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Mission Statement: The mission of Park University, an entrepreneurial institution of learning, is to provide access to academic excellence, which will prepare learners to think critically, communicate effectively and engage in lifelong learning while serving a global community.School For Education Mission StatementThe School for Education at Park University, an institution committed to diversity and best practice, prepares educators to be effective school professionals, reflective change agents, and advocates for equity and excellence for all learners.Vision Statement: Park University will be a renowned international leader in providing innovative educational opportunities for learners within the global society.School For Education Vision StatementThe School for Education at Park University is to be known as a leader in the preparation of educators who will address the needs, challenges, and possibilities of the 21st century.Park University School for Education Conceptual FrameworkCourseEDE 380 Literacy for ECE & EED TchrsSemesterSP 2010 HOFacultyLofflin, Kathy EhrigTitleAssociate Professor of EducationDegrees/CertificatesPhD University of Missouri-Kansas CityMA University of Missouri-Kansas CityBA Ottawa UniversityOffice LocationWatson Literacy Center, MA 330AOffice HoursTuesdays and Thursdays, 8:00-8:30, 11:30-1:00 and 3:00-5:00; available other times by appointmentDaytime Phone(816) email@example.com DatesJanuary 11-May 9Class Days--T-R--Class Time8:45 - 11:25 AMPrerequisitesAdmission to Teacher Education, and must be concurrently enrolled in Practicum A.Credit Hours6Textbook:
All three of the following are required and are necessary to do well in this course.
ü Fox, Barbara J. (2010). Phonics and structural analysis for the teacher of reading (10th ed.).
Boston: Allyn & Bacon. ISBN13: 978-0-13-208094-1
ü Vacca, Jo Anne L., Vacca, Richard T., Gove, Mary K., Burkey, Linda, Lenhart, Lisa A., & McKeon,
Christine (2009). Reading and learning to read (7th ed.). Boston: Allyn & Bacon.
ü All Park University teacher candidates seeking certification and licensure must purchase Foliotek, the School for Education's electronic portfolio system. Our MoSTEP Standard for EDE380 is 1.2.4 and its three Performance Indicators, 184.108.40.206, 126.96.36.199, and 188.8.131.52. The Core Assessment for EDE380, the Literacy Instructional Module, will serve as several artifacts for these standards. Your final, which will be the final version of the project and the reflective pieces for Standard 1.2.4, must be submitted via Foliotek in order to be graded, so purchase of Foliotek is absolutely required.
As purchasing and accessing Foliotek is a multi-step process, please follow these instructions:
Decide the Contract Period and fee for which you will be paying. Minimally, you must purchase a contract which extends to the year you expect to graduate, however some students purchase a contract extending one year beyond graduation.
Contract Period
Contract Fee
Per Student (Prepaid)
Cost Breakdown
Per Student, Per Year
1 year
2 years
3 years
4 years
5 years
6 years
Send an email to Carol Williams (email@example.com) with the following information:
· Your Name
· The Contract Period you wish to purchase
· Your student identification number
Within a few days, you will receive from Foliotek an email with online purchasing information. Upon receipt of this email, purchase your Foliotek contract.
Upon receipt of your payment, you will receive your login information. You must then send a final email to Carol Williams (email@example.com), requesting she provide your current education professors and a academic advisor (list them) access to view your portfolio. It is imperative you complete this final step!!
School For Education Mission StatementThe School for Education at Park University, an institution committed to diversity and best practice, prepares educators to be effective school professionals, reflective change agents, and advocates for equity and excellence for all learners.
School For Education Vision StatementThe School for Education at Park University is to be known as a leader in the preparation of educators who will address the needs, challenges, and possibilities of the 21st century.
Park University School for Education Conceptual Framework
EDE 380 Literacy for ECE & EED Tchrs
Lofflin, Kathy Ehrig
Associate Professor of Education
PhD University of Missouri-Kansas CityMA University of Missouri-Kansas CityBA Ottawa University
Office Location
Watson Literacy Center, MA 330A
Office Hours
Tuesdays and Thursdays, 8:00-8:30, 11:30-1:00 and 3:00-5:00; available other times by appointment
Daytime Phone
(816) 584-6419
Semester Dates
January 11-May 9
Class Days
Class Time
Admission to Teacher Education, and must be concurrently enrolled in Practicum A.
Credit Hours
All three of the following are required and are necessary to do well in this course.
ü Fox, Barbara J. (2010). Phonics and structural analysis for the teacher of reading (10th ed.).
Boston: Allyn & Bacon. ISBN13: 978-0-13-208094-1
ü Vacca, Jo Anne L., Vacca, Richard T., Gove, Mary K., Burkey, Linda, Lenhart, Lisa A., & McKeon,
Christine (2009). Reading and learning to read (7th ed.). Boston: Allyn & Bacon.
ü All Park University teacher candidates seeking certification and licensure must purchase Foliotek, the School for Education's electronic portfolio system. Our MoSTEP Standard for EDE380 is 1.2.4 and its three Performance Indicators, 22.214.171.124, 18.104.22.168, and 126.96.36.199. The Core Assessment for EDE380, the Literacy Instructional Module, will serve as several artifacts for these standards. Your final, which will be the final version of the project and the reflective pieces for Standard 1.2.4, must be submitted via Foliotek in order to be graded, so purchase of Foliotek is absolutely required.
As purchasing and accessing Foliotek is a multi-step process, please follow these instructions:
Contract Period
Contract Fee
Per Student (Prepaid)
Cost Breakdown
Per Student, Per Year
1 year
2 years
3 years
4 years
5 years
6 years
· Your Name
· The Contract Period you wish to purchase
· Your student identification number
Textbooks can be purchased through the Parkville Bookstore
Additional Resources:
Supplementary resources specifically used or referred to in class:
Atwell, N. (1998). In the middle: New understandings about writing, reading, and
learning (2nd ed.). Portsmouth, NH: Heinemann.
Bell, D., & Jarvis, D. (2002). Letting go of "Letter of the Week". Primary Voices K-6,
11(2), 10-25.
Carlisle, J.F., & Stone, C. A. (2005). Exploring the role of morphemes in word reading.
