How and Why Race Continues to Influence the Administration of Criminal Justice in Louisiana Robert J
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ETHICS OWNERS a New Model of Organizational Responsibility in Data-Driven Technology Companies
ETHICS OWNERS A New Model of Organizational Responsibility in Data-Driven Technology Companies Emanuel Moss Jacob Metcalf September 2020 Author: Emanuel Moss, doctoral candidate in Anthropology, CUNY Graduate Center, New York. Author: Jacob Metcalf, PhD, 2010, Philosophy, University of California, Santa Cruz. ETHICS OWNERS - 1 - PREFACE he world has moved in remarkable ways since this research Twas first initiated in late 2018 and the analysis was finalized in early-2020. Since then, we have seen the COVID-19 pandemic and the resurgence of the #BlackLivesMatter movement following the police killings of George Floyd, Breonna Taylor, and all too many others. Given these critical events, we as researchers and as members of a research organization paused to reflect on how our work speaks to the urgent injustices laid bare today. These events have dramatically foregrounded existing calls for jus- tice at the intersections of technology, unjust social and political structures, digital privacy, surveillance, and the values and purpose of technology corporations. Many of the defining events that have shaped ethics in the tech sector in recent years—including tech worker organization, walkouts and resignations over military con- tracts, continued contestations over racial and sexual harassment inside of tech companies, legislation and regulations, and critical audits—have been and continue to be the contentious background to the research conducted for this report. Our research takes place amidst, but is not primarily about, these tectonic changes that have repeatedly reframed the broader tech ethics conversation. It is in- stead about the ways those inside of tech companies have begun reshaping corporate practices against this background—how they understand the problems their industry faces, the means at their disposal to address these problems, and the lines of thought that shape those understandings. -
The Mikado Program
GENEVA CONCERTS presents TheThe MikadoMikado Albert Bergeret, Artistic Director Saturday, September 24, 2011 • 7:30 p.m. Smith Opera House 1 GENEVA CONCERTS, INC. 2011-2012 SEASON Saturday, 24 September 2011, 7:30 p.m. New York Gilbert & Sullivan Players The Mikado Sunday, 11 December 2011, 3:00 p.m. Imani Winds A Christmas Concert This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts. Friday, 2 March 2012, 7:30 p.m. Rochester Philharmonic Orchestra Christoph Campestrini, conductor Juliana Athayde, violin Music of Barber and Brahms Friday, 30 March 2012, 7:30 p.m. Brian Sanders’ JUNK Patio Plastico Plus Saturday, 28 April 2012, 7:30 p.m. Cantus On the Shoulders of Giants Performed at the Smith Opera House, 82 Seneca Street, Geneva, New York These concerts are made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and a continuing subscription from Hobart and William Smith Colleges. 2 GENEVA CONCERTS, INC. Saturday, September 24, 2011 at 7:30 p.m. The Mikado or, The Town of Titipu Libretto by Sir William S. Gilbert Music by Sir Arthur Sullivan First Performed at the Savoy Theatre, London, England, March 14, 1885 Stage Direction: Albert Bergeret & David Auxier Music Director: Albert Bergeret; Asst. Music Director: Andrea Stryker-Rodda Conductor: Albert Bergeret Scenic Design: Albère Costume Design: Gail J. Wofford & Kayko Nakamura Lighting Design: Brian Presti Production Stage Manager: David Sigafoose* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Mikado of Japan .....................................................................Quinto Ott* Nanki-Poo (His son, disguised as a wandering minstrel) . -
Ralph Banks the Jackson Eli Reynolds Professor of Law, Associate Dean for Curriculum and Professor, by Courtesy, of Education Stanford Law School
