Juveniles And The Adult Court Successfully Reducing...

IS THE PRACTICE OF TRANSFERRING JUVENILES TO THE ADULT COURT SUCCESSFULLY REDUCING RECIDIVISM? Name Institution Date Recidivism can be defined as the reoccurrence of criminal behavior. Indicators of criminal behavior are re-arrests, re-convictions, and reincarcerations (Maxfield Babbie, 2006). The situation whereby a juvenile offender is tried as though they were an adult is known as a trial as an adult. It was actuated in the 1990s after a high number of reported brutal adolescent offenses (Gainsborough Young, 2000). Many of the young teenagers were reassigned from juvenile to criminal courts to answer to their charges. This action is questionable, because of concerns about the contrast between the mental and moral abilities of adolescents versus grown-ups and the simplicity with which adolescent cases can be reassigned. Supporters of the dissolution of the juvenile court, on the other hand, contend that indicting minor wrongdoers in criminal court offers better assurance to society and considers minors in charge of their doing. Any individual below the age of 18 can be termed as a child. However, any child above the age of 14 at the time of the crime can be tried as an adult. This age can even be lower and differs among states. For instance, the youngest ever recorded successful trial as an adult was of a 12-year-old (Alexford, 2015). Almost every such case starts in a juvenile court with a felony accusation. The court must direct hearings and makeShow MoreRelatedIndividual And Family Structured Therapy Models Essay1246 Words   |  5 Pagesindividual therapy, the client has the counselors undivided attention. This in return allows the counselor to focus specifically on the clients concerns. As we’ve explored already, individual therapy has proven to be an effective technique in reducing recidivism. 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The North American Free Trade Agreement - 786 Words

On January 1, 1994, the North American free trade agreement was signed. The North American Free Trade Agreement was established so that goods and services could be traded between countries without tariffs and other trading fees while keeping peace between the trading countries. The United States now has many Free Trade Agreements (FTA) in place with numerous countries. There are many mutual benefits to signing Free Trade Agreements besides trading without tariffs and other fees. Free Trade Agreements also effect the economies of each of the countries involved in the agreement. This is because the countries without the ability to produce certain resources get them. Sometimes countries do have the resources but it would just be more cost†¦show more content†¦On June 15, 2004, Morocco and the United States signed a Free Trade Agreement (FTA). Morocco is a country in North Africa that borders the Atlantic Ocean and the Mediterranean Sea. Morocco currently has approximately 33,000,000 people and has a GDP per capita of about $7,500. Morocco provides resources that help produce some of the goods and services we have in the United States and the United States helps provide some of the resources morocco does not produce. Morocco’s economy is pretty sustained now. Before establishing a FTA with the United States in 2004, Morocco’s GDP was 101.904 and GDP per capita was $3,409. Although they are expecting growth, there will not be much growth. Therefore, there will not be much of a change in the amount of unemployment or poverty due to the weather conditions affecting one of their main employers, which is the agricultural field. This field of work employs about 40% of their workforce. France imports 46% of hosiery, 29% of basic textile and 28% of ready-to-wear clothing from Morocco making them one of Morocco s top clients for exporting textile and clothing. Manufacturing is also very important in their growing economy due to the need to process raw materials for export and manufacturing consumer goods for selling and trading. Mining is an essential part of the Moroccan economy. Mining employs about 40,000 people and represents $ 2 billion in exports and 20% energy

The Role of Music in Puerto Rican Popular Culture Essay Example For Students

The Role of Music in Puerto Rican Popular Culture Essay The Role of Music in Puerto Rican Popular Culture What is Puerto Rican music like? Where did it develop, and around when did it develop? What makes it up? These are very valid questions for someone who does not know anything about Puerto Rican music or Latin music in general. To understand Puerto Rican music and what it means to Puerto Rican people in general, you must look at the beginning. First there are different kinds of music that can be considered Puerto Rican. In general, Salsa is considered to be Puerto Rican music of today, but a famous musician by the name of Tito Puente says he plays Cuban music. (Waxer, Oct., 29). The reason for this is that he believes Salsa originated in Cuba, and Puerto Ricans just play their music. But this is an inaccurate statement and view. Puerto Ricans have helped to develop this style of music as well as others. Puerto Ricans travel and take and bring different sounds with them wherever they go. This is the way many of the