Reading Research Quarterly, 40(4), 428-449.
Cassidy, J., Garcia, R., Boggs, M. (2005). The SIQ-III test: Gender issues in literacy.
Journal of Adolescent & Adult Literacy, 49(2), 142-148.
Clark, K.F. (2004). What can I say besides "sound it out"? Coaching word recognition
in beginning reading. The Reading Teacher, 57(5), 440-449.
Clay, M. M. (2000). Running records for classroom teachers. Portsmouth NH:
Clymer, T. (1963). The utility of phonic generalizations in the primary grades. The
Reading Teacher, 16, 252-258.
DeFord, D. (1985). Validating the construct of theoretical orientation in reading instruction. Reading
Research Quarterly, 20(3), 351-367.
Flippo, R. (2003). Assessing readers: Qualitative diagnosis and instrucion.
Portsmouth, NH: Heinemann.
Fogel, H., and Ehri, L. C. (2006). Teaching African American English forms to
Standard American English-speaking teachers: Effects on acquisition, attitudes,
and responses to student use. Journal of Teacher Education, 57(5), 464-480.
Fox, M. (2005). Phonics has a phoney role in the literacy wars.
Fry, E. (1977). Fry's readability graph: Clarifications, validity, and extension to level
17. Journal of Reading, 21(1977), 242-252).
Goodman, D. The reading detective club: Solving the mysteries of reading. Portsmouth,
NH: Heinemann.
Knipper, K.J., & Duggan, T. J. (2006). Writing to learn across the curriculum: Tools for
comprehension in content area classes. The Reading Teacher, 59(5), 462-470.
McLaughlin, M., & Allen, M. B. (2002). Guided comprehension in action: Lessons for
grades 3-8. Newark, DE: International Reading Association.
McLaughlin, M. (2003). Guided Comprehension in the primary grades. Newark, DE:
International Reading Association.
Missouri Department of Elementary and Secondary Education. (2004). Communication
Arts Grade Level Expectations.
Missouri Department of Elementary and Secondary Education. (2001). Curriculum
International Reading Association & National Council of Teachers of English. (1996).
Standards for the English Language Arts.
National Reading Panel (2001). Report of the National Reading Panel: Teaching
children to read.
Palmer, C., & Brooks, M.A. (2004). Reading until the cows come home: Figurative
language and reading comprehension. Journal of Adolescent & Adult Literacy,
47(5), 370-379.
Pinnell, G. S. (2004). Ten principles in literacy programs that work.
Raphael, T. , and Au, K. (2005). QAR: Enhancing comprehension and test taking
across grades and content areas. The Reading Teacher, 59(3), 206-221.
Ray, K. (1999). Wondrous words: Writers and writing in the elementary classroom.
Urbana, IL: National Council of Teachers of English."
Ray, K. (2001). The writing workshop: Working through the hard parts (and they're all
hard parts). Urbana, IL: National Council of Teachers of English."
Ray, K. (2006). Exploring inquiry as a teaching stance in the writing workshop.
Language Arts, 83(3), 238-247.
Richek, M. A. (2005). Words are wonderful: Interactive, time-efficient strategies to
teach meaning vocabulary. The Reading Teacher, 58(5), 414-423.
Stahl, K. (2004). Proof, practice, and promise: Comprehension strategy instruction in
the primary grades. The Reading Teacher, 57(7), 598-609.
Yopp, H.K., & Yopp, R.H. (2000). Supporting phonemic awareness development in the
classroom. The Reading Teacher, 54(2), 130-143.
McAfee Memorial Library - Online information, links, electronic databases and the Online catalog. Contact the library for further assistance via email or at 800-270-4347.Career Counseling - The Career Development Center (CDC) provides services for all stages of career development. The mission of the CDC is to provide the career planning tools to ensure a lifetime of career success.Park Helpdesk - If you have forgotten your OPEN ID or Password, or need assistance with your PirateMail account, please email email@example.com or call 800-927-3024Resources for Current Students - A great place to look for all kinds of information http://www.park.edu/Current/.
Educational Philosophy:
Instructor's individual philosophy:
The instructor's philosophy and approach to teaching any professional education course may be summed up in one word: engagement.
Engagement means full involvement by both instructor and students. When someone is engaged, he/she places her/his full attention on the learning task at hand, and is fully "into" the learning activities of the moment rather than thinking about or attending to anything else. She/he consistently pays attention, watches/listens carefully, and works to make the most of every learning opportunity. Neither interruptions nor distractions, nor "just getting by", is permitted. Learning time is sacred, and important. The instructor is committed to being fully engaged when she is teaching or working with students and their work, and she expects the same engagement level of students when they are in class or working on assignments. Indeed, when students later work in the classroom as teachers, the children they will work with deserve nothing less than full engagement.
The instructor will endeavor to set up the classroom environment to maximize engagement. Some strategies for this will include hands-on activities, cooperative and collaborative learning, a stress on higher level learning outcomes (application, analysis, synthesis, and evaluation), providing "scaffolding" to help students succeed at their highest ability levels, stressing real-life and cross-disciplinary connections, requiring individual accountability for learning, and facilitating response opportunities for all students. But engagement is not the instructor's task alone. Taking responsibility for making the most of the learning opportunities of the course will also be expected of each student.
Linkage to School for Education Conceptual Framework:
The instructor also uses the School for Education's Conceptual Framework as a guide for instructional decisions. All courses must help developing educators grow into the roles of Effective School Professional, Reflective Change Agent, and Advocate for Equity and Excellence for All Learners.
In EDE380, the instructor is first and foremost interested in students becoming effective teachers, and much attention will be paid to various theory-based models that have been found to help children become literate at high levels. The instructor believes that instruction that is not theory-based, and that focuses only on the lowest levels of learning, is neither effective nor appropriate. Thus, she always wants to challenge future teachers to reach for the highest levels of good practice for the children they will teach. Low level learning, or teaching strategies that are not grounded in theory and research, are not good enough for any child. Literacy should be about constructing meaning. If that is not occurring in a classroom, then the literacy instruction there is not effective.
