What I was doing was perfectly legal. In North Carolina, long-gun transfers by private sellers require no background checks.
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Gun Culture Is My Culture. And I Fear for What It Has Become. - The New York Times - 15 views
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We don’t touch the guns or draw them from their holsters. They are unseen and unspoken of, but always there.
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I didn’t know what I was doing, but I knew the rules: Always assume a firearm is loaded. Always keep the gun pointed in a safe direction. Know your target and what’s beyond it.
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or my family, guns had always been a means of putting food on the table. My father never owned a handgun. He kept nothing for home defense.
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In the end, what happened was swept under the rug. My parents said the school was probably trying to keep the story off the news.
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I pushed friends behind the brick foundation of a house as a shootout erupted over pills. There were times when someone could have easily been shot and killed.
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I found a community that reminded me of my grandmother, where folks still kept big gardens and canned the vegetables they grew. They still filled the freezer with meat taken by rod and rifle — trout and turkey, dove and rabbit, deer, bear, anything in season.
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A few weeks later, the boy took that .30-30 lever action into the field and killed his first deer with it — the same as his uncle, his grandfather and great-grandfather.
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There is a sadness that only hunters know, a moment when lament overshadows any desire for celebration
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I asked if there was anything I could’ve done differently to make him more comfortable when he first approached the truck.
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versed and that young black state trooper with braces had been behind the wheel, a white trooper cautiously approaching the car.
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I’ve witnessed how quickly a moment can turn to a matter of life and death. I live in a region where 911 calls might not bring blue lights for an hour. Whether it’s preparation or paranoia, I plan for worst-case scenarios and trust no one but myself for my survival.
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they own them because they’re fun at the range and affordable to shoot. They use the rifles for punching paper, a few for shooting coyotes. E
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step as close to Title II of the federal Gun Control Act as legally possible without the red tape and paperwork. They fire bullets into Tannerite targets that blow pumpkins into the sky.
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None of them see a connection between the weapons they own and the shootings at Sandy Hook, San Bernardino, Aurora, Orlando, Las Vegas, Parkland. They see mug shots of James Holmes, Omar Mateen, Stephen Paddock, Nikolas Cruz — “crazier than a shithouse rat,” they say. “If it hadn’t been that rifle, he’d have done it with something else.”
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They fear that what starts as an assault-weapons ban will snowball into an attack on everything in the safe.
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I think about that boy picking up that AR in Cabela’s, and I’m torn between the culture I grew up with and how that culture has devolved.
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changes I know must come, changes to what types of firearms line the shelves and to the background checks and ownership requirements needed to carry one out the door.
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a subsistence culture already threatened by the loss of public land, rising costs and a widening rural-urban divide; the right of individuals to protect their own lives and the lives of their families.
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Despite everything we have in common, despite the fact that he’s my best friend and we were going squirrel hunting in a few days, the two of us fundamentally disagree
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there were kids on the television in the background, high school survivors who were willing to say what we are not, and I was ashamed.
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ne of those pretty, late-winter days with bluebird skies when the trees are still naked on the mountains and you can see every shadow and contour of the landscape.
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I know that part of what they’re missing or refusing to acknowledge is how fear ushered in this shift in gun culture over the past two decades.
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Fear is the factor no one wants to address — fear of criminals, fear of terrorists, fear of the government’s turning tyrannical and, perhaps more than anything else, fear of one another.
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I recognize this, because I recognize my own and I recognize that despite all I know and believe I can’t seem to overcome it.
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I have no visions of being a hero. Instead, I find myself looking for where I’d run, asking myself what I would get behind. The gun is the last resort. It’s the final option when all else is exhausted.
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we walked, I could feel the pistol holstered on my side, the weight of my gun tugging at my belt. The fear was lessened by knowing that there was a round chambered, that all it would take is the downward push of a safety and the short pull of a trigger for that bullet to breathe. I felt safer knowing that gun was there.
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The association of music experience, pattern of practice and performance anxiety with p... - 0 views
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Music inexperience, changed pattern of practice and performance anxiety are associated with playing-related problems in child instrumentalists and are therefore important issues for music education.
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Research on adult musicians has adopted these models and identified individual intrinsic factors such as age and gender, music performance anxiety and enjoyment, extrinsic factors such as music practice habits and type of instrument played and intrinsic–extrinsic interaction factors such as playing posture, technique and student–teacher interaction which influence the development of PRMP.
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The aim of this study was to describe the music practice of child instrumentalists and determine their associations with playing-related musculoskeletal problems (PRMP), accounting for gender and age
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Symptoms of performance anxiety are generally categorized into cognitive (e.g. catastrophic thoughts), behavioral (e.g. avoidance of performance/auditions) and physiological (e.g. dry mouth, shaking arms/hands, increased heart rate) (Plaut, 1990; Salmon, 1990).
