DOCSLIB.ORG

Tray Chaney Tray Chaney

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

TRAY CHANEY TRAY CHANEY 6 CHAPTER 7 I meet Tray Chaney on a Sunday night in the He is present in our conversation, but a part of [OL^H`P[KPK¹OL[LSSZTL¸;OL[Y\[OPZ0^HZU»[ BeTray – a story of his life in Forestville and his 0OHK[VYLL]HS\H[LT`SPML¹ consisting of Chaney rapping center-frame, deserted lounge of the Yotel on 57th Street OPTPZLUNHNLKLSZL^OLYLSPRLHWYPaLÄNO[LY prepared for that kind of fame. I didn’t know L_WLYPLUJLZVUThe Wire – often selling copies 0UOLNV[HJHSSMYVT+VU*V_[OH[^V\SK Q\_[HWVZLK^P[OMVV[HNLVMOPT[LUKPUN[VOPZ and 10th Avenue in Manhattan. It’s February, running through combinations on the night what to do with it. Once it ended, it ended, and out of the trunk of his car. change his career. They were old friends, and young son: zipping up his jacket, pouring him so the massive terrace is closed, and we’re before a title bout. I thought: my identity is kind of messed up now, *V_OHKHML^T\ZPJWYVQLJ[ZOL^HZ^VYRPUN a bowl of cereal. consigned to the bar, which is decorated with you know? I hadn’t come into myself. I didn’t “It’s all about getting out there and getting in on. ¸>LZOV[[OPZ]PKLVV\[VMV\YV^UWVJRL[Z¹ the chintzy futurism of a nightclub on Star Tomorrow he will appear on BET’s 106 & know what else to do. WLVWSL»ZMHJLZ¹ OL ZH`Z ¸,]LU PM `V\»YL UV[ he says. “We did this on our own. I took Trek: irregularly shaped molded plastic panels Park, a daily video countdown show and the NL[[PUN^VYR`V\NL[V\[[OLYL¹ “It’s hard for actors to transition into the music my career into my own hands. And for it to tile the ceiling above us, a beaded orange and channel’s top-rated program. He has heard ¸0U[OLTPKZ[VM[OH[UPUL[VÄ]L[OV\NO0^HZ NHTL¹*OHUL`HKTP[Z¸(UK0KLJPKLK[OH[PM blow up the way it did is one of the greatest purple curtain snakes across the room, and somewhere that as many as 20 million people still working at my dream. The whole time I was When the job at Howrey ended he moved to I’m going to be in the hip hop game, I’ve got L_WLYPLUJLZVMT`SPML0[^HZU»[WSHUULKSPRL [OL SPNO[PUN Ä_[\YLZ ZSV^S` JVU]\SZL [OYV\NO might be watching. building a fan base. I wrote a book, I wrote ([SHU[HHUKH\KP[PVULKMVYÄSTYVSLZL]LU[\HSS` to be saying something. The Wire was such a [OH[¹ endless navigations of the color wheel. Chaney music, and things started happening. People IVVRPUN H WHY[ PU H ÄST JHSSLK Masterminds, reality check for people – one of those shows and I settle on small leather cubes around a “You know, I was on The WireMVYÄ]L`LHYZ started responding. It was like a reality check: partially on the basis of the director’s familiarity where we gave you the reality of life that people The idea that making his musical debut to the shin-high plastic table. HUK0UL]LYNV[HJHSS[VILVU),;¹OLZH`Z I’ve got all this talent, I come from one of the with his work on HBO. ignored. So if I was going to make music, why world with a potentially controversial message “Right now I’m just trying to get my head biggest shows of all time, I just need to take UV[NP]LWLVWSL[OH[ZHTLYLHSP[`&¹ could be risky doesn’t seem to faze Chaney at I’d spoken with him on the phone a few days HYV\UK[OLPKLHVMTPSSPVUWLVWSL¹ HZOV[¹ “That kind of opened my eyes. He liked my all. earlier, so I’d had a chance to get over the work, and I thought, ‘Why don’t I start using *V_HUK*OHUL`LUSPZ[LKKPYLJ[VY3HTHY;`SLY surreal idea of sitting down with Poot from 106 & Park is doing a special episode Chaney grew up in Forestville, Maryland, just that?’ I’ve got a resume. After that I got MVY[OL¸-H[OLYOVVK¹]PKLVHSVUN^P[OHWHPY “The way I see it is, I’m not trying to criticize The Wire. Being one of those people who’ve dedicated to parenting, and Chaney will be minutes from downtown Washington, D.C., but another job on a movie called Streets. I re- of guest stars: Tray’s father, Sam Chaney Jr., fathers who aren’t there for their kids. I’m just watched the entire show more than once, WYVTV[PUN OPZ UL^ ZPUNSL ¸-H[OLYOVVK¹ H unlike his Baltimore doppelganger he had the introduced my book because all of a sudden I HUK OPZ Ä]L`LHYVSK ZVU 4HSHJOP ;OL ]PKLV [Y`PUN[VILHUPUZWPYH[PVU¹ I’d tripped out when I got a voicemail from spry hip-hop ode to paternal responsibility, fortune of a strong family network