justice System
DePaul University Via Sapientiae College of Law Faculty College of Law 2011 And All the Pieces Matter: Thoughts on the Wire and the Criminal Justice System Susan Bandes DePaul College of Law Follow this and additional works at: https://via.library.depaul.edu/lawfacpubs Part of the Law Commons Recommended Citation Susan A. Bandes, And All the Pieces Matter: Thoughts on the Wire and the Criminal Justice System, 8 Ohio St. J. Crim. L. 435 (2011). This Article is brought to you for free and open access by the College of Law at Via Sapientiae. It has been accepted for inclusion in College of Law Faculty by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. Content downloaded/printed from HeinOnline Wed Sep 18 10:31:41 2019 Citations: Bluebook 20th ed. Susan A. Bandes, And All the Pieces Matter: Thoughts on the Wire and the Criminal Justice System, 8 Ohio St. J. Crim. L. 435 (2011). APA 6th ed. Bandes, S. A. (2011). And all the pieces matter: Thoughts on the wire and the criminal justice system. Ohio State Journal of Criminal Law, 8(2), 435-446. ALWD Bandes, S. A. (2011). And all the pieces matter: Thoughts on the wire and the criminal justice system. Ohio St. J. Crim. L., 8(2), 435-446. Chicago 7th ed. Susan A. Bandes, "And All the Pieces Matter: Thoughts on the Wire and the Criminal Justice System," Ohio State Journal of Criminal Law 8, no. 2 (Spring 2011): 435-446 McGill Guide 9th ed. Susan A Bandes, "And All the Pieces Matter: Thoughts on the Wire and the Criminal Justice System" (2011) 8:2 Ohio State J of Crim L 435.