Final Report: Anchorage Disproportionate Minority Contact Study

This project examined disproportionate minority contact in Anchorage, Alaska. It was designed to provide a more nuanced understanding of disproportionate minority contact at the referral stage (when law enforcement officers refer youth to the Alaska Division of Juvenile Justice). To do so, we relied on community involvement and utilized different statistical techniques to examine the geography and development of disproportionate minority contact. Researchers partnered with practitioners from the Anchorage Disproportionate Minority Contact Initiative to structure the research process and to interpret and disseminate results. Geographic analyses were conducted to examine where the highest levels of disproportionate minority contact were occurring and longitudinal analyses were conducted to examine at what age disproportionate minority contact began. These analyses provided an understanding of disproportionate minority contact that was obscured when examining relative rate indices. Geographic analyses, for example, revealed high levels of disproportionate minority contact for Pacific youth (a group that would have traditionally been ignored because of its ‘small population’). Longitudinal analyses revealed that disproportionate minority contact began at age 13. Although relative rate indices are useful to identify broad patterns in disproportionate minority contact, they are less useful to drive action. We overcame this limitation with strong community partnerships and different statistical methods for disproportionate minority contact research. In the end, practitioners and researchers used data and research to develop strategic plans to reduce disproportionate minority contact.National Institute of Justice, Office of Justice Programs, U.S. Department of Justice. Grant No. 2005-IJ-CX-0013I. Disproportionate Minority Contact Table 1. Summary of National Relative Rate Indices, 2005 Figure 1. National Relative Rate Indices for Arrest Stage: 1990-2005 Figure 2. National Relative Rate Indices for Referral Stage: 1990-2005 Table 2. Summary of Relative Rate Indices for FY05 Table 3. Relative Rate Indices by Race Table 4. Relative Rate Indices by Race, Gender, and Type of Referral / II. Community Involvement Table 5. Strategies and Objectives for Anchorage DMC Initiative / III. Geography of Disproportionate Minority Contact Figure 3. Census Tracts in Municipality of Anchorage Table 6. Composition of Census Tracts by Race Figure 4. EB Rates of Referral by Race Table 7. EB Rates of Referral by Race Figure 5. Relative EB Rate Indices by Race Table 8. Distribution of Relative EB Rate Indices by Race Table 9. Descriptive Statistics for Relative EB Rate Indices by Race Figure 6. Minority Group with Highest Relative EB Rate Index / IV. Development of Disproportionate Minority Contact Table 10. Total Number of Charges for Anchorage Cohort, Age 10-17 Table 11. Age at First Charge for Anchorage Cohort Table 12. Racial Composition of Cohort and Population At-Risk Table 13. Bayesian Information Criterion Statistics Table 14. Predicted Average Referral Rates Table 15. Characteristics of Developmental Trajectories Figure 7. Predicted Average Referral Rates: Five-Group Model Table 16. Demographic Composition of Developmental Trajectories Figure 8. Predicted Group Membership Probabilities by Rac

(The) political significance of the alien and sedition acts

Thesis (M.A.)--Boston University, 1916. This item was digitized by the Internet Archive

Design of Nozzle Contours for the PWT 16-Ft Transonic Wind Tunnel

The nozzle contours of the Tunnel 16T nozzle were designed in the early 1950\u27s and, for the most part, were calculated by hand. In addition, corrections have been made to the contours through the use of an influence coefficient correction technique in an attempt to remove small flow irregularities. This correction technique is not based on aerodynamic theory, and, as a result the corrected contours are not necessarily aerodynamically correct. A second problem stems from the fact that the application of the nozzle corrections results in nozzle contours that do not change in a monotonic manner. There are some jacks that reverse in direction of travel while increasing in Mach number contour. This is not desirable from a control algorithm standpoint. New nozzle contours have been designed from Mach 1.1 to Mach 1.6 in increments of Mach 0.1. The contours were determined using the method of characteristics design code developed at AEDC by J. C. Sivells. The nozzle contours form a monotonic family of contours, in that, there are no nozzle wall reversals while traveling from the lowest Mach number to the highest. The new contours were optimized to the maximum extent possible in the location of the nozzle throat and inflection point with respect to jack attachment points. Comparisons between the ideal contours and the jack supported contours show that there is very little difference in the contour shapes. This fact leads to the conclusion that the resulting flow quality of the new contours should be quite good

William Everett Ferguson Papers, 1941-2014

Finding aid for the William Everett Ferguson Papers, 1941-2014

Investigations in pyrrol chemistry ..