In EDE380, attention will be paid to reflection on what is best practice in literacy, and to a constant assessment of policies and practices that are employed in schools. The instructor does not believe in perpetuating the status quo in literacy instruction just because it may be mandated, funded, or favored by any group with power, including governments, publishers, corporations, professional associations, or any other entity. Each teacher must look at all policies and practices in terms of what is good for students and what is good for their literacy learning. That may differ from what is currently favored in schools, and it may differ from context to context. There is no such thing as "one size fits all," even though that may be favored by some because it seems to be the easier or less expensive way. It is the professional's job to be constantly questioning, and for making changes when what is happening is not shown to be in children's best interests. The instructor does not believe that much of the current "status quo" in public school literacy instruction is working in the best interests of children. She does not see it as her job to perpetuate such a flawed status quo; she rather sees it as her job to raise questions about it and to work toward changing the situation for the better. Students in EDE380 should expect to hear many difficult questions raised about what is going on in schools right now, including practices that they will see, and that are accepted, in the school sites where they are having practicum experiences. The instructor expects students to adopt a questioning, reflective attitude toward literacy practice and to work toward changing current practice when it does not meet children's needs.
What it all boils down to is this: We must be advocates for children. Children always must come first with us, and that means all children, no matter what their backgrounds. That is what advocating for equity means. Advocating for excellence means that we owe it to the children who will be under our care to make sure they have the best opportunity possible to become literate citizens who can participate fully in our society. If there is one theme that should pervade a course such as EDE380, that is it.
Learning Outcomes: Core Learning Outcomes
Assessments for Outcome #1:
Assessments for Outcome #2:
Assessment for Outcome #3:
Assessments for Outcome #4:
Assessments for Outcome #5:
Assessments for Outcome #6:
Assessment for Outcome #7:
Assessments for Outcome #8:
Assessments for Outcome #9:
Link to Class RubricClass Assessment:
1. Homework assignments (66 points possible; 20% of grade)
Readings assigned for each week will usually be due each Tuesday at the beginning of class, unless otherwise noted. For each of the 11 reading assignments from the Vacca text, answer in paragraph form the following three questions covering the reading:
1) What do you think the author's purpose(s) were for writing the chapter(s) or articles? Why did they write what they did, and what do you think they hoped to accomplish? In other words, what was the point?
2) What idea(s) in the reading struck you as most useful and why? There is a lot of flexibility possible in your approach to this question. An idea may strike you because it "resonates" with experience, because it seems particularly reasonable or valuable, or because you can easily picture how you would use it in your future classroom.
3) What do you think is the most problematic or controversial idea in the text? What are the issues and views involved and why do you see it as problematic or controversial? If an idea puzzles you or provokes a negative reaction as you read, this would be the place to discuss that, though a negative reaction is not necessary for you to see an idea as problematic or controversial.
NOTE: Writing that you cannot find a problem or controversy will result in a "0" for this portion. You need to "dig" and find something.
For each of the three questions, you will earn a rating of 2, 1, or 0. A "2" will result from a well-developed paragraph, with examples. A "1" will result from a minimally developed paragraph, and a 0 will result from a completely unsatisfactory or missing paragraph. There are 6 total points possible for each assignment.
As you prepare your work, bear in mind that the instructor has two purposes for weekly homework assignments: 1) to make sure that you read and engage with text assignments each week, and 2) to make sure you are engaging with the texts at a fairly high level of thinking. If she is satisfied that these things are happening for you, you will earn a high rating on homework assignments.
There are 11 assignments from the Vacca text (66 total points possible). At the end of the semester, the number of points earned will be compared with the number of points possible, and a percentage will be computed for this portion of the course grade.
Important Notice: For all homework, work turned in one class meeting late will have one point deducted; work turned in two class periods late will have two points deducted. Work turned in later two class meetings after it is due will not be accepted and will not be graded. Work is considered one class period late if it is submitted after midnight on the Tuesday it is due; it is considered two class periods late is it is submitted after midnight on the Thursday after the Tuesday it is due. Work is unacceptable after midnight on the Tuesday one week after the due date.
All homework must be submitted to the appropriate Drop Box for the week in the EDE380 eCompanion platform. Points and any comments from the instructor will be posted in the Drop Box.
2. Fox text (225 points possible; 10% of grade)
You should complete all of the Fox text by the date given on the schedule. Fill out all the blanks and do all the exercises, reviews, and tests. All 225 pages need to be completed, beginning with the Pretest and ending with the Posttest. For exercises done on separate paper (as instructed in the text), slip the paper in the book at the appropriate point and staple or paper clip the paper to the page. Everything must be completed; in fact, this part of the grade will be based entirely upon completion (pages will be counted and you will receive one point per page). On the due date, a percentage of the total pages that have been completed will be calculated. If all pages are complete and the book is turned in on time, 225 point and a 100% will be recorded. If the book is turned in late, 10% will be deducted for each class meeting that the book is late. Points will be deducted for any missing pages. A page will be considered "missing" if any part of that page is incomplete, so please make sure you have filled in every blank and completed every page.
A few words about the assignment: There is a varying response from students to this text. Some actually enjoy it, others can take or leave it but have no problems, others find it annoying but work it through, and a few sometimes are distressed by it. Be aware of, and reflect upon, the reasons for these feelings, especially if you are one of those who experiences distress.
There is more than one purpose for this assignment. Not the least of these is the need for you to really reflect on how instruction about language, such as phonics concepts, should be presented to children. Think about the pros and cons of teaching such concepts explicitly (as is done in this workbook) versus more implicitly. This is an issue that is controversial right now (and always really has been). Just as each preservice teacher is different, and reacts differently to explicit instruction in phonics, so each child is different. There are many thorny issues when we look at phonics instruction, including the matter of dialects and language variations which can be problematic, and other issues, such as the fact that many phonics "generalizations" are by no means as clear-cut as some published programs try to say they are. We will make time to discuss issues, feelings, and frustrations as you complete the workbook. This is an important course outcome. If you do experience undue frustration, beyond what class discussions can alleviate, see the instructor early and talk it out. Above all, do not procrastinate on this assignment. Doing a little each day seems to work better than a lot in a few days.