different musics of Puerto Rico have formed and shaped. Musicians are workers producing tangibles products, and music itself often follows trade routes and is made up of concrete mixes that we can trace (Glasser, 8). The island’s music is like its people, a combination of all different elements and this is why you have such styles as Bomba, Plena, and La Danzas. Some of these musical styles unfortunately had the stigma of classicism attached to them, too. But let us begin with the beginning of this century. At the turn of this century, Puerto Rico had passed as a colony from one country (Spain) to another (United States). It was a small island that was divided by classicism, therefore it seemed like two worlds. You had the world of the wealthy Puerto Ricans who tended to be of lighter skin color, and you had world of the peasant farmers who tended to be of darker skin color. Bomba is a kind of music that originated with the slaves that were brought to Puerto Rico. Bomba was played on big barrels that were found on the plantations, and any other thing that could be beat upon to keep a beat. In fact the word bomba means drum. The people would take goatskin and stretch it over the mouth of the barrel. Some even added nails and screws to be able to tune them like today’s modern drums. Supplemented by other percussion instruments, the bomba was generally polyrhythmic and featured a complex interaction between drummers and dancers. It was characterized by an African- derived call-and-response vocal style, in which a lead singer was answered by a chorus singing in unison (Glasser, 19). Slaveholders actually outlawed these drums at one point because they were a way of communication for the slaves. These talking-drums could be heard from miles around, so the slaves were forced to hide these instruments or to develop new ones. One can see why the elite of the island did not see Bomba as a typical Puerto Rican music. It originated from Africa and no one wants to be associated with them. But this is clearly racism and classicism at work here, for upon hearing this type of music you can not do anything but feel the powerful beat. You get into the call-and-response interaction, because not too many types of music have interaction between the musicians and the audience. Plena was another type of music that was associated with the lower class in Puerto Rico. It originated in the city of Ponce and its outskirts, and came to replace Bomba in a way. It came to be a sort of newspaper as well where a chorus was usually sung telling of events that occurred. Plena was also a big hit in New York City when Puerto Ricans moved there in the early decades of this century. This was helped with the invention of the phonograph and records. It is interesting to note that, During the Depression, for example, when other types of record sales plummeted, sales of Spanish-language and other discs stayed steady and even flourished (Glasser, 11). .u5e849e2b61a20101400d6d64be325d2b , .u5e849e2b61a20101400d6d64be325d2b .postImageUrl , .u5e849e2b61a20101400d6d64be325d2b .centered-text-area { min-height: 80px; position: relative; } .u5e849e2b61a20101400d6d64be325d2b , .u5e849e2b61a20101400d6d64be325d2b:hover , .u5e849e2b61a20101400d6d64be325d2b:visited , .u5e849e2b61a20101400d6d64be325d2b:active { border:0!important; } .u5e849e2b61a20101400d6d64be325d2b .clearfix:after { content: ""; display: table; clear: both; } .u5e849e2b61a20101400d6d64be325d2b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5e849e2b61a20101400d6d64be325d2b:active , .u5e849e2b61a20101400d6d64be325d2b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5e849e2b61a20101400d6d64be325d2b .centered-text-area { width: 100%; position: relative ; } .u5e849e2b61a20101400d6d64be325d2b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5e849e2b61a20101400d6d64be325d2b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5e849e2b61a20101400d6d64be325d2b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5e849e2b61a20101400d6d64be325d2b:hover .ctaButton { background-color: #34495E!important; } .u5e849e2b61a20101400d6d64be325d2b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5e849e2b61a20101400d6d64be325d2b .u5e849e2b61a20101400d6d64be325d2b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5e849e2b61a20101400d6d64be325d2b:after { content: ""; display: block; clear: both; } READ: The Effect of Music in a Developing Fetus EssayBelieve it or not, cinema was a huge contribution to the development of Puerto Rican music as well. In the silent era of films, little bands and orchestras who played in the theaters accompanied the movie. Sometimes the movie was forgotten all together and the audience would applaud for the musicians. Some people would even ask for requests and the band would have to play it right there on the spot (Glasser, 44). The type of music that was played here was usually for the upper class because these were the types of people who could afford them in Puerto Rico. Unfortunately for the musicians, a huge hurricane hit in the year of 1928. It destroyed many theaters and when the ones that were rebuilt, they were rebuilt with new wiring so that movies could be viewed with sound (Glasser, 45). Radio was another form that allowed music get to the people, but it took