The Divide: American Injustice in the Age of the Wealth Gap
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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. -
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. -
Network Aesthetics
Network Aesthetics Network Aesthetics Patrick Jagoda The University of Chicago Press Chicago and London Patrick Jagoda is assistant professor of English at the University of Chicago and a coeditor of Critical Inquiry. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by The University of Chicago All rights reserved. Published 2016. Printed in the United States of America 25 24 23 22 21 20 19 18 17 16 1 2 3 4 5 ISBN- 13: 978- 0- 226- 34648- 9 (cloth) ISBN- 13: 978- 0- 226- 34651- 9 (paper) ISBN- 13: 978- 0- 226- 34665- 6 (e- book) DOI: 10.7208/chicago/9780226346656.001.0001 The University of Chicago Press gratefully acknowledges the generous support of the Division of the Humanities at the University of Chicago toward the publication of this book. Library of Congress Cataloging-in-Publication Data Jagoda, Patrick, author. Network aesthetics / Patrick Jagoda. pages cm Includes bibliographical references and index. ISBN 978- 0- 226- 34648- 9 (cloth : alkaline paper) ISBN 978- 0- 226- 34651- 9 (paperback : alkaline paper) ISBN 978- 0- 226- 34665- 6 (e- book) 1. Arts—Philosophy. 2. Aesthetics. 3. Cognitive science. I. Title. BH39.J34 2016 302.23'1—dc23 2015035274 ♾ This paper meets the requirements of ANSI/NISO Z39.48- 1992 (Permanence of Paper). This book is dedicated to an assemblage of friends—including the late-night conversational, the lifelong, and the social media varieties— to whom I am grateful for inspiration and discussion, collaboration and argument, shared meals and intellectual support. Whenever I undertake the difficult task of thinking through and beyond network form, I constellate you in my imagination. -
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. -
140174NCJRS.Pdf
If you have issues viewing or accessing this file contact us at NCJRS.gov. I' '. o f :, I\ BASIC COURSE i UNIT GUIDE J1 ! ( 6 ) ~__________ C_R_IM_E_S_A_G_A_IN_S_T_P_R_O_P_E_R_TY __________ J This unit guide covers the following performance objectives containe in Performance Objectives for the POST Basic Course: 3.9.1 3.12.2 3.13.5 3.16.2 3.9.2 3.13.1 3.14.1 3.16.3 3.9.3 3.13.2 3.15.1 3.11.1 3.13.3 3.15.2 • 3.12.1 3.13.4 3.16.1 NCJRS nAN 12 199~ ACQUISITIONS THE COMMISSION ON PEACE OFFICER STANDARDS AND TRAINING • STATE OF CALIFORNIA • This unit of instruction is designed as a guideline for performance obJective-based law enforcement basic training. It Is part of the POST Basic Course guidelines system developed by California law enforcement trainers and criminal Justice educators for the California Commission on Peace Officer Standards and Training. This guide is designed to assist the Instructor In developing an ,,' appropriate lesson plan to cover the performance objectives which are required as minimum content of the Basic Course . • 140174 U.S. Department of Justice National Institute of Justice This document has been reproduced exactly as received from the person or organization originating it. Points of view or opinions stated in this document are those of the authors and do not necessarily represent the oHicial position or policies of the National Institute of Justice. Permission to reproduce this copyrighted material has been gr~clt.et.t~ornia Ccnm. on Peace Officer Standards and Training to the National Criminal Justice Reference Service (NCJRS). -
The Job Creation Shell Game: Ending the Wasteful Practice of Subsidizing Companies That Move Jobs from One State to Another
January 2013 The Job Creation Shell Game: Ending the Wasteful Practice of Subsidizing Companies that Move Jobs From One State to Another by Greg LeRoy, Kasia Tarczynska, Leigh McIlvaine, Thomas Cafcas and Philip Mattera A Publication of: Good Jobs First January 2013 © Copyright 2013 Good Jobs First. All Rights Reserved. Acknowledgements Good Jobs First gratefully acknowledges the assistance of various organiza- tions and individuals. Any errors or omissions are ours, not theirs. ThanksWe wish also to to:thank Noah the Berger state ofand the local Massachusetts economic development Budget and Policy officials Center; and Amythe staffers Blouin andof regional Traci Gleason business of theorganizations Missouri Budgetwho answered Project; Kateour queries.Brew- ster of the Center for Economic Progress in Rhode Island; Brett Bursey of - nomic Development Council; Allan Freyer of the North Carolina Budget and Taxthe SouthCenter; Carolina Bill Howell Progressive of Tennesseans Network; forJeff Fair Finkle Taxation; of the InternationalChad Johnson Eco of AFSCME Local 1733 in Memphis; Gordon MacInnes and Jon Whiten of New Jersey Policy Perspective; Craig McDonald of Texans for Public Justice; James Parrott of the Fiscal Policy Institute in New York; Zach Schiller of Policy Matters Ohio; Andria Signore of the Edward Lowe Foundation; Wesley Tharpe of the Georgia Budget and Policy Institute; Don Walls of Walls & Associates; and Angie Wei and Sara Flocks of the California Labor Federation. Finally, thanks to our own Good Jobs New York director Bettina -
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. -
The Black Image in the White Mind: Educational Consequences of Media Racism