to help him was popping up on people’s radar, and I knew has an indie appeal, with much of the run time Chaney a few nights before: and its accompanying video. It will be a ÄUKKPYLJ[PVULHYS`PUOPZSPML coming-out party for Chaney and Firedrop “Yo, Gavin, what’s up. It’s Tray Chaney, Poot 9LJVYKZ[OLYLJVYKSHILSOLMVYTLK^P[O*V_ “My family is what inspired me to want to do from The Wire. I want to invite you to be my Their operation is fully grassroots, and thus far this. We would have big parties, and I always guest at BET’s 106 and ParkUL_[4VUKH`¹ the song has spread through word of mouth had to perform for everyone. No ifs, ands or and social networking, the buzz building buts, if there was a party, Tray was going to Even in his 30’s, a decade after the premiere of from a combination of the accessibility of the KHUJL¹ HBO’s groundbreaking drama about crime and message and the curiosity factor of a former punishment in the wastelands of Baltimore, Wire ensemble man making a play for post- /L^VUH[HSLU[ZOV^H[[OLHNLVMZP_HUKOPZ Chaney looks not far removed from the cocky, Wire recognition. uncle James started entering him in contests, VD-prone Poot Carr: sly, charming enough to eventually getting him an audition at the famous own a room even though he’s never in danger One of the few street-level characters to Apollo Theater. of being the tallest person in it. HWWLHY PU HSS Ä]L ZLHZVUZ VM [OL ZOV^ Chaney’s run was longer than most, but “We went to New York, competed on the His wife and a handful of other women occupy when it was over he faced many of the same Apollo, and I won. We went back three more a table not far from us, while his son, Malachi, struggles as his cast-mates. There were times and I kept winning, so we decided to go WSH`Z]PKLVNHTLZVUHULHYI`ZVMH+VU*V_ no agents knocking down his door, and for it. I traveled with my uncle all over – L.A., the sole member of the one-man professional Hollywood – with its notorious paucity of roles everywhere, all of it on our own dime. Just entourage Chaney’s brought from Maryland, for young black actors – did not come calling. O\Z[SPUNKVPUN^OH[L]LY^LOHK[VKV¹ brings me a glass of Hennessy. Chaney took a job in the mailroom at Howrey, [OL UV^KLM\UJ[ >HZOPUN[VU +* SH^ ÄYT Chaney’s approach to life after The Wire was We talk about New York for a little while, and where he worked for four years. LX\HSS` NYHZZYVV[Z /L YLSLHZLK TP_ [HWLZ a mutual friend in Baltimore, and before long I online. He booked speaking engagements begin to get the sense that Chaney is nervous. “No one was prepared for the show to kick off in support of his book, The Truth You Can’t 8 CHAPTER 9 A half hour before call, the producer, Terry, minutes later the show begins. in a triptych before the monitor, watching I will hear him use this line several times over slacks, buy a bottle of hair gel. I practice my comes in and gives him the rundown: he will through their cell phone cameras and worrying [OLUL_[ML^KH`ZIV[OWYP]H[LS`HUKVUHPYHUK ¸(IZVS\[LS`¹*OHUL`HNYLLZ¸-VYYLHS¹ winning agent-smile in the mirror and rehearse have nine and a half minutes, including the We gather around the monitor as hosts Rocsi that the Trip disaster will affect the main event, each time it sounds more like an artful dodge a few vaguely credible lines in case I’m pressed. time it takes to play the video, and does he Diaz and Terrence Jenkins come out to wild though it turns out to be a blessing: when the – even Chaney’s positive message bears an We’re all silent for a moment as he looks 0Z[VWH[;14H__VUT`^H`[V),;HUK[Y` know what he’s going to say? They talk about applause from the audience, and immediately show resumes, it is obvious the audience is implicit criticism, and history has shown that across the room at Malachi, scaling the back on a few ten-dollar ties before deciding I’d be the iTunes bump, and she urges him to “hit strike meaningful poses as they introduce cheerfully relieved to see Chaney come out THRPUN[OVZLJYP[PJPZTZL_WSPJP[PZKHUNLYV\ZS` of a modish brown leather couch with his better served spending the money on whiskey. [OH[;^P[[LYHJJV\U[¹ today’s special episode – “Young, Single and with his high-wattage grin and Jean-Michel impolitic.
Recommended publications
  • Criminal Procedure, the Police, and the Wire As Dissent