Ralph Banks The Jackson Eli Reynolds Professor of Law, Associate Dean for Curriculum and Professor, by courtesy, of Education Stanford Law School Bio BIO Ralph Richard Banks (BA ’87, MA ’87) is the Jackson Eli Reynolds Professor of Law at Stanford Law School and Professor, by courtesy, at the School of Education. A native of Cleveland, Ohio and a graduate of Stanford University and Harvard Law School (JD 1994), Banks has been a member of the Stanford faculty since 1998. Prior to joining the law school, he practiced law at O’Melveny & Myers, was the Reginald F. Lewis Fellow at Harvard Law School and clerked for a federal judge, the Honorable Barrington D. Parker, Jr. (then of the Southern District of New York). Professor Banks teaches and writes about family law, employment discrimination law and race and the law. He is the author of Is Marriage for White People? How the African American Marriage Decline Affects Everyone. At Stanford, he is affiliated with the Michelle R. Clayman Institute for Gender Research, the Center for Comparative Studies in Race and the Ethnicity, the Stanford Center for Opportunity Policy in Education and the Center for the Study of Poverty and Inequality. His writings have appeared in a wide range of popular and scholarly publications, including the Stanford Law Review, the Yale Law Journal, The New York Times and the Los Angeles Times. He has been interviewed and quoted by numerous print and broadcast media, including ABC News/Nightline, National Public Radio, The New York Times and the Los Angeles Times, among others. -
Principled Policing Facilitation Guide
Principled Policing Procedural Justice and Implicit Bias Training Facilitation Guide POST CCN 12426 A Partnership Among: § Commission on Peace Officers Standards and Training § California Department of Justice § Oakland Police Department § Stockton Police Department § Stanford SPARQ: Social Psychological Answers to Real-World Questions § California Partnership for Safe Communities Based on the Procedural Justice curriculum developed by Professors Tom Tyler & Tracey Meares, Yale University, in partnership with the Chicago Police Department, and the Implicit Bias curriculum developed by Professors Jennifer Eberhardt & Hazel Markus, Stanford SPARQ Last revised 9.12.16 Principled Policing: A Discussion of Procedural Justice and Implicit Bias Facilitation Guide Overview & Introduction to Principled Policing Facilitation Guide Revised: September 12, 2016 Introduction Principled Policing, specifically procedural justice and implicit bias, teaches policing approaches that emphasize respect, listening, neutrality, and trust (Procedural Justice) while also addressing the common implicit biases that can be barriers to these approaches (Implicit Bias). Law enforcement can improve trust and relationships between law enforcement agencies and their communities by using these principles to evaluate their policies, procedures and training within their departments. The Principled Policing Facilitation Guide provides a roadmap for instructors preparing to teach the 8-hour Principled Policing course. Overview of the Course Goals & Objectives By the end of this course, attendees will: · Learn about the concepts of procedural justice, police legitimacy, and implicit bias. · Understand the different roles policing has sometimes played throughout history and the effect this has on community trust and support for police. · Understand implicit bias and how it can be a barrier to procedural justice. · Understand the ways that procedural justice principles can be implemented in law enforcement’s daily interactions with the public. -
Trial by Jury [Operetta, in One Act; Text by Gilbert. First Produced at The
Trial by Jury [Operetta, in one act; text by Gilbert. First produced at the Royalty Theatre, London, March 25, 1875.] PERSONAGES. Learned Judge. Plaintiff. Defendant. Counsel for the Plaintiff. Usher. Foreman of the Jury. Associate. First Bridesmaid. [Barristers, attorneys, journeymen, and bridesmaids.] The scene is laid in a London Court of Justice; time, the nineteenth century. The little operetta, "Trial by Jury," was the first result of the successful collaboration of Gilbert and Sullivan, though it gave little hint of the extraordinary excellence as well as popularity of the long list which followed it. "The words and music were written and all the rehearsals completed within three weeks, and all London went to see it," says Sullivan's biographer. It was produced March 25, 1875, and had quite a run, Frederick Sullivan, Sir Arthur's brother, appearing in the rôle of the judge and contributing much to its success. The story is a satire upon the English courts, the incident being a breach of promise case. Edwin is sued by Angelina. The usher impresses upon the jury its duty to divest itself of prejudice in one breath, and in the next seeks to prejudice it against the defendant by most violent denunciations of him. When Edwin enters he is at once requested by the jury to "dread our damages." He tells them how he became "the lovesick boy" first of one and then of another. The jurymen in chorus, while admitting that they were fickle when young, declare that they are now respectable and have no sympathy with him. The judge enters, and after informing the audience how he came to the bench, announces he is ready to try the breach of promise case. -
Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with Date and Length of Original London Run • Thespis 1871 (63)
Sinfonicron Light Opera presents Ruddigore, or The Witch’s Curse January 23-26, 2020 Kimball Theatre Osher Lifelong Learning Institute November 15, 2019 Ken Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with date and length of original London run • Thespis 1871 (63) • Trial by Jury 1875 (131) • The Sorcerer 1877 (178) • HMS Pinafore 1878 (571) • The Pirates of Penzance 1879 (363) • Patience 1881 (578) • Iolanthe 1882 (398) G&S Works, Continued • Princess Ida 1884 (246) • The Mikado 1885 (672) • Ruddigore 1887 (288) • The Yeomen of the Guard 1888 (423) • The Gondoliers 1889 (554) • Utopia, Limited 1893 (245) • The Grand Duke 1896 (123) Elements of Gilbert’s stagecraft • Topsy-Turvydom (a/k/a Gilbertian logic) • Firm directorial control • The typical issue: Who will marry the soprano? • The typical competition: tenor vs. patter baritone • The Lozenge Plot • Literal lozenge: Used in The Sorcerer and never again • Virtual Lozenge: Used almost constantly Ruddigore: A “problem” opera • The horror show plot • The original spelling of the title: “Ruddygore” • Whatever opera followed The Mikado was likely to suffer by comparison Ruddigore Time: Early 19th Century Place: Cornwall, England Act 1: The village of Rederring Act 2: The picture gallery of Ruddigore Castle, one week later Ruddigore Dramatis Personae Mortals: •Sir Ruthven Murgatroyd, Baronet, disguised as Robin Oakapple (Patter Baritone) •Richard Dauntless, his foster brother, a sailor (Tenor) •Sir Despard Murgatroyd, Sir Ruthven’s younger brother -
The Mikado the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival The Mikado The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Erin Annarella (top), Carol Johnson, and Sarah Dammann in The Mikado, 1996 Contents Information on the Play Synopsis 4 CharactersThe Mikado 5 About the Playwright 6 Scholarly Articles on the Play Mere Pish-Posh 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Mikado Nanki-Poo, the son of the royal mikado, arrives in Titipu disguised as a peasant and looking for Yum- Yum. Without telling the truth about who he is, Nanki-Poo explains that several months earlier he had fallen in love with Yum-Yum; however she was already betrothed to Ko-Ko, a cheap tailor, and he saw that his suit was hopeless. -
Social Discourse in the Savoy Theatre's
SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M. -
Techniques and Tips for Raising Implicit Bias in Court: Use of Videos, Jury Instructions, and Voir Dire
Techniques and Tips for Raising Implicit Bias in Court: Use of Videos, Jury Instructions, and Voir Dire Selected Materials From Multiple Presenters Lisa Hay Federal Public Defender TABLE OF CONTENTS 1. Materials for Further Self-Study and Education ............................................................. 1 2. Proposed Oregon Unconscious Bias Jury Instruction s...................................................... 3 3. Ninth Circuit Model Instructions..................................................................................... 4. Can Explicit Instructions Reduce Expression of Implicit Bias? ...................................... 5 5. Bar Bulletin, King County Bar Association .................................................................. 35 6. US v. Jacorey Sanders Motion for Attorney Conducted Voir Dire on Implicit Bias and Memorandum in Support ........................................................................................ 37 7. Excerpts of Voir Dire Questions .................................................................................... 55 8. Raising Unconscious Bias in Voir Dire ......................................................................... 70 9. Achieving an Impartial Jury (AIJ) Toolbox ................................................................... 71 10. A New Approach to Voir Dire on Racial Bias, UC Irvine Law Review ...................... 139 Materials for Further Self-Study and Education* Justice Adrienne Nelson Unconscious Bias Video for Jurors A direct link to the video: Understanding -
Stereotype Threat Effects in Afro-Caribbean Immigrant Groups
