New-Hoo-Hoo Math

From Wikipedia:

"Lehrer's explanation of the two calculations is entirely correct, but presented in such a way (very rapidly and with many side remarks) as to make it difficult to follow the individually simple steps, thus recreating the bafflement the New Math approach often evoked when apparently simple calculations were presented in a very general manner which, while mathematically correct and arguably trivial for mathematicians, was likely very confusing to absolute beginners and even contemporary adult audiences."



The song was recorded in 1965.  The more things change, the more they stay the same.  Today we have many people up in arms over the Common Core standards.  Perhaps you've seen videos of outraged parents detailing how ridiculous their child's math homework is - often in the same confusing manner Lehrer used, and certainly out of context with the classroom lesson.

Prior to this week I knew practically nothing about the Common Core.  However, I have a handy rule of thumb:  If the Koch Bothers are spending money to sway public opinion about something, chances are that the point of view that they want you to have does not align well with your best self-interest.  It's not much, but as a Liberal Agnostic I've been told that I have no moral compass, so it will have to serve.

The first point I'd like to make is that the Common Core standards do not set classroom curricula.  It does not set lesson plans.  It's just a set of standards adopted by several state governors to make it easier for schools to comply with the No Child Left Behind law (remember that gem?).  So if your child's math homework looks like a mess to you, take it up with her teacher and the school board, and maybe give them a chance to explain things.  If they tell you that their hands are tied because it's all because of Common Core, you can call bullshit on that.  Here's a handy FAQ published by NPR so you don't end up looking like a fool.  

The second thing I really want to point out is this:  Unless you had Miss Wedgebottom for math when she was fresh out of college, and she's still teaching math by the time your progeny are ready for school, then odds are they your kids will not have the same teachers that you did.  Instead, they will have teachers who learned things the old way, and have some ideas of their own on how to pound knowledge into Little Johnny's head  Heck, in thirty years maybe old Mrs. Bumblebritches (nee Wedgebottom) has learned some new ways of doing things.  Regardless, it's probably not the way you were taught. This is just how it is, folks.  I went through it too, when my kids would ask for help.  I could tell them the way I was taught to do it, but that wasn't the way they were being taught at school.  My two were ten years apart and it was the same with both of them.  Time marches on.

I remember (none too fondly) having to do multiplication tables.  I thought it was a supreme waste of time and extremely boring to boot.  As a young scholar, I'd have jumped at the chance to prove that I knew how to get these answers without having to memorize every single one.  How many of you whippersnappers had to do multiplication tables?   

It's always possible that some elementary school teacher is being unrealistic and maybe slightly whacko, or just not doing a good job.  I've seen my share of these.  But before jumping onto the nearest convenient bandwagon, a little research will help your cause (and your child) much more than any amount of misplaced outrage.

Guest Post - Arthur Payton

(the following article references this blog post.)

Mr. Walsh seems to be offended by the idea of people being offended, and in the writing of his post has broken his own rules (or "Absolute Truths"). He has taken offense, which in his own words is his own decision, and has decided the intent of others. I sincerely doubt that the statement "I'm offended by that" is one that is intended to offend, so he really shouldn't be taking offense from it if he truly believes in his own rules. By writing his lengthy blog post, he has dwelled upon the offense rather than behaving as a "functioning adult," and has only sidestepped the fifth rule because his "trendy internet thing" where he frowned upon something was done without a picture of himself holding up a piece of paper.

He is taking a rather extremist position on the topic, when really this is something that is often a matter of context. The video tries to juxtapose "microaggression" with physical and sexual aggression, but the two are not the same and should not be held on the same level. We're talking about different levels of aggression, centered in different levels of society. This doesn't invalidate the potential for harm found in "microaggressions," since they are simply a continuation or "left-over" from other types of aggression which are no longer socially acceptable.