    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").
  • The Wire the Complete Guide

    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.
  • Actor Tray Chaney Motivates Aspiring Young Actors at Waldorf West Library

    Actor Tray Chaney Motivates Aspiring Young Actors at Waldorf West Library

    Home / Maryland Independent / News / Local News http://www.somdnews.com/independent/news/local/actor-tray-chaney-motivates-aspiring-young-actors-at-waldorf-west/article_1c131761-0fa5- 5d62-b66e-bd7a9abda9f0.html Actor Tray Chaney motivates aspiring young actors at Waldorf West library By TIFFANY WATSON [email protected] Twitter: @TiffIndyNews Jul 1, 2016 On Jun. 28 actor Tray Chaney and Shaida Reed, 21, a Brandywine resident and student at Howard University, read a monologue from a new movie that Chaney is currently shooting, during his acting workshop at Waldorf West Library. STAFF PHOTOS By TIFFANY WATSON On June 28 actor Tray Chaney and Shaida Reed, 21, a Brandywine resident and student at Howard University, read a monologue from a new movie that Chaney is currently shooting, during his acting workshop at Waldorf West Library. Not everyone was made for the big screen, but there’s no need to be discouraged, according to actor Tray Chaney from the HBO series “The Wire.” Casting managers are always looking for the next big thing. On June 28, the future actors of Charles County were shown different ways that they can jump start their acting career during an acting workshop at the Waldorf West Library. Chaney said that being in the movie industry requires a lot of hard work, dedication and confidence. Years after receiving his own big break in the acting industry, he decided to give some real life tips to the future actors in the Charles County region. “Many people always ask me how to get into the business, so while sharing my own personal experiences of how I came into the entertainment business, I just wanted to inspire and motivate them to follow their dreams,” Chaney said.
  • Schooling, Standardization, and Inequality Through the Lens of the Wire

    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.
  • Criminal Procedure, the Police, and the Wire As Dissent

    Criminal Procedure, the Police, and the Wire As Dissent

    University of Chicago Legal Forum Volume 2018 Article 4 2019 Criminal Procedure, the Police, and The irW e as Dissent Bennett aC pers Follow this and additional works at: https://chicagounbound.uchicago.edu/uclf Recommended Citation Capers, Bennett (2019) C" riminal Procedure, the Police, and The irW e as Dissent," University of Chicago Legal Forum: Vol. 2018 , Article 4. Available at: https://chicagounbound.uchicago.edu/uclf/vol2018/iss1/4 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]. Criminal Procedure, the Police, and The Wire as Dissent Bennett Capers† 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 sense that the criminal justice system is all connected or networked.2 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 ! 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.
  • Discovering Moral Imagination Along the Wire. (2014)

    Discovering Moral Imagination Along the Wire. (2014)

    SOLÉR, MICHELLE LOWE, Ph.D. All the Pieces Matter: Discovering Moral Imagination Along The Wire. (2014). Directed by Dr. Svi Shapiro. 304 pp. This dissertation is an investigation into the tool of moral imagination in the service of social justice. Supported by the philosophies of David Purpel, Maxine Greene, and John Dewey, this analysis is engaged through six themes examined through the text of David Simon’s series, The Wire. These themes supply a foundation for how we might more thoroughly engage with moral imagination on a daily basis because there is a crisis in our culture around how we value the lives of all people. Themes presented in this discussion are: (1) The idea that everybody matters; (2) A changing notion of truth; (3) Thoughtlessness and banality; (4) Wide-awakeness and not taking things for granted; (5) Asking critical questions; and lastly, (6) People claiming responsibility. Applying these themes to specific textual examples excerpted from a dramatized television serial creates a space to discuss prophetic in- betweenness to interrogate and examine situations of systemic dysfunction and economic injustice outside of a fictional space. ALL THE PIECES MATTER: DISCOVERING MORAL IMAGINATION ALONG THE WIRE by Michelle Lowe Solér A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2014 Approved by ____________________________ Committee Chair 2014 Michelle Lowe Solér APPROVAL PAGE This dissertation written by Michelle Lowe Solér has been approved by the following committee of the Faculty of the Graduate School at The University of North Carolina at Greensboro.
  • 1 'It Can't Be a Lie': the Wire As Breaching Experiment Joshua

