CONSENT DECREE and PERMANENT INJUNCTION by Judge
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The Takings Jurisprudence of the Warren Court: a Constitutional Siesta
University of Chicago Law School Chicago Unbound Journal Articles Faculty Scholarship 1996 The Takings Jurisprudence of the Warren Court: A Constitutional Siesta Richard A. Epstein Follow this and additional works at: https://chicagounbound.uchicago.edu/journal_articles Part of the Law Commons Recommended Citation Richard A. Epstein, "The Takings Jurisprudence of the Warren Court: A Constitutional Siesta," 31 Tulsa Law Journal 643 (1996). This Article is brought to you for free and open access by the Faculty Scholarship at Chicago Unbound. It has been accepted for inclusion in Journal Articles by an authorized administrator of Chicago Unbound. For more information, please contact [email protected]. TULSA LAW JOURNAL Volume 31 Summer 1996 Number 4 THE TAKINGS JURISPRUDENCE OF THE WARREN COURT: A CONSTITUTIONAL SIESTA* Richard A. Epsteint I. EBB TIDE FOR PROPERTY RIGHTS ...................... 644 II. A CRITIQUE OF THE WARREN COURT DECISIONS ...... 650 A. The Prima Facie Case: A Taking of Private Property ............................................ 651 1. Water ........................................... 651 2. Overflight Easements ........................... 656 3. Lien Rights ..................................... 658 B. General Regulations................................. 660 1. Prohibition on Use ............................. 660 2. Contract Regulation ............................ 662 3. Rate of Return Regulation ..................... 664 4. Civil Rights Cases .............................. 666 III. POLICE POWER JUSTIFICATIONS -
1 Sociology 342-001: Criminology Summer II
Sociology 342-001: Criminology Summer II: July 8 – Aug. 7 2013 Online - 3 credits Instructor Office Hours Kate Gunby via email and gchat [email protected] or by appointment in Social Sciences 426 Course Description This course begins with a quick introduction to the multidisciplinary study of criminology, and how crime and criminal behavior are measured. Then the class will explore different theories of crime and criminality, starting with early schools of criminology and then covering structural, social process, critical, psychosocial, biosocial, and developmental theories. Then the class will focus on different types of crime, including violent crime, sex crimes, multiple murder and terrorism, property crime, public order crime, and white collar and organized crime. Finally, we will broaden our scope to explore victim experiences, mental health and incarceration, concepts of justice and incarceration trends, and the consequences of crime and incarceration. This course uses the acclaimed television series The Wire to explore the fundamentals of criminology. Students will develop their ability analyze, synthesize, apply, and evaluate the course material through written memos linking each reading to the content in a specific episode of The Wire. Students will further engage with the material and each other through online forum discussions. This class is guided by student goals, which are established from the beginning and reviewed throughout the term. Readings All of the course readings are on D2L. You do not need to buy any books. Almost all of the readings are excerpts from books or articles, so please download the readings from D2L so that you only read the portions that are required for the class. -
1 Sociology/Public Administration 342-001: Criminology Summer 1
Sociology/Public Administration 342-001: Criminology Summer 1: June 9 2014 to July 10, 2014 Online - 3 credits Instructor Office Hours Kate Gunby via email and gchat [email protected] Course Description This course begins with a quick introduction to the multidisciplinary study of criminology and how crime and criminal behavior are measured. This class explores different theories of crime and criminality, including: structural, conflict, cultural, economic, social process, psychosocial, biosocial, developmental, and broken window theories, as well as Victimology and the consequences of crime and incarceration. Throughout the class we also focus on different types of crime, including: violent crime, drug crimes, public order crime, and organized crime. This course uses the acclaimed HBO television series The Wire to explore the fundamentals of criminology. Students will develop their ability analyze, synthesize, apply, and evaluate the course material through written memos linking each reading to the content in a specific episode or film. Students will further engage with the material and each other through online forum discussions. This class is guided by student goals, which are established from the beginning and reviewed throughout the term. Readings All of the course readings are on D2L. You do not need to buy any books. Almost all of the readings are excerpts from books or articles, so please download the readings from D2L so that you only read the portions that are required for the class. Episodes and Films All of the required media for this class is available for you to stream for free on D2L. Grade Evaluation Grade Scale Introduction and Syllabus Quiz 5% A 90-100% Goals Assessments 5% B 80-89.9% Discussion Posts 30% C 70-79.9% Daily Memos 60% D 60-69.9% E 0-59.9% I do not accept late work. -