The primary difficulty I have with Mr. Walsh's stance is that I am a proponent for a compassionate society. In my opinion, in a compassionate society a person who has been truly offended by something should not be made to feel invalidated because the "offender's" intent is more important than the effect achieved. After all, the road to Hell is paved with good intentions, yes? Why is it more important to insist that those affected by systemic discrimination "toughen up" and ignore that discrimination (which can then carry on unchecked, and grow in severity), than it is to offer a sincere apology for a mistaken intent? If the listener cannot decide the intent of the speaker, why does the speaker get to decide whether the listener is offended? If someone is offended, why does the speaker get to decide that their words were inoffensive?

That's really what this seems to boil down to: an argument against apologizing for jokes, statements, or actions which are at the expense of another (individual or group), or even apologizing for an unintended effect. It is an insistence that others are weak and must improve themselves at the speaker's direction (which is privileged behavior), rather than a call for personal growth and betterment as an individual or as a society.

Do I think holding open a door for a woman is wrong? No, though I tend to hold it open for anybody, regardless of sex, ethnicity, or ability. But I can understand the mindset which might take offense, and so if someone was offended I would apologize. After all, I would probably take offense if someone offered to help me learn the alphabet.

That said, the other side of that compassionate society also requires that the person who is offended take time to consider the intent of the person who offended them. It requires open, non-hostile communication between the two, so that both intent and effect may be understood and the interaction can be learned from on both sides. Essentially, it requires learning and understanding -individuals- (micro-level) instead of groups (macro-level). Like I said at the beginning this is often a matter of context, being situational and dependent upon both the people involved and the environment the interaction takes place within.

This is nothing new. People have said for years that you can't say anything without offending somebody. With the Internet as the setting for many interactions, it's simply a matter of "somebody" being much closer. The question is, are we called to dismiss these others, to ignore them, or are we called to understand them?

(repost) A Message from Mark Perkel

Hello Bartcop fans from Marc Perkel, 

I have created an email list to announce news events relating to the future of Bartcop.com. If you are wondering how you got on the list, I extracted the email addresses out of the guestbook. I figured it would be a good place to start. 

As you all know the untimely passing of Terry was unexpected, even by him. We all knew he had cancer but we all thought he had some years left. So some of us who have worked closely with him over the years are scrambling around trying to figure out what to do. My job, among other things, is to establish communications with the Bartcop community and provide email lists and groups for those who might put something together. Those who want to play an active roll in something coming from this, or if you are one of Bart's pillars, should send and email to active@bartcop.com. 

So - to let you know what's going on, the guestbook on bartcop.com is still open for those who want to write something in memory of Bart. 

I did an interview on Netroots Radio about Bart's passing: 
http://www.stitcher.com/s?eid=32893545 

The most active open discussion is on Bart's Facebook page. 
https://www.facebook.com/bartcop 

You can listen to Bart's theme song here: 
http://www.bartcop.com/blizing-saddles.mp3 

http://youtu.be/MySGAaB0A9k

We have opened up the radio show archives which are now free. Listen to all you want: 
http://bartcop.com/members 

Bart's final wish was to pay off the house mortgage for Mrs. Bart who is overwhelmed and so very grateful for the support she has received. Anyone wanting to make a donation can click on this the yellow donate button onbartcop.com 

But - I need you all to do something to help keep this going. This email isn't going to directly teach all of Bart's fans. So if you can repost it on blogs and discussion boards so people can sign up then when we figure out what's next we can let more people know. This list is just over 600 but like to get it up to at least 10,000 pretty quick. So here's the signup link for this email list. 

http://mailman.bartcop.com/listinfo/bartnews 

Marc Perkel 
Thanks in Advance

Un-friend

Twenty-five years ago, my favorite aunt refused to take my phone call over a misunderstanding.  I was devastated.

Five years ago, the same relative blocked my on MySpace.  Over a misunderstanding.  I was hurt.

Today, she blocked me on Facebook.  I am merely annoyed.

This time, it may have been my fault.  My wife says I antagonized her.  I didn't think that was what I was doing, but I am kinda tired of her crap.  She gets so upset if she thinks someone is attacking her church that she can't think rationally, and I knew when I pressed the issue -- even in a private message -- that she'd overreact.