A second purpose is that teachers do need to have some facility with phonics terminology, no matter what their eventual stance toward explicit vs. implicit phonics instruction turns out to be. Teachers are expected to be able to talk about these concepts and use them. The workbook is an efficient way of starting the process of building this critical professional vocabulary. We are doing it early in the semester, and rather rapidly, so that the vocabulary you learn can then be utilized as we move on to higher level concerns, like how to put together instruction that helps children learn to read and meets their literacy needs. Even if you believe that all phonics learning should be implicitly acquired through natural texts, you still need to know about phonics concepts so that you can devise good opportunities for implicit learning. In fact, such a teacher needs to know even more than the teacher who advocates explicit methods, because explicit methods are often laid out and scripted, and implicit teaching requires "thinking on one's feet" and providing scaffolding as needed.
3. Literacy Instructional Module Rough Drafts (20% of grade)
The Literacy Instructional Module is described in detail below. This module is a major project of EDE380; in fact, it is the course's "Core Assessment." As such, it should represent your best work and demonstrate your learning. To that end, the instructor will require that you submit drafts of each of the sections of the project (Parts 1, 2, 3, 4, 5, 6, and 7). The drafts will be graded on exactly the same standards, and using exactly the same rubric, as the final draft, but rough drafts will only be weighted half as much as the final drafts so as to allow you to benefit from instructor input and improve your work for the final draft. If a draft comes in late, it will be reduced 10% for each class period it is late. The instructor will provide plentiful written feedback on these drafts, and students are expected to take that feedback into consideration when revising their work for final submission.
The points possible on each part of the Module are clearly listed on the rubric, and will be the same for both the rough drafts and the final drafts, but the rough drafts will be worth only half as much as the final draft toward the final course grade.
Here are the points possible for each section, taken directly from the rubric:
Part 1: Background Information (15 points )
Part 2: Outcomes/Objectives (15 points)
Part 3: Instructional Plan (63 points)
Part 4: Assessment Plan (30 points)
Part 5: Documentation of implementation of instruction (12 points)
Part 6: Documentation of student learning (24 points)
Part 7: Reflection on teacher learning (18 points)
All Module drafts must be submitted to the appropriate Drop Boxes for the weeks they are due in the EDE380 eCompanion platform. Instructor feedback will be provided through the Drop Box.
4. Literacy Instructional Module (Final draft; 40% of grade)
Please Note: The Literacy Instructional Module is the "Core Assessment" for EDE380.
The Literacy Instructional Module documents your experience planning, implementing, and assessing a literacy teaching episode with actual children in your assigned practicum classroom. This teaching episode should be designed to take place during 2-3 visits to your practicum site near the middle of the semester. The instruction may take place during regular "literacy" (reading/writing) or Communication Arts time, or it may integrate literacy with a content area such as social studies or science, though literacy must be a major goal of the instruction in these cases.
Plan ahead with your cooperating teacher on the dates, starting during your first visits to the practicum site. During the early weeks of the semester, intensive instruction will be provided that is intended to help you have a successful experience and to implement quality instruction..
A detailed rubric will be provided in class and discussed at length. The final draft will include both Parts A (Preteaching Elements, Sections 1-4) and B (Post-teaching Elements, Sections 5-7), plus a cooperating teacher's evaluation, which will be provided and discussed in class. The project should have seven separate sections, each posted to Foliotek as a separate artifact and each with a clearly identifiable name. Each section should cover the elements outlined on the project's rubric. The rubric also has an eighth section that assesses mechanical aspects. This rubric illustrates linkages between the various sections of the project and both the MoSTEP Standards and the professional standards of the International Reading Association (IRA) and other national professional organizations. The Cooperating Teacher's assessment rubric must be scanned and uploaded to Foliotek as a separate artifact. If there is difficulty in scanning, see the instructor for assistance well in advance. It is important that students be proactive about securing the cooperating teacher rubric from the cooperating teacher in a timely manner so it may be uploaded to Foliotek along with the rest of the Module.
A second rubric, the University's Core Assessment Rubric, is attached to this syllabus and will be used for University-wide assessment purposes, but not for grading purposes. It is attached at the end of this syllabus for informational and administrative purposes only.
The following description is a brief overview of the project; many more details are on the rubrics, and all requirements will be discussed fully in class. The project is a modification of the well-known Teacher Work Sample model.
Each Literacy Instructional Module submitted must have the following seven sections fully developed and clearly labeled:
SECTION A: PRE-TEACHING ELEMENTS (to be completed prior to teaching the module)
Part 1. Background information on the teaching situation is in a short essay.
Here, you will be researching information on the school, the classroom, and the specific students you will teach. You also will be expected to discuss how school factors, classroom factors, and student factors will affect your planning to teach each specific module. This section is related to the professional dispositions, Willingness to Do What is Necessary to Help Learners Learn, Maintains Engagement, and Self-Reflection Toward Continual Development.
Part 2. Learning Outcomes/Objectives are specified and aligned with standards.
In this section you will be writing 2-7 outcome statements specific to the module you will teach, and you will be aligning each outcome with state and national literacy standards (information will be provided in class). The content of these outcomes/objectives should be negotiated with the practicum cooperating teacher in advance of teaching. This section is related to the professional dispositions, Willingness to Do What is Necessary to Help Learners Learn and Values and Acts Upon Belief in Educational Leadership.
Part 3. An appropriate instructional plan to meet the outcomes is presented.
You will need to outline, before you teach the module, a plan for instruction that will meet the learning outcomes/objectives you specified in Part 2 above. You will be planning and developing theory-based literacy instructional activities. Each module must have at least two theory-based activities in its plan (you may and should include more if needed to meet the specified learning outcomes). Activities must be designed by the student (NOT the cooperating teacher!) and the two activities must be chosen from the following list of options:
All of these activities and models will be fully discussed in class, and also will be demonstrated whenever possible. The following kinds of activities may be approved for the module, but MUST be approved by the instructor in advance, and must be fully documented:
The following kinds of activities will absolutely not be approved by the instructor:
Once the two theory-based activities are included, you are free to add other things of your choice to your module, but be sure all activities are meaningful and student-centered, and really build literacy.