a while. WKAQ was the first radio station in Puerto Rico in 1922, but not many flourished. In 1940 Puerto Rico still had only 5 operating stations. (Glasser, 46). A reason for this may have been that not many people could afford a radio at this time. But never the less, the radio and the phonograph were two very important devices for the development of Puerto Rican music. Ways in which Puerto Ricans were discovered were interesting. Many fought in WWI and played in the bands because they were good musicians. Many formed bands after they left the armed forces. The reason many were good players were because they learned instruments at an early age in schools. Spain had left many instruments behind and the children were taught how to play them. The only problem was that all Puerto Ricans were discriminated against when they joined the army or moved to New York. Even if they happened to be of a higher social class on the island, they were considered to be Negro and put with them. This also happened with housing in New York. Many had to move into Harlem because of their color and this was the only place that they were allowed to stay. Some hated to be associated with the blacks, whereas some identified with them because that was whom they had to work with. But no matter where they were, music was part of them. `Entertainment for Puerto Ricans in New York was confined to the apartments they lived in,’ those apartments hosted birthdays and weddings, Christmas and New Year’s parties, celebrated with friends and neighbors to the accompaniment of small musical groups (Glasser, 98). Because of many of their dark skin color, many could only get certain gigs at certain nightclubs that catered to Latin people, or sometimes to white people when Latin music was in. This brings us back to records. Records were a big way to get a whole community involved. What I mean by this is that people used the stores that sold records as advertisement. Word of mouth was how many things got around. The record companies would rely on some of these people for their resources as well as their advertisement. They would have record stores act as talent scouts, and the companies would pick and choose whom they wanted. Many musicians would have to work another job just to support themselves because they could not wait on companies, or even between recording albums. They got paid very little for their troubles, and if it was a big success, there was no money for it. Royalties on recording were unheard of (Glasser, 149). All in all, Puerto Ricans had to adjust to their new surroundings when they came to America. They had learned that it really didn’t matter much about what class they were in on the island, but they were Negro here, not even considered Puerto Rican. One of the few things they had was music. Music was lively and brought back memories of the beautiful island many left. It was a way to connect with other Latinos as well, because many played similar types of music. Remember that they all borrowed from each other. Puerto Ricans were with Cubans, Dominicans, Mexicans, and other Caribbean and Latin American countries. .u59555cd39252f82135132d830c3b057d , .u59555cd39252f82135132d830c3b057d .postImageUrl , .u59555cd39252f82135132d830c3b057d .centered-text-area { min-height: 80px; position: relative; } .u59555cd39252f82135132d830c3b057d , .u59555cd39252f82135132d830c3b057d:hover , .u59555cd39252f82135132d830c3b057d:visited , .u59555cd39252f82135132d830c3b057d:active { border:0!important; } .u59555cd39252f82135132d830c3b057d .clearfix:after { content: ""; display: table; clear: both; } .u59555cd39252f82135132d830c3b057d { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u59555cd39252f82135132d830c3b057d:active , .u59555cd39252f82135132d830c3b057d:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u59555cd39252f82135132d830c3b057d .centered-text-area { width: 100%; position: relative ; } .u59555cd39252f82135132d830c3b057d .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u59555cd39252f82135132d830c3b057d .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u59555cd39252f82135132d830c3b057d .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u59555cd39252f82135132d830c3b057d:hover .ctaButton { background-color: #34495E!important; } .u59555cd39252f82135132d830c3b057d .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u59555cd39252f82135132d830c3b057d .u59555cd39252f82135132d830c3b057d-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u59555cd39252f82135132d830c3b057d:after { content: ""; display: block; clear: both; } READ: Difference Between Classical Music speak out against this oppression in subtle ways, and also to push the limits with sexual innuendoes in the music. A perfect example of this was Raphael Hernandez’s Menealo Que Se Empelota (Glasser, 151). I believe this quote of Harold smith best says what music meant to Puerto Ricans during the first couple of decades here, Music means more to them at any time, and the music of their homelands means still more. They love it as they love food (Glasser, 168). References Ruth Glasser, My Music is My Flag: Puerto Rican Musicians in New York and their Communities, 1917-1940. (Berkeley: University of California Press, 1996). Lise Waxer, Puerto Rican Music. Oct. 29, 1998.