Homelessness a System Perspective
Homelessness A System Perspective Christian Seelos1 Global Innovation for Impact Lab, Stanford University PACS How to cite: Seelos, C (2021) Homelessness. A System Perspective (Part 1). Case Study_2021_001, Global Innovation for Impact Lab at Stanford PACS. 1 I am grateful to my colleagues Johanna Mair and Charlotte Traeger for joint interviews and reflection sessions throughout the work on this case study. Table of Contents Part 1 - The emergence of homelessness as a social problem The 1960s – Wars on poverty we can’t win… _____________________________________ 5 Contemporary frames of poverty __________________________________________________ 6 Challenges of addressing complex social problems ____________________________________ 6 The 1970s – Setting the course for homelessness _________________________________ 10 The undeserving poor: Framing the problem of homelessness __________________________ 10 A troubling situation but not a social problem _______________________________________ 12 The 1980s – Homelessness emerges as a social problem ___________________________ 14 Homeless numbers-games and convenient explanations ______________________________ 15 The awakening of homelessness activism ___________________________________________ 16 Radical activism _______________________________________________________________ 17 Research and documentation ____________________________________________________ 17 Litigation _____________________________________________________________________ 19 Dedicated organizations ________________________________________________________ -
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. -
Game Day Recipes Because There’S More to Life Than Beer and Pretzels
WHOLE LIFE CHALLENGE APPROVED GAME DAY RECIPES BECAUSE THERE’S MORE TO LIFE THAN BEER AND PRETZELS. THE FIRST SUNDAY OF FEBRUARY. DOES THIS MEAN ANYTHING TO YOU? If you’re a football fan, it sure does! The beginning of February is all about the Super Bowl. And whether your favorite team is playing or not, we know a lot of you will still be watching with friends and family. But while celebrating the big game is a fun way to spend your weekend, it can feel overwhelming when you’re also trying to establish or maintain a healthy lifestyle. Between the drinks, the snacks, the rich dips, the salty chips, and the sweet desserts, avoiding temptation can feel like a huge blow to your confidence...sort of like a fif- teen-yard penalty, or a pick six, or a safety, or a missed field goal... ...well, you get the idea. This year, let’s keep the penalties out of your game-day party. To avoid completely derailing your healthy lifestyle, try adding these WLC Approved Game Day Recipes to your pre-game, half-time, or post-game celebrations. These recipes have been designed to serve as healthier spins on game-day classics — without sacrificing taste or satisfaction. It’s wise, of course, to remember that consuming adult beverages and party foods isn’t intended to be a regular habit—yes, even with the “healthier” versions. Ideally, eating and drinking for your health requires more conscious intention and choice and less vegging out and “eating it because it’s there.” But on special days like the Super Bowl, you don’t have to feel guilty for wanting to have a bit of fun and indulgence, especially if you make an effort to surround your- self with better food options. -
Fulldeckisms
CANONICAL LIST OF FULLDECKISMS (As in, “He’s not playing with a full deck.”) http://herbison.com/canon/ Maintained by Alan Silverstein, [email protected] Last update: 2003.06.11 Total entries: 1488 A compendium of insults and “not all there” comments from various sources, beginning with rec.humor, April 1987. Criteria: Humorousness; completeness; uniqueness of essence (minimize redundancy); brevity; consistency; avoid gender bias, ethnic slurs, and other really offensive material; keep in sorted order with correct spelling and grammar. Comment from the editor: I am astonished there are so many creative ways to insult people, and that the list CONTINUES to grow well past 1000 entries as contributions arrive daily. There’s more than enough pain in the world already, so I have a nagging concern that it’s ultimately nasty and unhealthy to build a list like this, even though many of the entries are hilarious. I hope and trust that you will enjoy this humor without it having to be at the expense of any one person in particular... It would sadden me to discover that anyone delivered these insults to specific individuals, whether or not deserved, thereby turning the fun sour. A hemorrhoid on the face of the world. “And Abraham did look at her as though she were several saddle bags short of a camel load.” A hop, skip, and jump from success, but to get there he’d have to give up chewing gum. “Duh!” on parade. A kangaroo loose in her top paddock. A lap behind the field. $HOME = /dev/null. 3K RAM free, no EMS. -