We will organize this section around a standard "Lesson Plan Outline." Incorporating this format is required, even though integrating it may seem a bit awkward and redundant at times. We will discuss the ways to do this sensibly, and we will review the format, in class.
Please note that the Lesson Plan Outline requires, among other things, that you document:
It is very important that the above elements be a part of your instruction. It can be difficult to think about these concerns, but we will discuss them in class, and you must stretch your views of teaching to incorporate them. Willingness to push one's comfort zone and go beyond the obvious are important teaching dispositions. This section is related to Willingness to Do What is Necessary to Help Learners Learn, Maintains Engagement, and Self-Reflection Toward Continual Development.
Part 4. A strategy for assessing the outcomes of instruction is included.
This portion describes how you will document whether your students met the outcomes in Section #2 above. This portion must be filled out in advance, before you teach the module. It is required that your plan include examples of at least one tangible artifact that will demonstrate and assess student learning, and that you have a method for assessing that artifact, preferably something you can attach to examples of student work. Non-tangible assessments like "participation" or "observation" will not be sufficient, though such assessments can certainly be a small part of this section. This section is related to Willingness to Do What is Necessary to Help Learners Learn, Maintains Engagement, and Self-Reflection Toward Continual Development.
NOTE: Sections 1-4 will be turned in to the instructor in draft form prior to your teaching of the module, and must receive instructor approval before you teach the module. It also is important that you share your plans with your cooperating teacher prior to teaching. For this reason, it is recommended that you begin planning well in advance of your expected teaching day(s).
SECTION B: POST-TEACHING ELEMENTS (to be completed after teaching the module)
Part 5. The implementation of the instruction is documented.
This part is your anecdotal report of what actually happened when you implemented your plan. In most cases, you will have to alter your plan "in-flight"; document those alterations in this section. You will not be penalized for instruction not going according to plan; it is better to make adjustments than to go on with instruction that is not working. Your grade here will be based on how you reacted to the authentic situation and the amount of detail you provide. See the grading rubric for more information. This segment documents the dispositions, Willingness to Do What Is Necessary to Help Learners Learn, and Self-Reflection Toward Continual Development.
Part 6. Student learning is documented.
Here, you return to your Outcomes from Section #2 and your Assessment Strategy from Section #4, and you present the evidence of learning that your Assessment Strategy provided. You will not be penalized if students do not meet the outcomes, but you will be for failure to discuss and account for that. You will need to clearly show in a visual display (e.g., a graph or chart) and an explanatory narrative your students' learning based on the data you gathered. You will be expected to discuss strategies for helping the students meet the outcomes in the future. A representative sample of student work, along with any assessment instruments you created and used to assess the work, should be included and referred to here. For this section, think in terms of a clear, concise, and relatively straightforward description of what your students learned (or did not learn, if that is the case). Save reflections about your own learning for Section 7, below. This segment documents the dispositions, Willingness to Do What Is Necessary to Help Learners Learn, and Self-Reflection Toward Continual Development.
Part 7. The teacher is able to think reflectively about instruction.
In this final section, you reflect in depth on your own learning as a result of teaching the module. Specific areas that need to be developed in this short essay are outlined in the grading rubric; all listed areas must be specifically addressed. This segment documents the dispositions, Self-Reflection Toward Continual Development, and Values and Acts on a Belief in Educational Leadership.
8. The work is mechanically acceptable.
Professional-looking, correctly written work is required of all teachers; a section delineating areas that will be assessed is included as "Part 8" on the instructor's grading rubric. This part of the rubric will be an overall assessment and does not require its own separate, labeled section. This segment documents the disposition, Respect for Others.
Please note the following:
5. MoSTEP Standard 1.2.4 Reflective Pieces, to be written late in the semester in lieu of a final exam (Completion grade, with 8 points possible; 10% of grade)
Near the end of the semester, students will be writing a reflective piece on MoSTEP Standard and its three Performance Indicators (126.96.36.199, 18.104.22.168, 188.8.131.52). In these reflective pieces, students will reflect on their learning in EDE380, referring to course projects (especially the seven sections of the Literacy Instructional Module) as artifacts to demonstrate the standards. Work from other classes may also be referenced, though the main thing that will be evaluated here will be the relationship of the standards with EDE380 learning. Standard 1.2.4 will be discussed in class during specific class sessions, and will be referred to throughout the semester. Complete instructions will be given to students just prior to the date of writing. The instructor will use the standard School for Education portfolio rubric to evaluate the reflective pieces, and they will be posted on Foliotek along with the final draft of the Literacy Instructional Module; this will be discussed in class. This assignment also is related to assessment of the dispositions, Willingness to Do What is Necessary to Help Learners Learn, and Self-Reflection Toward Continual Development.
Each of the requirements listed below will result in a percentage grade. Each of the items will be weighted as indicated in parentheses below. Each percentage will be weighted and a course average calculated to determine the final course grade.
Note: This is the "Core Assessment" for EDE380.
Further details about these projects are provided above under Class Assessment, and even more information will be provided in class.
Late Submission of Course Materials:
Policies differ for each type of assignment; each assignment is fully described in the Course Assessment section earlier in this document.
Please do not make excuses for late work; rather, professionals act proactively to prevent problems, and when they are completely unavoidable, they present a plan rather than an excuse. This is related to professional dispositions, particularly Respect for Others and Willingness to Maintain Engagement.
Classroom Rules of Conduct:
All of the rules stated below are important and relate directly to professional dispositions, especially Respect for Others and Willingness to Maintain Engagement.
Course Topic/Dates/Assignments:
January 12-14
Course introduction
Reading: Read syllabus carefully on your own.
Assignment: Start on Fox text immediately. Make a plan for timely completion. Due date is Feb. 4.
January 19-21
The Literacy Instructional Module
Homework due: Vacca, Ch. 1 and 2. Just skim Chapter 1, but do chapter questions for Chapter 2 (as described under GRADING PLAN and as explained in class). Reminder: Readings will always be due on Tuesdays, starting this week.. Submit all homework in the appropriate EDE380 eCompanion Drop Box for the week..
