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A Memoir, Felicia Pearson, David Ritz, Grand Central Publishing, 2009, 0446195197, 9780446195195, 240 Pages
Grace After Midnight: A Memoir, Felicia Pearson, David Ritz, Grand Central Publishing, 2009, 0446195197, 9780446195195, 240 pages. While Felicia is a brilliant actor in a truly chilling role, what's most remarkable about "Snoop" is what she has overcome in her life. Snoop was born a three-pound cross-eyed crack baby in East Baltimore. Those streets are among the toughest in the world, but Snoop was tougher. The runt of the ghetto showed an early aptitude for drug slinging and violence and thrived as a baby gangsta until she landed in Jessup state penitentiary after killing a woman in self-defense. There she rebelled violently against the system, and it was only through the cosmic intervention of her mentor, Uncle Loney, that she turned her life around. A couple of years ago, Snoop was discovered in a nightclub by one of The Wire's cast members and quickly recruited to be one of television's most frightening and intriguing villians.While the story of coming up from the hood has been told by Antwone Fisher and Chris Gardner, among others, Snoop's tale goes far deeper into The Life than any previous books. And like Mary Karr's story, Snoop's is a woman's story from a fresh point of view. She defied traditional conventions of gender and sexual preference on the hardest streets in America and she continues to do so in front of millions of viewers on TV.. DOWNLOAD HERE Gunmetal Black , Daniel Serrano, Sep 15, 2008, Fiction, . As a child, Eddie Santiago grows up on the mean streets of his Puerto Rican neighborhood in Chicago, where he witnesses his father's murder. -
Representations of Education in HBO's the Wire, Season 4
Teacher EducationJames Quarterly, Trier Spring 2010 Representations of Education in HBO’s The Wire, Season 4 By James Trier The Wire is a crime drama that aired for five seasons on the Home Box Of- fice (HBO) cable channel from 2002-2008. The entire series is set in Baltimore, Maryland, and as Kinder (2008) points out, “Each season The Wire shifts focus to a different segment of society: the drug wars, the docks, city politics, education, and the media” (p. 52). The series explores, in Lanahan’s (2008) words, an increasingly brutal and coarse society through the prism of Baltimore, whose postindustrial capitalism has decimated the working-class wage and sharply divided the haves and have-nots. The city’s bloated bureaucracies sustain the inequality. The absence of a decent public-school education or meaningful political reform leaves an unskilled underclass trapped between a rampant illegal drug economy and a vicious “war on drugs.” (p. 24) My main purpose in this article is to introduce season four of The Wire—the “education” season—to readers who have either never seen any of the series, or who have seen some of it but James Trier is an not season four. Specifically, I will attempt to show associate professor in the that season four holds great pedagogical potential for School of Education at academics in education.1 First, though, I will present the University of North examples of the critical acclaim that The Wire received Carolina at Chapel throughout its run, and I will introduce the backgrounds Hill, Chapel Hill, North of the creators and main writers of the series, David Carolina. -
Why Every Show Needs to Be More Like the Wire (“Not Just the Facts, Ma’Am”)
DIALOGUE WHY EVERY SHOW NEEDS TO BE MORE LIKE THE WIRE (“NOT JUST THE FACTS, MA’AM”) NEIL LANDAU University of California, Los Angeles (UCLA) The Wire (HBO, 2002-2008) upends the traditional po- ed the cop-drama universe. It was a pioneering season-long lice procedural by moving past basic plot points and “twists” procedural. Here are my top 10 reasons why Every Show in the case, diving deep into the lives of both the cops and Needs to Be More Like The Wire. the criminals they pursue. It comments on today’s America, employing characters who defy stereotype. In the words of — creator David Simon: 1. “THIS AMERICA, MAN” The grand theme here is nothing less than a nation- al existentialism: It is a police story set amid the As David Simon explains: dysfunction and indifference of an urban depart- ment—one that has failed to come to terms with In the first story arc, the episodes begin what the permanent nature of urban drug culture, one would seem to be the straightforward, albeit pro- in which thinking cops, and thinking street players, tracted, pursuit of a violent drug crew that controls must make their way independent of simple expla- a high-rise housing project. But within a brief span nations (Simon 2000: 2). of time, the officers who undertake the pursuit are forced to acknowledge truths about their de- Given the current political climate in the US and interna- partment, their role, the drug war and the city as tionally, it is timely to revisit the The Wire and how it expand- a whole. -