The people who are most important to me, today, all understand (or should) that I love them no less if I question their beliefs.  If not, then I guess I'll end up alone and unloved.  Because, if I haven't offended someone yet, it's only because I haven't gotten around to it.  Anyone who can't handle that, maybe this is a good time to follow suit.

As for my favorite blood relative (before I had kids), if she wants to be in contact with me again, she knows where I am. 

Reviews - 1776

Review: Historical musical a memorable night of theater

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Submitted photo

From left, Curtis Leach is Benjamin Franklin, Kevin Olsen is Thomas Jefferson and John LaPuzza is John Adams in “1776,” on stage now at Bellevue Little Theatre.

Posted Sep 20, 2012

“1776” offers musical fireworks in Bellevue

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BELLEVUE, Neb. – Bellevue Little Theatre opened its theater season with a good production of the musical “1776.”

Laureen Pickle directs a talented group of experienced actors. Pickle also did double duty by designing an interesting set that includes some marvelous visual effects. Kay Clark is musical director and heads up a good four-piece pit orchestra.

John La Puzza plays the main character, John Adams, who does everything he can to get the Continental Congress to declare independence from Great Britain. He is not liked by many members. His wife, Abigail, who is left at home in Massachusetts, is a strong woman played by Janet Ratekin Williams. Their long distance duets, which include “Till Then” and “Yours, Yours, Yours,” are poignant.

There were 13 colonies represented at the Continental Congress in that hot month of July 1776. The stage was full of 27 very talented actors including: Curtis Leach as Benjamin Franklin, Kevin Olsen as Thomas Jefferson and Chris Ebke as Richard Henry Lee. The show also features John Payton, Chuck Wilcox, Tom Fleckten, Adam Hogston, Gary Parker, Sam Reiner, Sean Buster, Robert Matter, Geoff Chenowith, Nelson Lampe, John Jones, Dale Krusemark, Steve Pera, Don Reimer, Joe Mokrycki, Phil Cremonini, Max Hauze and Kyle Avery.

The 13 songs in the show are memorable. “For God’s Sake John, Sit down” is the rousing opening number. There were many conflicts among the members of the congress. Slavery was a major problem between the northern colonies and the southern colonies. Edward Rutledge, played by Andrew Miner, sings “Molasses to Rum” a very good song with an African beat that is haunting. Martha Jefferson, played by Shiloh Jones; joins with Adams and Franklin for “He Plays the violin.”

This musical has everything going for it, including talented actors, great music and a very historical story about creating the Declaration of Independence. This is a great way to get a history lesson in a fun musical environment. This is a must-see production in Bellevue.

The musical “1776” runs on weekends through Sept. 30. Curtain time Fridays and Saturdays is 8 p.m., with 2 p.m. matinees on Sundays. Tickets are $18 for adults, $15 for seniors and $9 for students. For reservations, call (402) 291-1554.The theater is located in Olde Towne Bellevue, Neb.

Leading men worth seeing in second staging of ‘1776'

By Bob Fischbach
WORLD-HERALD STAFF WRITER

1776

What: Stage musical Where: Bellevue Little Theatre, 203 W. Mission Ave., Bellevue When: Friday through Sept. 30; 8 p.m. Fridays and Saturdays, 2 p.m. Sundays Tickets: $18 adults, $15 senior citizens, $9 students Information: 402-291-1554