January 26-28
Working with words: Part 1
Homework due: Questions for Vacca, Ch. 7 (Note: We will be skipping around in the Vacca text, so please pay close attention to chapter numbers for each week!)
Feb. 2-4
Working with words: Part 2
Homework due: Questions for Vacca, Ch. 8
Assignment due: Completed Fox text due Feb. 4.
Feb. 9-11
Reading Comprehension: Part 1
Homework due: Questions for Vacca, Ch. 9 Assignment due:
Draft of Part 1 of Literacy Instructional Module (Background Information) due Feb. 11.
Feb. 16-18
Reading Comprehension, Part 2
Homework due: Questions for Vacca, Ch. 10
Feb. 23-25
Multiple Literacies and "New" Literacies
Homework due: Questions for Vacca, Ch. 11 Assignment due: Draft of Literacy Instructional Module Parts 2 (Outcomes/Objectives) and 3 (Instructional Plan) due Feb. 25.
March 2-4
(March 8-12 is Spring Recess; classes will not meet that week.)
Literacy assessment: Part 1
Homework due: Questions for Vacca, Ch. 6
March 16-18
Literacy Assessment: Part 2
Homework due: Questions for Vacca, Ch. 14
Assignment due: Draft of Literacy Instructional Module Part 4 (Assessment Plan), due March 18.
Literacy Development: Part 1
Homework due: Questions for Vacca, Ch. 4.
March 30-April 1
Literacy Development: Part 2
Homework due: Questions for Vacca, Ch. 5
April 6-8
Literacy Programs and
Homework due: Questions for Vacca, Ch. 13
April 13-15
Miscue Analysis Workshop: Part 1
Assignment due: Drafts of Literacy Instructional Module Parts 5, 6, and 7. (Note: These parts may be submitted early; that is encouraged if possible.)
April 20-22
Miscue analysis Workshop: Part 2
April 27-29
Reflecting on professional issues:
Finals Week:
Scheduled Final is Thursday, May 6,
8:00-10:00. Arrangements for that day will be discussed in class as the term progresses.
Assignment due:
Final draft of the Literacy Instructional Module, and reflective pieces for Standard 1.2.4 and its Performance Indicators (22.214.171.124, 220.127.116.11, 220.127.116.11) must be posted to Foliotek no later than midnight on May 6. Work will not be accepted after that time. Please post your Literacy Instructional Module as seven separate artifacts, corresponding to the seven parts of the Module (these will be fully discussed in class throughout the semester).
Academic Honesty:Academic integrity is the foundation of the academic community. Because each student has the primary responsibility for being academically honest, students are advised to read and understand all sections of this policy relating to standards of conduct and academic life. Park University 2008-2009 Undergraduate Catalog Page 87From the University catalog: "Academic Integrity is the foundation of the academic community. Because each student has the primary responsibility for being academically honest, students are advised to read and understand all sections of this policy relating to standards of conduct and academic life."
Plagiarism:Plagiarism involves the use of quotations without quotation marks, the use of quotations without indication of the source, the use of another's idea without acknowledging the source, the submission of a paper, laboratory report, project, or class assignment (any portion of such) prepared by another person, or incorrect paraphrasing. Park University 2009-2010 Undergraduate Catalog Page 92From the University catalog: "Plagiarism involves the use of quotations without quotation marks, the use of quotations without indication of the source, the use of another's idea without acknowledging the source, the submission of a paper, laboratory report, project, or assignment (any portion of such) prepared by another person, or incorrect paraphrasing."
From the course instructor: You really only hurt yourself when you steal another's work or take short cuts. Your learning will suffer. Plagiarism is a serious offense for these reasons, but also because it denigrates the work of those who did put out the effort, and betrays the trust inherent in the student-teacher relationship. In cases where plagiarism/cheating is discovered, I will certainly do the following:
•The offense will be reported to the Dean of the School for Education and the program coordinator for your program.
•A conference will be held to resolve the matter.
Depending on the student's response to the conference, one of the following will also occur:
•A failing grade for the course will be given.
•A zero for the specific assignment will be given.
•The work must be redone in a timely fashion under conditions that will not allow plagiarism or cheating (i.e., closely supervised).
•The matter will be referred to administrators for a determination of consequences.
Attendance Policy:Instructors are required to maintain attendance records and to report absences via the online attendance reporting system.
Park University 2009-2010 Undergraduate Catalog Page 95From the University catalog: "Instructors are required to maintain attendance records and report absences via the online attendance reporting system.
1. The instructor may excuse absences for valid reasons, but missed work must be made up within the semester/term of enrollment.
2. Work missed through unexcused absences must also be made up within the semester/term of enrollment, but unexcused absences may carry further penalties.
3. In the event of two consecutive weeks of unexcused absences in a semester/term of enrollment, the student will be administratively withdrawn, resulting in a grade of "F".
4. A "Contract for Incomplete" will not be issued to a student who has unexcused or excessive absences recorded for a course.
5. Students receiving Military Tuition Assistance (TA) or Veterans Administration (VA) educational benefits must not exceed three unexcused absences in the semester/term of enrollment. Excessive absences will be reported to the appropriate agency and may result in a monetary penalty to the student.
6. Reports of a 'F' grade (attendance or academic) resulting from excessive absence for those students who are receiving financial assistance from agencies not mentioned in item 5 above will be reported to the appropriate agency."
From the course instructor: More importantly even than all of the above, your attendance is required because it is essential to your learning. Try not to miss even a single day. We will cover much material, plus, many activities involve cooperative work and teacher demonstrations that can never really be replaced. Shoot for perfect attendance, and do what it takes to make that happen.
Because I believe attendance is an important component of the course, but also because I know that humans and their lives are not always perfect, I do have an attendance policy of my own for this class. Here it is:
1. One absence will be excused, no questions asked. Do not use this if you can avoid it. Save it for those unexpected things that come up.