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Shoup (1995) reported performance anxiety negatively affected performance in 55% (234/425) junior high and high school instrumentalists.
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Over a third of students (36%, 263) reported they experienced the feeling of butterflies most times to always when playing in a concert or competition (Table 1).
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There was a significant association between gender and the experience of butterflies (χ2 = 32.32, df (4), p < .001) with more females reporting the experience of butterflies than males. There was a significant association between age and reported experience of the feeling of butterflies (F = 9.012, df (3), p < .001), with older children reporting the experience of butterflies more than younger children.
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Bib 2.0: Before Blogs and Wikis: Three Tools to Enhance Collaboration - 6 views
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Diigo: Once they start their web-related search, Diigo, an add-on extension for Firefox and Internet Explorer, allows students to highlight text and post sticky-notes directly onto webpages, then share their comments within the group. Others can add their own comments to the note. Selected text is archived to a "my bookmarks" page, along with the comments and a copy of the website. Students can collaborate within the bookmarks site or on the individual websites. Diigo supports RSS feeds, allowing teachers to follow student progress. The more I use this tool, the more I'm convinced it ought to be integral to every research project. It allows students to actively connect with the information they're reading--to question, annotate and infer. All in collaboration with their group. How amazing is that???
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Purposeful Professional Learning (Professional Learning That Shifts Practice- Part 1) -... - 10 views
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allow learners to solve relevant issues that matter to them
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the team determined a specific goal that they wanted to accomplish by the end of the day
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To guide the work time, we observed some classrooms and discussed what we noticed. Based on our goals, we set clear targets and some time boundaries to check in on progress.
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each teacher shared what they had learned, what they had created, and their actionable next steps.
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The more you empower learners, the more they will be invested in the work.
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society evolves and schools work to meet the needs of learners
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I think one of the keys here is to acknowledge that society is evolving and we need to evolve to meet the needs of society - for example, just because research shows that, for some things, handwriting helps people remember something better or reading a hard copy is easier for comprehension than a digital copy - just because research at this point confirms these concepts, that doesn't mean we don't need to provide opportunities for practice and teach learners to recall digitally written info or comprehend digital text. If that is the trend the world is moving toward, we have to move in that direction as well - or be left behind.
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purposeful
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Meaningful Problem Solving (Professional Learning that Shifts Practice Part 2) - Katie ... - 6 views
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creating experiences that provide opportunities to grapple with challenges that are meaningful to individuals in their context. In order for teachers to do this in their classrooms it is important that they have similar experiences in their own learning.
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Be curious and open to all ideas Seek to improve learning (students and educators) Expect growth, not perfection Focus reflection how to improve your work, not others Ground work in evidence of learning, not assumptions
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How diplomas based on skill acquisition, not credits earned, could change education - T... - 15 views
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a new teaching approach here called “proficiency-based education” that was inspired by a 2012 state law.
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law requires that by 2021, students graduating from Maine high schools must show they have mastered specific skills to earn a high school diploma.
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By 2021, schools must offer diplomas based students reaching proficiency in the four core academic subject areas: English, math, science and social studies. By 2025, four additional subject areas will be included: a second language, the arts, health and physical education.
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proficiency-based idea has also created headaches at some schools for teachers trying to monitor students’ individual progress.
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Students have more flexibility to learn at their own pace and teachers get time to provide extra help for students who need it
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offer students clarity about what they have to learn and how they are expected to demonstrate they’ve learned it.
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at schools that have embraced the new system, teachers say they are finding that struggling students are seeing the biggest gains because teachers are given more time to re-teach skills and students better understand the parameters for earning a diploma.
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Deciding to believe that all students are capable of learning all of the standards, she said, “was scary.”
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students get less than a proficient score, they must go back and study the skill they missed. They are then given a chance to retake the relevant portions of the test until they earn a satisfactory score.
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We inherited a structure for schooling that was based on time and on philosophical beliefs that learning would be distributed across a bell curve,
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get crystal clear about what we want students to know and be able to do and then how to measure it.”
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Columbia Marching Band Shuts Itself Down Over 'Offensive Behavior' - The New York Times - 14 views
Diigo EDU School Account Admin Questions - 100 views
started by Gil Anspacher on 25 Apr 11
6 follow-ups, last by Elizabeth McCarthy on 26 Apr 11
fcsdjc liked it
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"Can't We Just Change the Words?": EBSCOhost - 1 views
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The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.
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However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity
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The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.
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how does each author use authenticity as a strategy for making or justifying decisions in music education?
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authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation
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His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions
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Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).
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Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"
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Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.
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Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.
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Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.
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"World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.