Sixteen years later, John LaPuzza still makes a spirited, combative John Adams and Curtis Leach has spring in his step and a twinkle in his eye as Benjamin Franklin in “1776.”
The two played opposite each other in the Bellevue Little Theatre's 1996 production of this musical about the Continental Congress voting on the Declaration of Independence.
They teamed again for an outstanding 2004 Stages of Omaha production at the Rose Theater.
And they're still worth catching in BLT's second staging of “1776,” which opened last weekend.
Director Laureen Pickle and music director Kay Clark have assembled a fine cast of 24 men, whose booming chorus of “Sit Down, John” lets you know early on you're in for a vocal treat.
They are boosted by lovely solo work from Janet Ratekin Williams as Adams' lonely, supportive wife, Abigail (“Till Then”), and Shiloh Jones as ardent lover Martha Jefferson (“He Plays the Violin”).
Pickle gets double credit for scenic design that suggests the actual chamber where the congress met, along with staging that, by necessity, spills into the aisles and onto downstage platforms.
The show's biggest drawback is a tiny stage and limited height. It's not easy shoehorning 24 men behind 10 tables and then finding room for them to move — and that shows at times.
A noble attempt at visual projection of period artwork onto a screm (a black curtain that's see-through when lit from behind) only partly succeeds. Too much light spills onto the set behind the curtain, washing out the images and revealing actors coming and going.
Still, Pickle and cast capture the spirit of the piece. A pushy Adams, counseled by a more temperate Franklin, must learn to compromise if he is to get the unanimous vote for independence he desperately wants.
They get help from quiet wordsmith Thomas Jefferson (Kevin Olsen), braggart Richard Henry Lee of Virginia (Chris Ebke's solo is fun) and a sympathetic president of the congress, John Hancock (Patrick Wolfe).
Edward Rutledge of South Carolina (Andrew Miner, an excellent baritone) leads the “Cool, Cool Considerate Men” who resist independence, particularly over the issue of slavery. Miner points out northern hypocrisy, singing a lacerating “Molasses to Rum.”
Superb tenor Kyle Avery is moving as a courier who sings of death on the battlefield in “Momma Look Sharp,” though it's better to leave the weeping to the audience.
Some fine character acting comes from non-soloists, including Geoff Chenoweth, who masters a Scottish brogue as Thomas McKean of Delaware; John Payton as old rumpot Stephen Hopkins of Rhode Island; and Don Reimer as the congress' secretary, reading depressing battlefield messages from George Washington.
But aside from that booming male chorus, the show rests most heavily on LaPuzza and Leach, still in excellent voice and still terrific character actors in this patriotic slice of Americana.



All-male cast doesn't bother female director

By Bob Fischbach
WORLD-HERALD STAFF WRITER

 

IF YOU GO:

What: “1776” stage musical Where: Bellevue Little Theatre, 203 W. Mission Ave., Bellevue When: Friday through Sept. 30; 8 p.m. Fridays and Saturdays, 2 p.m. Sundays Tickets: $18 adults, $15 senior citizens, $9 students nformation: 402-291-1554

If there's one thing the musical “1776” is known for, it's that booming male chorus of 24 voices — all the delegates to the Continental Congress deciding whether to ratify the Declaration of Independence.
So it's worth noting that all of those guys in the Bellevue Little Theatre's “1776” cast answer to director D. Laureen Pickle, music director Kay Clark, producer Sandy Thompson and stage manager Robin Klusmire — all women.
Pickle said there have been no raised eyebrows over the labor-management gender split.
“The guys are a whole lot of fun, but they're very respectful,” Pickle said. “It's nice to be taken seriously as a director. Some of them call me Coach. If I were hesitant or acted weak, somebody might try to take advantage. But any director who comes in with a plan, there's no question of leadership.”
Clark agreed that gender has simply not been an issue.
“A few years ago this might have been a novelty, but not now,” said Clark, who has not music-directed a show in about a decade but loves doing this one a second time at Bellevue. Her four-piece pit group of musicians is also all-female.
Thompson said leadership roles for women have increasingly become common in community theater. She herself became board president of the theater soon after she became active there.
“I didn't think of it as an honor,” she said. “It's just that they thought I could get the work done.”
Klusmire was a stage manager when Pickle directed “Oliver” at Bellevue a couple seasons ago. Clark and Thompson had also worked together in the past, including for a 1996 production of “1776” at the theater.
John LaPuzza as John Adams, and Curtis Leach as Benjamin Franklin are repeating the roles they played in 1996. A father and son, Don and Sam Reimer, are also in the cast.
Thompson said the show was deliberately chosen for an election year. Pickle said it's proof that the more things change, the more they stay the same.
“A lot of what they argued about back then, we still argue about,” she said.