2. A second absence will be excused for any of the following reasons:
•Minor illness
•Child care problems
•Car trouble, other transportation problems
•Unavoidable doctor/dentist appointments (try hard to schedule otherwise)
•Other cases at the instructor's discretion
If you have a third absence not related to the "unconditional" excuses below, your course grade will be reduced by one letter. If you have three more, the grade will be reduced by two letters, and so on. Passing the class implies, at the very least, that you had the contact hours.
3. The following absences will be excused unconditionally (documentation needed):
•Your hospitalization
•Serious illness of a close family member
•Natural disasters, fires, etc.
•Jury duty
•Military call-up (unexpected)
•Death in the family
•Athletic events for Park athletes on the team
•Professional education conferences (must clear in advance with instructor)
NOTICE TO ATHLETES: I must have personal notification from you, face-to-face, in advance of absences due to athletic events. No absences for practices will be excused. I will check absences against communications from coaches. Any work that is due on a day you will be gone is due before you go, or you may give it to a fellow student to hand in that day. If it's not in, the late work policy as stated in this syllabus will be followed.
If you do have to be absent, regardless of the reason, you are responsible for making up the work. The instructor will not provide notes or tutorials for missed class meetings except for the most unusual sorts of circumstances. The best strategy is to find a few classmates you can trust early in the semester, exchange phone numbers and e-mails, and make a plan about what to do in case of unavoidable absences. Note: For the two excused absences, any assignments are due immediately (the first class period you are back in class) upon your return. For unexcused absences, the work will be reduced as would any late work (see section below on LATE SUBMISSION OF COURSE MATERIALS as well as specifics under each assignment in the GRADING PLAN section below).
4. The following absences will never be excused:
•"I have to go to work." Don't schedule work during class time! You should also not come late or leave class early for work.
•"We planned a trip/a wedding/an event six months ago." Don't plan that way. If class doesn't take top priority, make plans to take the class another semester.
•"I have to get to another class." Again, don't double-schedule, and allow clearances.
•"My child (or other family member) has an event at school (or elsewhere)." That's what the one "no questions asked" absence is for. Plan ahead and save it for that if you know it's coming. Do not plan on more than one excused absence for events such as these.
•Any absence that will occur repeatedly on a regular basis, no matter what the reason. Do not plan on the instructor excusing repeated absences.
•Anything else that is really avoidable. Always check with the instructor first. Don't assume.
5. Tardiness policy: Tardiness is distracting and disrespectful to the class and to the instructor, and many times important information is given during the first few minutes of class. Promptness is very important for teachers, and is very important to your instructor. Therefore, the following policy will be followed:
•Tardiness will be recorded if you enter the classroom after the instructor has finished taking roll. The instructor will take roll promptly at 8:45, so it is best to be in the classroom at least five minutes early. That means you are in the classroom (not in the halls or in the smoking area). If just your property (e.g., books, coat) is in the classroom but not you, then you are still tardy. Tardiness will be determined based upon the time on the instructor's watch, not students' watches.
•Three tardies will equal one absence, no matter what the reason. The few that are excused should account for the rare occasions when a tardy is unavoidable. Do NOT plan to be tardy on a regular basis. The times courses meet are well publicized in advance, so you should make advance arrangements for family and job responsibilities in such a way that you are not late for class. If you expect those responsibilities to cause tardiness on a regular basis, don't take this course now.
•Since only two absences will be excused, that means that a total of six tardies will lead to a grade reduction of one grade level. If the student also has absences, however, fewer tardies will be excusable. For example, a student could receive a grade reduction if she or he has one absence and four tardies.
•Tardiness also extends to returning from class breaks on time. There will be one ten-minute break around the middle of each class session. Please return in ten minutes or a tardy will be counted.
These measures may seem strict, but dependability and priority setting are important teacher dispositions, and need to be developed by professionals. Attendance is related to professional dispositions, particularly Respect for Others and Willingness to Maintain Engagement.
Disability Guidelines:Park University is committed to meeting the needs of all students that meet the criteria for special assistance. These guidelines are designed to supply directions to students concerning the information necessary to accomplish this goal. It is Park University's policy to comply fully with federal and state law, including Section 504 of the Rehabilitation Act of 1973 and the Americans with Disabilities Act of 1990, regarding students with disabilities. In the case of any inconsistency between these guidelines and federal and/or state law, the provisions of the law will apply. Additional information concerning Park University's policies and procedures related to disability can be found on the Park University web page: http://www.park.edu/disability .
Last Updated:1/5/2010 1:46:24 PM


text:
Things to see and do - Viana do Castelo
Leaving for Madeira
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Tourist attractions
Top searches Portugal and Madeira
Tourist attractions Viana do Castelo
Results 1 to 10 on 10
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1 Miradouro de Santa Luzia
Nature and gardens
Est. da Santa Luzia P - 4900 Viana do Castelo
This viewpoint is actually the hill of Santa Luzia which stands to the north of the town and is topped by a modern basilica (a place of pilgrimage). Accessed either by a 7min cable car journey which at 650m is the nation's longest, or by car along a ..
2 The old district
Architecture, castles and historic districts
Praça da Républica P - 4900 Viana do Castelo
On a random stroll in this partly pedestrianised district you will come across many houses with facades emblazoned with coats of arms and interesting examples of Renaissance and Manueline architecture.
3 Praça da Républica
Architecture, castles and historic districts
Praça da Républica P - 4900 Viana do Castelo
The 16C buildings which surround this square, including the casa dos Sa Sottomayores, make a picturesque urban collection. You will see a fountain, built in 1554, which has several basins; the old town hall of which only the facade has preserved its ..
4 Municipal Museum
Museums and art
Largo São Domingos P - 4900 Viana do Castelo
The Museu Municipal is set in the 18C palace that used to belong to the Barbosa Maciel family. The interior walls are embellished with superb painted azulejos from 1721 and it boasts a remarkable collection of Portuguese ceramics - said to be the lar..
5 Basilica of Santa Luzia
Religious buildings
Est. de Santa Luzia P - 4900 Viana do Castelo
Neo-Byzantine in style, this basilica is preceded by a vast church square and a monumental staircase. The interior, lit by three rose windows, is dominated by domes adorned with frescoes. The upper lantern of the central dome provides a magnificent p..