The One Who Knocks: the Hero As Villain in Contemporary Televised Narra�Ves
The One Who Knocks: The Hero as Villain in Contemporary Televised Narra�ves Maria João Brasão Marques The One Who Knocks: The Hero as Villain in Contemporary Televised Narratives Maria João Brasão Marques 3 Editora online em acesso aberto ESTC edições, criada em dezembro de 2016, é a editora académica da Escola Superior de Teatro e Cinema, destinada a publicar, a convite, textos e outros trabalhos produzidos, em primeiro lugar, pelos seus professores, investigadores e alunos, mas também por autores próximos da Escola. A editora promove a edição online de ensaio e ficção. Editor responsável: João Maria Mendes Conselho Editorial: Álvaro Correia, David Antunes, Eugénia Vasques, José Bogalheiro, Luca Aprea, Manuela Viegas, Marta Mendes e Vítor Gonçalves Articulação com as edições da Biblioteca da ESTC: Luísa Marques, bibliotecária. Editor executivo: Roger Madureira, Gabinete de Comunicação e Imagem da ESTC. Secretariado executivo: Rute Fialho. Avenida Marquês de Pombal, 22-B 2700-571 Amadora PORTUGAL Tel.: (+351) 214 989 400 Telm.: (+351) 965 912 370 · (+351) 910 510 304 Fax: (+351) 214 989 401 Endereço eletrónico: [email protected] Título: The One Who Knocks: The Hero as Villain in Contemporary Televised Narratives Autor: Maria João Brasão Marques Série: Ensaio ISBN: 978-972-9370-27-4 Citações do texto: MARQUES, Maria João Brasão (2016), The one who knocks: the hero as villain in contemporary televised narratives, Amadora, ESTC Edições, disponível em <www.estc.ipl.pt>. This work is licensed under a Creative Commons Attribution-NonCommercial-No Derivatives 4.0 International License. https://wiki.creativecommons.org/wiki/CC_Affiliate_Network O conteúdo desta obra está protegido por Lei. -
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 MYTHOLOGY of the WESTERN a Thesis Submitted
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive THE WIRE & THE MYTHOLOGY OF THE WESTERN A Thesis submitted to the College of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts In the Department of English University of Saskatchewan Saskatoon By KELSEY TOPOLA © Copyright Kelsey Topola, December, 2013. All rights reserved. PERMISSION TO USE In presenting this thesis/dissertation in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis/ dissertation in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis/dissertation work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis/dissertation or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis/dissertation. DISCLAIMER Reference in this thesis/dissertation to any specific commercial products, process, or service by trade name, trademark, manufacturer, or otherwise, does not constitute or imply its endorsement, recommendation, or favoring by the University of Saskatchewan. -
Electrical Safety Trainer Guide
FOCUS 4 CONSTRUCTION SAFETY & HEALTH Electrical Safety Trainer Guide This material was produced under grant number SH-16586-07-06-F-36 from the Occupational Safety and Health Administration, U.S. Depart- ment of Labor. It does not necessarily refl ect the views or policies of the U.S. Department of Labor, nor does mention of trade names, commercial products, or organizations imply endorsement by the U.S. Government. SECTION #4 Curriculum on Electrical Safety mGOALm To provide a basic understanding of how electricity works and how to protect ourselves from common electrical hazards, both on and off the job. INTRODUCTION Electrocution is the fourth leading cause of work-related death for construction workers. On average, one worker is electrocuted on the job every day in the United States. SCOPE AND LIMITATIONS This training curriculum is primarily designed for workers without any formal training on electricity, although electricians may also benefi t from a review. The document focuses on some of the fundamentals of electricity, electrical wiring, electric tools, protective methods and devices, and related work methods and safe practices in the construction industry. The material is presented using an interactive training method. The curriculum focuses on common AC wiring, as found in homes and on construction sites. It also includes information on power line safety. This curriculum is not all-inclusive. It does not cover every electrical hazard nor does it describe every applicable OSHA electrical standard. ACKNOWLEDGMENTS We have drawn extensively from several sources in preparing this material. These include: ● Electrical Safety for Non-Electricians, by CSEA/Local 1,000 AFSCME ● Electrical Safety: Safety and Health for Electrical Trades, by NIOSH ● Thanks to the Construction Safety Council for permission to use their information on power line safety. -
The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process.