Typewritten sheets in cover. Thesis (M.A.)--Boston University Bibliography: p. 22

Oscar Hammerstein II. i prikazivanje rase i intersekcijske diskriminacije u američkim mjuziklima od Show boat (1927) do Carousel (1945)

Oscar Hammerstein II (1895-1960), with various collaborators, addressed issues of race and intersectional oppression (here defined as multiple features that can contribute to oppression either socially or individually, and can include factors such as race, age, gender, and social class) in many of his works. This essay investigates such representations in Show Boat (1927, music by Jerome Kern), The New Moon (1928, music by Sigmund Romberg), Sunny River (1941, music by Romberg), Oklahoma! (1943, music by Richard Rodgers), and Carousel (1945, music by Rodgers) as well as selected twenty-first century revivals of Oklahoma! and Carousel. In each show, white hegemony is the norm, and characters of color, if they appear, represent some sort of difference that is made subservient to the white norm. In selected modern revivals, multicultural casting brings such issues, including negative stereotypes, to the fore and allows for new insights into issues of race and intersectional oppression.Oscar Hammerstein II. (1895-1960), s raznim je suradnicima dotaknuo temu rase i intersekcijske diskriminacije (ovdje definiranih kao višestrukih značajki koje mogu pridonijeti ugnjetavanju bilo društveno ili pojedinačno, a mogu uključivati čimbenike kao što su rasa, dob, spol i društvena klasa) u mnogim svojim djelima. Ovaj tekst propitkuje izvedbe u mjuziklima Show Boat (1927, glazba Jeroma Kerna), The New Moon (1928, glazba Sigmunda Romberga), Sunny River (1941, Rombergova glazba), Oklahoma! (1943, glazba Richarda Rodgersa) i Carousel (1945, Rodgersova glazba) kao i odabranim ponovnim postavljanjima u 21. stoljeću mjuzikla Oklahoma! i Carousel. U svakoj izvedbi bjelačka je hegemonija postavljena kao norma, a obojenost, ako se javlja, predstavlja neku vrstu razlike koja je podložnički postavljena prema bjelačkoj normi. Pojedini likovi koji su predmet ovoga teksta uključuju Queenie, Joea, Magnoliu i Julie u mjuziklu Show Boat; Filipa i Roberta u djelu The New Moon; Jean u Sunny River; Julie Jordan, Billyja Bigelowa, Carie Pipperidge i Enocha Snowa u Carouselu; te Curly, Laurey, Juda Fryja, Ado Annie i Willa Parkera u Oklahomi! Glazbeno evociranje afričko-američkog spirituala (»Lordy« i »The Highest Judge of All«) i tanga (»Softly, As in a Morning Sunrise«) igraju važne uloge rase u ovim predstavama. Višerasne postave u 21. stoljeću izazivaju suvremena pitanja o rasi i intersekcijskoj diskriminaciji. Uočljivi primjeri uključuju afroameričke glumce koji igraju likove s nasilnim sklonostima, uključujući Juda Frya u produkciji Oklahoma! iz 2012. u Seattleu i Billyja Bigelowa u obnovljenoj predstavi Carousela na Broadwayu 2018. S druge strane, postavljanje bijelca u ulozi Juda Fryja nasuprot obojenim glumcima u ulogama Curlyja i Laurey, što je bio slučaj u Washingtonu 2012. (Arena Stage), izaziva neka druga pitanja o bjelačkom nasilju prema obojenima. Multikulturalna postava stavlja takva pitanja, uključujući negativne stereotipe, u prvi plan i potiče svijest o problemu rase i intersekcijske diskriminacije