    1 'It Can't Be a Lie': the Wire As Breaching Experiment Joshua

    1 ‘It Can’t Be a Lie’: The Wire as Breaching Experiment Joshua Page & Joe Soss University of Minnesota The Politics of HBOs’ The Wire: Everything is Connected (2015), Eds. Shirin Deylami and Jonathan Havercroft. New York: Routledge, Ch.1, pp. 11-40. The five seasons of The Wire are widely recognized as a landmark event in the history of media efforts to portray life in America’s poor, racially segregated communities. The show was especially momentous for scholars, such as us, who study urban poverty and the various ways authorities work to manage its problems and populations. Here, finally, was a dramatic depiction of the world we knew through our research and tried to convey in our teaching and public engagement. Here, finally, was a nuanced, humane account of the lives and lived realities—of cops and drug dealers and teachers and addicts and students and parents and more—that intersect and shape one another in the most marginalized neighborhoods of our nation’s cities. Here, finally, was a wildly popular, critically acclaimed, nationally televised cry of dissent from the “thriving cultural industry of fear of the poor, led by such television programs as ‘America’s Most Wanted’ and ‘Cops.’”1 More even than most documentaries, The Wire offers a realistic depiction of life inside the “hyperghetto,” a social space defined by stark racial segregation, severely diminished jobs and social services, inadequate schools, rampant poverty, open-air drug markets, widespread housing foreclosures, and pervasive depression and dilapidation.2 From the show’s inception, 1 Loïc Wacquant, Punishing the Poor: The Neoliberal Government of Social Insecurity (Durham: Duke University Press, 2009) 131-32.
  • I:\28531 Ind Law Rev 46-2\46Masthead.Wpd

    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 Wire Master’S Diploma Thesis

    The Wire Master’S Diploma Thesis

    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Ondřej Jarůšek Realism and Social Commentary in The Wire Master’s Diploma Thesis Supervisor: Stephen Paul Hardy, Ph. D. 2019 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Obsah Introduction ................................................................................................................................... 1 1.History of crime and violence in Baltimore ............................................................................... 7 2.Poverty and lack of financial opportunities.............................................................................. 19 3.Dysfunctional school system.................................................................................................... 28 4.Uneven distribution of recreational space ................................................................................ 33 5.The importance of role models ................................................................................................ 36 6.Isolation and disconnection from the outer world .................................................................... 53 7. Vicious circle .......................................................................................................................... 62 Conclusion .................................................................................................................................
  • Journal of Mental Health and Social Behaviour Illustrating Human Behavior Theories in Social Work Using HBO’S the Wire Jocelyn Devance Taliaferro1*, MSW, Phd, Lucy A

    Journal of Mental Health and Social Behaviour Illustrating Human Behavior Theories in Social Work Using HBO’S the Wire Jocelyn Devance Taliaferro1*, MSW, Phd, Lucy A

    Taliaferro, J.D.V and Lawrenceb, L.A. (2021). J Ment Health Soc Behav, 3(1): 130 https://doi.org/10.33790/jmhsb1100130 Journal of Mental Health and Social Behaviour Illustrating Human Behavior Theories in Social Work Using HBO’s The Wire Jocelyn DeVance Taliaferro1*, MSW, PhD, Lucy A. Lawrence2, MSW, PhD 1*Associate Professor, School of Social Work, North Carolina State University, Raleigh, NC 27695, United States. 2Professor, Department of Social Work, Warren Wilson College, Swannanoa, NC, United States. Article Details Article Type: Review Article Received date: 23rd December, 2020 Accepted date: 22nd January, 2021 Published date: 25th January, 2021 *Corresponding Author: Jocelyn DeVance Taliaferro, School of Social Work, North Carolina State University, Raleigh, NC 27695, United States. E-mail: [email protected] Citation: Taliaferro, J.D.V. and Lawrenceb, L.A. (2021). Illustrating Human Behavior Theories in Social Work Using HBO’s The Wire. J Ment Health Soc Behav 3(1):130. https://doi.org/10.33790/jmhsb1100130 Copyright: ©2021, This is an open-access article distributed under the terms of the Creative Commons Attribution License 4.0, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Abstract dependency and addiction, limited affordable housing, unequal access to health and mental health services, crime, and availability of Human Behavior in the Social Environment theories are a crux of employment. Many social work students are limited in their social work education. However, they are often difficult to discuss understanding of the vagaries of these grand challenges [4]. However, in class because theories can be abstract and elusive for students.
  • 137 © the Author(S) 2020 R. Twomey, Examining the Wire, Https