#3247—Social Psychology Quarterly—VOL. 70 NO. 4—70408-Deaux Social Psychology Quarterly 2007, Vol. 70, No. 4, 384–404 Becoming American: Stereotype Threat Effects in Afro-Caribbean Immigrant Groups* KAY DEAUX Graduate Center, City University of New York NIDA BIKMEN Denison University ALWYN GILKES Medgar Evers College, City University of New York ANA VENTUNEAC YVANNE JOSEPH Graduate Center, City University of New York YASSER PAYNE University of Delaware CLAUDE STEELE Center for Advanced Study in the Behavioral Sciences Educational and occupational data suggest that second-generation West Indian immigrants have less favorable outcomes than their first-generation counterparts, who are typically shown to outperform comparison groups of African Americans. In two studies, we explore the social psychological process of stereotype threat as it differentially affects the performance of first- and second-generation West Indian students. An initial questionnaire study of 270 West Indian students provided data on perceived favorability of African American and West Indian stereotypes, ethnic identification, and perceptions of discrimination. An experimental study of stereotype threat showed a significant interaction between generation and stereotype threat condition: first- and second- generation West Indian students performed equally in neutral conditions, but differed significantly when stereotype threat was present. While first- generation students increased their performance in the threat condition, second-generation students showed the performance decrements characteristic of African American students. Effects due to the race of the experimenter were also found, suggesting the importance of context in testing situations. Overall, the findings argue for the relevance of psychological processes in understanding broader demographic patterns of immigration and change. -
Jennifer Eberhardt Morris M
Jennifer Eberhardt Morris M. Doyle Centennial Professor of Public Policy and Professor, by courtesy, of Law Psychology Bio BIO A social psychologist at Stanford University, Jennifer Eberhardt investigates the consequences of the psychological association between race and crime. Through interdisciplinary collaborations and a wide ranging array of methods—from laboratory studies to novel field experiments—Eberhardt has revealed the startling, and often dispiriting, extent to which racial imagery and judgments suffuse our culture and society, and in particular shape actions and outcomes within the domain of criminal justice. ACADEMIC APPOINTMENTS • Professor, Psychology • Professor (By courtesy), Stanford Law School • Faculty Affiliate, Institute for Human-Centered Artificial Intelligence (HAI) ADMINISTRATIVE APPOINTMENTS • Teaching Faculty Member, Departments of Psychology and African and African American Studies, Yale University, (1995-1998) • Faculty Member, Associate Professor, Department of Psychology, Stanford University, (1998- present) BOARDS, ADVISORY COMMITTEES, PROFESSIONAL ORGANIZATIONS • Co-director, Center for Social Psychological Answers to Real-World Questions (SPARQ), Stanford University PROFESSIONAL EDUCATION • Ph.D., Harvard University (1993) • A.M., Harvard University (1990) • B.A., University of Cincinnati (1987) LINKS • Personal website: http://web.stanford.edu/~eberhard//// Research & Scholarship CURRENT RESEARCH AND SCHOLARLY INTERESTS My research is on race and inequality. I am especially interested in examining race -
Trial by Jury W: S
Trial by Jury W: S. Gilbert Arthur Sullivan Scene: A court of 'rwshce' rhe Bench faces thb rturlienee, and eatends along the baek court. ?he Judgels desk c., with canopg of the ooerhead.' ,rury-boa 8., counselb seati ,t. Barristers, Attorneys, ,furgmen, and public discoaered. Itlo. 1. "Hark, the hour of ten is sound.ing,, Opening Chorus and. Solo Ensemble and Usher Piano Printed 30209 r in the U.S.A. by G. Schirmer, Inc - (Curtain) Ch o rus SOPRANO and ALTO Hark, the hour of ten is sound Hearts with anx TENOR and BASS L_--',,...--- 1',: - C u-: --:---- fears are bound Hall of Jus - crou'ds sur - round t----- 39209 39209 Breath- ing hope a An- ge- li - na, Short- ly will ap - pear. For day flft, Sum- moned stern d;Ly 1n this sub 1l&, fe 11&, sum- moned by Alternative Parts na, Short- lY - na, Short- Hark, the is sound - Hearts with anx ious fears are bound - Hal1 Jus - tice Breath-ing hope and For to-day this a- re- na, 6 fTeqor may double Bass here 39200 8 Morlerato Noui Ju - ry - men, hear my ad - vul-gar pre- mind, From . bi - as free of ev 'ry tri - al 39?00 f r-- s----1 Si - lence! From bi- as free of ev-'rv kind.This lis - ten to the plain- tiff's case: ob - serve the fea- tures of her face- The bro - ken- heart - ed kind, This 39209 Cho rus Unison the plain-tiff's shrieks, The ruf- fian - ly de - fen- dant speaks-L'p- .------.