THE BLACK IMAGE IN THE WHITE MIND: EDUCATIONAL CONSEQUENCES OF MEDIA RACISM Sheldon A. Lanier A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Education in the School of Education. Chapel Hill 2017 Approved by: Kathleen Brown Dana Thompson-Dorsey Misti Williams © 2017 Sheldon A. Lanier ALL RIGHTS RESERVED ii ABSTRACT Sheldon A. Lanier: The Black Image in the White Mind: Educational Consequences of Media Racism (Under the direction of Kathleen Brown) In the United States of America, Black male students often face a cultural disconnect when entering classrooms today. As a result, outcomes for these students, including academic ones, are both alarming and reprehensible. It is conceivable that a link exists between the exposure to negative racial portrayals of Black males in the media, teachers’ perceptions of their Black male students, and the negative treatments of Black males that result. These perceptions are important when examining how they can affect school policies and practices institutionally. Given the multitude of structures that help shape the negative outcomes of Black males in this country, mixed methods on both quantitative and qualitative inquiry were used to explore and examine the following questions: 1) How are Black males portrayed in the HBO original series, The Wire? 2) Do these portrayals reify (or, not) stereotypes of Black males in the United States? 3) How might these portrayals cultivate White female teachers’ perceptions and subsequent treatment of Black male students? The Wire was used as the media content sample due to the vast amount of Black male actors in lead or prominent recurring roles. -
Confidence Tricks - 08-12-2011 by Seolawtransfer - Law Firm Newswire
Confidence Tricks - 08-12-2011 by seolawtransfer - Law Firm Newswire - http://www.lawfirmnewswire.com Confidence Tricks by seolawtransfer - Friday, August 12, 2011 http://www.lawfirmnewswire.com/law-center/criminal-defense/federal-fraud/confidence-tricks/ The term “confidence tricks” comes to mind when someone attends a fair or exhibition, where many games of chance, notably the shell game, are confidence tricks. Over time, this simple game has escalated into many more complex and intricate scams that have taken people in, resulting in them losing money and damaging their self-esteem. A confidence trick is an attempt to defraud someone or a group, by first getting them to trust the trickster. In other words, the goal is to gain their trust and confidence. The fraudster may work alone or with others, and their main goal is to take advantage of people’s weaknesses, such as compassion, vanity, greed, stupidity and/or irresponsibility. Whatever the target is, it is typically of more value than what the confidence trickster offers in return. “Confidence man” first appeared in the English language in 1849 in the news coverage of the trial of William Thompson. Thompson would chat up marks, ask them if they had the confidence to loan him their watch or other personal items, and then walk off with the booty. The police apprehended him when a victim spotted him on the street. Today’s confidence tricks tally up to a very long list of nefarious activities that include, but are not limited to: salting, the Nigerian scam, infomercial manipulation, cons by wire, missionary scam, romance scam, fortune telling fraud, coin collection, pig in a poke, white van speaker, Thai gem, and so on. -
Why Every Show Needs to Be More Like the WIRE
Why Every Show Needs to Be More Like THE WIRE (“Not Just the Facts, Ma’am.”) The Wire upends the traditional police procedural by moving past basic plot points and “twists” in the case, diving deep into the lives of both the cops and the criminals they pursue. We see this immediately in the teaser of the pilot. Detective Jimmy McNulty (Dominic West) is at the scene of a shooting, questioning a Witness (Kamal Bostic-Smith) on the murder of a boy from “round the way nicknamed “Snot Boogie.” McNulty and the Witness go back and forth on the origin of “Snot Boogie’s” nickname at first. Until the Witness explains what happened: MCNULTY So who shot Snot? WITNESS I ain’t going to no court. Motherfucker ain’t have to put no cap in him though. MCNULTY Definitely not. WITNESS He could’ve just whipped his ass, like we always whip his ass. MCNULTY I agree with you. !1 WITNESS He gonna kill Snot. Snot been doing the same shit since I don’t know how long. Kill a man over some bullshit. I’m saying, every Friday night in the alley behind the cut-rate, we rolling bones, you know? All the boys from around the way, we roll till late. MCNULTY Alley crap game, right? WITNESS And like every time, Snot, he’d fade a few shooters. Play it out till the pot’s deep. Then he’d snatch and run. MCNULTY --Every time? WITNESS —Couldn’t help hisself. MCNULTY Let me understand you. Every Friday night, you and your boys would shoot crap, right? And every Friday night, your pal Snotboogie he’d wait till there was cash on the ground, then grab the money and run away?--You let him do that? WITNESS --We catch him and beat his ass. -
Celebrity Guest Biographies
Celebrity Guest Biographies Gbenga Akinnagbe Gbenga Akinnagbe (born December 12, 1978) is an American actor and writer, best known for his role as Chris Partlow on the HBO series The Wire.[1] In 2007, Akinnagbe appeared in the film The Savages with Philip Seymour Hoffman, Laura Linney, and Philip Bosco. He appeared in the remake of The Taking of Pelham 1 2 3, which was released by Sony in June 2009. Akinnagbe made a guest appearance on a Season 10 Law and Order: SVU episode entitled "Hell" as Elijah Okello, a former Ugandan child soldier living in New York, facing deportation. Akinnagbe's former The Wire cast mate Robert Wisdom also appeared in that episode as Father Theo Burdett. In 2010 in Seattle, Washington Akinnagbe starred in world premiere play The Thin Place at The Intiman Theatre.[4] He was also in the movie Lottery Ticket and is currently in The Good Wife as Pastor Isiah Easton.[2] His former co-star from the The Wire, Frankie Faison, portrayed his father on the show in several episodes. He is currently starring as Kelly Slater, a new nurse in the 3rd season of the Showtime series Nurse Jackie.[5] He also starred in leading roles for two Independent films, as Jack in "Home", directed by Jono Oliver, and as James in "Big Words", directed by Neil Drumming. He is currently playing a drug lord in the USA series Graceland and stars as Tom in The Following. He starred as a CIA Agent in 24hours movie Darren Aronofsky Darren Aronofsky (born February 12, 1969) is an American film director, screenwriter and film producer.