Criminal Procedure, the Police, and the Wire As Dissent
Brooklyn Law School BrooklynWorks Faculty Scholarship 2018 Criminal Procedure, the Police, and The irW e as Dissent I. Bennett aC pers Brooklyn Law School, [email protected] Follow this and additional works at: https://brooklynworks.brooklaw.edu/faculty Part of the Criminal Law Commons, and the Criminal Procedure Commons Recommended Citation 2018 U. Chi. Legal F. 65 (2018) This Article is brought to you for free and open access by BrooklynWorks. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of BrooklynWorks. Criminal Procedure, the Police, and The Wire as Dissent Bennett Caperst The Wire is rich with metaphors. There is the physical wire in the opening credits, a metaphor for surveillance more generally. There is the metaphor of the wire in the sense of a modern tightrope-another filmic work, Man on a Wire,1 comes to mind-where any minute one can lose one's balance. There is even the metaphor of the wire in the 2 sense that the criminal justice system is all connected or networked. Indeed, thinking about our criminal justice system as a complex net- work allows us to see that many of the perceived flaws in the criminal justice system-racial disparities in charging3 and sentencing,4 and t Visiting Professor of Law, Boston University School of Law (Fall 2017); Stanley A. August Professor of Law, Brooklyn Law School. B.A. Princeton University; J.D. Columbia Law School. Assistant U.S. Attorney, Southern District of New York 1995-2004. E-mail: bennett.capers @brooklaw.edu. ' See generally MAN ON A WIRE (Magnolia Pictures 2008) (documentary about Phillipe Pet- it's successful attempt, on August 7, 1974, to walk on a wire suspended between the towers of the World Trade Center; his act would later be described as the "artistic crime of the century"). -
Blood Ties: Religion, Violence, and the Politics of Nationhood in Ottoman Macedonia, 1878
BLOOD TIES BLOOD TIES Religion, Violence, and the Politics of Nationhood in Ottoman Macedonia, 1878–1908 I˙pek Yosmaog˘lu Cornell University Press Ithaca & London Copyright © 2014 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2014 by Cornell University Press First printing, Cornell Paperbacks, 2014 Printed in the United States of America Library of Congress Cataloging-in-Publication Data Yosmaog˘lu, I˙pek, author. Blood ties : religion, violence,. and the politics of nationhood in Ottoman Macedonia, 1878–1908 / Ipek K. Yosmaog˘lu. pages cm Includes bibliographical references and index. ISBN 978-0-8014-5226-0 (cloth : alk. paper) ISBN 978-0-8014-7924-3 (pbk. : alk. paper) 1. Macedonia—History—1878–1912. 2. Nationalism—Macedonia—History. 3. Macedonian question. 4. Macedonia—Ethnic relations. 5. Ethnic conflict— Macedonia—History. 6. Political violence—Macedonia—History. I. Title. DR2215.Y67 2013 949.76′01—dc23 2013021661 Cornell University Press strives to use environmentally responsible suppliers and materials to the fullest extent possible in the publishing of its books. Such materials include vegetable-based, low-VOC inks and acid-free papers that are recycled, totally chlorine-free, or partly composed of nonwood fibers. For further information, visit our website at www.cornellpress.cornell.edu. Cloth printing 10 9 8 7 6 5 4 3 2 1 Paperback printing 10 9 8 7 6 5 4 3 2 1 To Josh Contents Acknowledgments ix Note on Transliteration xiii Introduction 1 1. -
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. -
The Wire and Drug Policy
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by LJMU Research Online “No One Wins. One Side Just Loses More Slowly”: The Wire and Drug Policy Steve Wakeman Liverpool John Moores University Abstract This article presents a cultural analysis of HBO’s drama series, The Wire. It is argued here that, as a cultural text, The Wire forms a site of both containment and resistance, of hegemony and change with recourse to the regulation of illicit drug markets. In this sense The Wire constitutes an important cultural paradigm of drug policy debates, one that has significant heuristic implications regarding both the present consequences and future directions of illicit drug policy. Ultimately, it is demonstrated below that through its representations of the tensions and antagonisms characteristic of drug control systems, The Wire reveals larger predicaments of governance faced by neoliberal democracies today. Keywords Cultural criminology, drugs, regulation, representations, The