    137 © the Author(S) 2020 R. Twomey, Examining the Wire, Https

    INDEX1 A Barksdale, Nathan, 14, 67 Acronyms, 28–36, 49, 50, 55n31 Brother Mouzone (Michael Potts), Alma M. Gutierrez (Michelle 67, 68, 83 Paress), 52 Burns, Ed, 3, 13, 14, 33, 45, 47, 51, Andrews, Donnie, 81, 83 61, 63–65, 67–70, 72, 73, 76, Anton ‘Stinkum’ Artis (Brandon 77, 79, 84, 87, 100, 115 Price), 105 Augustus ‘Gus’ Haynes (Clark Johnson), 52, 57n61 C Avon Barksdale (Wood Harris), Cedric Daniels (Lance Reddick), 34 19n35, 30, 67, 89n24, 104, Chappelle, Joe, 111 105, 120n2 Chester Karol ‘Ziggy’ Sobotka (James Ransone), 109 Chris Partlow (Gbenga Akinnagbe), B 43, 101, 103 Baltimore Sun, 2, 14, 17n19, 19n37, Cinematography, 108, 110 19n39, 51–53, 55n17, 63, 66, Clarence V. Royce (Glynn 73, 75, 76, 89n13, 90n48, Turman), 62, 113 90n54, 100, 103, 112, 123n40, Complex television, 2, 6–10, 108, 123n41, 123n44, 130 118, 132 Balzac, Honoré de, 70, 71, 132 Curated realism, 1–16, 85 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2020 137 R. Twomey, Examining The Wire, https://doi.org/10.1007/978-3-030-45992-5 138 INDEX D Howard ‘Bunny’ Colvin (Robert D’Angelo Barksdale (Lawrence Wisdom), 37, 114 Gilliard Jr.), 30, 61, 88n5, Hyper-realism, 11, 13, 83, 92n71, 134 105, 134 Daniel Phelan (Peter Gerety), 30, 80 I The Deacon (Melvin Douglas Intertextuality, 39 Williams), 19n36, 63 Dennis Mello (Jay Landsman), 64 Dickens, Charles, 59–88, 132 J Dickerson, Ernest, 75, 76, 132 James ‘Jimmy’ McNulty (Dominic West), 24, 25, 32, 41, 66, 98 Jay Landsman (Delaney Williams), E 64, 75, 85 Ed Norris (Ed Norris), 64 Edward Tilghman Middle

  • Women of the Wire

    ISSN 2340-5236 Anàlisi 56, 2017 1-14 Women of The Wire Bruce A. Williams Andrea L. Press University of Virginia [email protected] [email protected] Submission date: April 2017 Accepted date: April 2017 Published in: June 2017 Recommended citation: WILLIAMS, Bruce A. and PRESS, Andrea L. (2017). “Women of The Wire”. Anàlisi. Quaderns de Comunicació i Cultura, 56, 1-14. DOI: <http://dx.doi.org/ 10.5565/rev/analisi.3093> Abstract In this paper we analyze the representation of women on the popular television show The Wire. We discuss how, while writers attempt to portray race, crime, and inner-city life with sociological accuracy, characterizations of women, and of violence against women, are not especially complex or realistic. In particular, the crime of rape is underrepresent- ed. While the show does feature certain competent, successful professional women, over- all the portrayal of underclass women differs significantly from that of underclass men, featuring far fewer sympathetic female characters and demonizing several. In these ways the show succumbs to the sexist, patriarchal norms that characterize much of the repre- sentation of women in popular entertainment products. Some posit that this asymmetry of gender representation results from the male-oriented street experience of the show’s male writers. Keywords: The Wire; Women; Rape; African-American; Mother; Television Resum. Dones a The Wire En aquest treball s’analitza la representació de la dona en el popular programa de televisió The Wire (El cable). Discutim com, mentre que els escriptors intenten retratar la raça, el crim i la vida a les ciutats amb precisió sociològica, les caracteritzacions de la dona i de la violència contra la dona no són especialment complexes o realistes.