Wire 1 Introduction Real is pretend, and pretend is real. From the autobiography of Felicia ‘Snoop’ Pearson (Pearson and Ritz, 2007).1 Recent years have seen the significant growth of criminological interest in various forms of media and their symbolic and textual meanings. Photographic images (Carrabine, 2012), children’s cartoons (Kort-Butler, 2012), video games (Groombridge, 2008), and films (O’Brien et al., 2005; Tzanelli et al., 2005; Rafter, 2007) have all been fruitfully investigated with recourse to the role(s) they play in the construction and development of public understandings of crime and justice. Since television programmes are one of the most powerful vehicles driving and informing such popular understandings, their inclusion within criminological analysis is not only justified, but critically important to the continued development of criminology as a field of study. -
The Avon Barksdale Story
TV/Series 4 | 2013 Écho et reprise dans les séries télévisées (II) : Re- présentations -- enjeux socio-culturels, politiques et idéologiques de la reprise Through The Wire: The Avon Barksdale Story Sébastien Lefait Electronic version URL: http://journals.openedition.org/tvseries/746 DOI: 10.4000/tvseries.746 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Sébastien Lefait, « Through The Wire: The Avon Barksdale Story », TV/Series [Online], 4 | 2013, Online since 15 December 2013, connection on 20 April 2019. URL : http://journals.openedition.org/ tvseries/746 ; DOI : 10.4000/tvseries.746 TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Through The Wire: The Avon Barksdale Story Sébastien LEFAIT Released exclusively on DVD in 2010, The Avon Barksdale Story is the first and only instalment so far of a series of docudramas called Baltimore Chronicles: Legends of the Unwired. As its title indicates, the film claims to tell the real events in the life of Baltimore drug kingpin Nathan “Bodie” Barksdale in order to expose his near namesake from HBO’s The Wire (2002-2008), Avon Barksdale, as a fictional persona. Structured around an interview of the real Barksdale by the actor impersonating him in the series, The Avon Barksdale Story presents itself as a corrigendum or as a right of reply. This so-called critical reading thus aims to debunk The Wire as a distortive rewriting of events. The film’s title, however, paradoxically acknowledges that it tells and perpetuates the legend of Avon, Nathan Barksdale’s fictional counterpart, despite the fact Nathan declares he always resented the nickname “Avon”. -
Teaching HBO's the Wire July 2011
Teaching HBO’s The Wire July 2011 Teaching HBO’s The Wire Dr. Andrew Moore, St. Thomas University Author’s Contact Information Dr. Andrew Moore Assistant Professor Great Books Programme St. Thomas University, Fredericton, NB, E3B-5G3 Phone: (506) 292-5007 email: [email protected] Abstract: My intention in this paper is to address some of the challenges and advantages of incorporating television programming into a traditional liberal arts course, drawing upon my own experience teaching the third season of HBO’s crime drama The Wire. First appearing on HBO in 2002, The Wire’s incisive and expansive analysis of contemporary urban communities has increasingly made it a subject of scholarly interest. My argument here is that the series is culturally significant and potentially useful in a wide variety of courses on diverse subjects. However, there are problems with teaching television at the university level, such as limited class time, and students unaccustomed to critically engaging with the medium. I describe how my class addressed those challenges, and suggest ways other teachers might overcome them when teaching The Wire or any other television program. Also, citing student reactions to The Wire from our course blog, I outline the key lessons our class was able to derive from the series. Their comments suggest the wide array of pedagogical possibilities for HBO’s critically acclaimed crime drama, and for television more generally. Key Words: The Wire, crime drama, teaching television, student blog, justice, urban studies. Introduction There is no convenient way to use television programs in university classrooms. Our timetables are built around the notion that we are using print medium and or lecture. -
Schooling, Standardization, and Inequality Through the Lens of the Wire
“No one wins. One side just loses more slowly:” Schooling, Standardization, and Inequality through the Lens of The Wire An honors thesis for the Program in American Studies Benjamin R. Phelps Tufts University, 2011 ACKNOWLEDGEMENTS “Thanks for bein’ straight on this.” — Nick Sobotka First and foremost, I would like to thank Steve Cohen for the guidance he has provided me as my first reader on this project and as my academic advisor here at Tufts. Steve’s course, ED 01, which I took freshman year, guided me to American Studies, and I could not be happier that it did. Our weekly meetings this year were a great opportunity to talk about my thesis progress, educational issues, and our shared enthusiasm for The Wire, and I cannot see my final product, or my Tufts experience, being nearly as successful without his presence. Sarah Sobieraj has also been a tireless reader this year on both this thesis and my Communications and Media Studies senior project. Just as this project allowed me to marry my interests in education and television, it also allowed me to work with a media-focused sociologist who I may otherwise have only known from our brief time together in SOC 40, and I am extremely grateful that it did. Tom Chen and the support of the American Studies senior seminar have been invaluable. As something of a procrastinator, I was kept on track by Tom’s deadlines, and even though he did not work with me as closely as my two advisors, it never hurt to have another set of eyes to read over my progress. -
Sumter Man Faces Murder Charge After Marshals Arrest Him in Texas
CLARENDON SUN Camp Happy Days will be back in June You can donate to help children with cancer enjoy a week of fun SERVING SOUTH CAROLINA SINCE OCTOBER 15, 1894 C1 FRIDAY, MAY 31, 2019 75 CENTS Sumter man faces murder charge after Marshals arrest him in Texas Service located public information officer for man was found dead about Suspect was wanted for questioning in death and arrested him the department. 1:15 p.m. on Feb. 16 after rail- of Columbia man found by Sumter train tracks in Dallas. He has waived extradition way workers discovered his Simmons was and is expected to be returned body down an embankment BY KAYLA ROBINS der charge. wanted by the po- to Sumter to face a first-de- from railroad tracks at Cook [email protected] Matthew Tyrell Simmons, lice department gree assault and battery and South streets in Sumter, 27, was the last person report- SIMMONS for questioning in charge. An additional warrant which is behind a neighbor- A Sumter man wanted for ed to have been seen with Ra- the Bostic case was signed Thursday morn- hood off McCrays Mill Road questioning in the February phel Heywood Bostic before and on assault ing, McGirt said, charging and South Guignard Drive. shooting death of his friend he was shot to death, accord- charges stemming from an Simmons with murder in Bos- His family had reported him was apprehended Wednesday ing to the Sumter Police De- unrelated incident in Sumter, tic’s death. in Texas and now faces a mur- partment. The U.S. -
Lesbian Cop, Queer Killer: Leveraging Black Queer Women's Sexuality on HBO's the Wire
Jennifer DeClue Lesbian Cop, Queer Killer: Leveraging Black Queer Women’s Sexuality on HBO’s The Wire HBO’s drama series The Wire has been the subject systems of power that conspire through racialized of at least one academic conference, an online violence, failed education, nefarious politicians, academic journal, numerous college courses, several and law enforcement to subjugate marginalized scholarly articles, and as of this writing, there communities in the United States. Nearly every are rumors of a forthcoming book on the series. major character in The Wire has a rich emotional Although much has been written and probably interior that provides an entryway into the even more has been spoken about The Wire, complexities of life in Baltimore. The Wire’s creator, concerns have primarily been with the realistic David Simon, prides himself on linguistic accuracy manner in which institutionalized racism, political achieved through immersing his cast and crew in a corruption, and impoverished communities are city’s rhythms and sounds during production1. The depicted. I find it startling that fewer discussions rich realism with which Simon treats his characters have been concerned with the representation of is attributed to his long career as a crime reporter racialized genders and sexualities given that a host with the Baltimore Sun;through a mix of veracity of black queer characters populate this HBO series. and fiction, this HBO drama is habitually credited The five seasons of the controversial and with being the “real thing.”2 provocative series (2002-2008), expose the inner- During what Ron Becker calls the “gay workings of the Baltimore police department nineties,” prime-time television programs included through ongoing police investigations that utilize gay characters who were predominantly white, wire tapping (hence the title) to break codes of save Carter, a black gay character on Spin City.