6 Parish Church
Religious buildings
Largo do Instituto Histórico do Minho P - 4900 Viana do Castelo
Although the construction of this church dates from the 14C and 15C, the two crenellated square towers which sit on either side of the facade are still in the Romanesque style. In the baptistery, you will find a panel in multicoloured sculpted wood f..
7 Rua Cândido dos Reis
Architecture, castles and historic districts
R. Cândido dos Reis P - 4900 Viana do Castelo
This street is flanked by several houses which have preserved their Manueline facades. Notice in particular, the Carreira palace which today houses the town hall offices. Its very attractive Manueline facade is striking in its symmetry. The casa das ..
8 Rua São Pedro
Architecture, castles and historic districts
R. São Pedro P - 4900 Viana do Castelo
This is a street flanked by old houses and especially worthy of note is the Manueline window of the casa dos Costa Barros.
9 Church of São Domingos
Religious buildings
L.go de São Domingos P - 4900 Viana do Castelo
Built in 1576, it has a granite Renaissance facade in the shape of a retable. You can see the tomb of the founder of the church of Bartolomeu dos Martires, Archbishop of Braga.
10 Church of Nossa Senhora da Agonia
Religious buildings
R. de Monserrate P - 4900 Viana do Castelo
This charming chapel Baroque is well known for pilgrimage that takes place on the 15 August.

subset: commoncrawl


text:
Extension > Food > Food Safety > Preserving and Preparing > Fruits > Handling Fresh Fruits and Vegetables Safely
Handling Fresh Fruits and Vegetables Safely
Fresh produce may become contaminated with bacteria, viruses, and parasites at any point during its farm to table journey.
Wash All Fresh Produce Under Running, Drinking Water Before Peeling, Cutting or Eating
- Wash hands with hot soapy water, for at least 20 seconds, before and after handling fresh produce, or raw meat, poultry, or seafood, as well as after using the bathroom, changing diapers, or handling pets.
- Wash all fresh produce under running, drinking water before peeling, cutting or eating. The wash water temperature should be 10° F warmer than the temperature of any produce being washed to prevent thermal shock and absorption of water and bacteria to the inside cells.
- Scrubbing with a clean brush is only recommended for produce with a tough rind or peel (i.e. carrots, potatoes, cucumbers, and squash) that will not be bruised or scratched by the brush bristles.
- Throw away outer leaves of leafy vegetable like lettuces, cabbage before washing.
- Do not wash fruits and vegetables with bleach or soaps – it can absorb into the product and change the taste.
- Wax coatings are used on some produce to keep in the moisture and keep good quality. These are safe to eat or you can cut it off.
What about pesticide residues left on fruits and vegetables?
Keep in mind that the health benefits of eating fruit and vegetables outweigh the possible presence of pesticides. The FDA, USDA and EPA strictly control pesticides. If there is any pesticide residue on the fruit or vegetable, it should be under the regulations and safe to eat. A lot of the pesticides are water-soluble and will come off with water, which is another reason to wash fruit and vegetables before you eat them.
Safe Preparation
- Wash cutting boards, dishes, utensils, and counter tops with hot soapy water and sanitize after cutting fresh produce, or raw meat, poultry, or seafood. Sanitize after use with a solution of 1 teaspoon of chlorine bleach in 1 quart of water.
- Don't cross-contaminate. Use clean cutting boards and utensils when handling fresh produce. If possible, use one clean cutting board for fresh produce and a separate one for raw meat, poultry, and seafood.
Safe Storage
- Refrigerate fresh produce within two hours of peeling or cutting. Throw away leftover cut produce if left at room temperature for more than two hours.
Soaking Produce is Not RecommendedThe Food and Drug Administration does not recommend soaking produce or storing it in standing water. Instead:
- Place fragile items and soft fruits like strawberries, raspberries, blackberries, and blueberries can be washed using a sink sprayer. Place fruit in a colander and gently turn the fruit as you spray with water.
- If you do not have a sink sprayer, place fragile fruit in a colander and put into a stock pot of warm water. Lift the basket in and out of the water several times. Change the water and repeat until the water remains clear. Do this quickly because if the fruit absorbs too much water, it will lose flavor, texture and its aroma. Be sure to rinse fruit with fresh water after washing it.
Is it necessary to dry produce after washing it?
Drying produce with a paper towel may further reduce bacteria that may be present. Drying is not necessary for items that will be cooked. Greens like spinach, chard, kale and collards should be cooked wet as drying them may affect the quality of the cooked product.
Cleaning Products for Produce: To use or not to use that is the question?
- Fruit and vegetables are very absorbent and will absorb any detergent or bleach used to wash them. Detergent was not made to be eaten and is not approved for use on food by the Food and Drug Administration.
- While chlorine bleach is used in commercial produce processing facilities, it is not recommended for home or foodservice use. If too much is used, it can be toxic (poisonous). It can also be absorbed into the product and change the flavor.
- Sprays or solutions available to clean produce do remove dirt, but do not remove unwanted bacteria. If a spray or product says it is antibacterial, the Environmental Protection Agency considers this a pesticide. None of these vegetable products are registered with EPA.
What about washing produce with baking soda, vinegar or produce washes?
- Baking soda contains sodium which may affect the flavor of the produce. The strength of baking soda and water mixtures affects its cleaning ability.
- Vinegar may leave an aftertaste.
- Many produce washes include surfactants, which are cleaning agents. They work by attaching to oil and dirt and loosen water-resistant substances like wax. To use on food they need to be registered with the EPA (Environmental Protection Agency). For the average consumer research has shown that washing produce with tap water is just as effective as washing produce with any produce wash solutions that are on the market.
Do you need to wash leafy greens sealed in bags?
- Leafy green salads in sealed bags labeled "washed", "triple washed", or "ready-to-eat" do not need additional washing at the time of use unless specially directed on the label.
- Additional washing of ready-to-eat leafy green salads is not likely to increase safety. The risk of cross-contamination from you and food contact surfaces used during washing outweigh any safety benefits.
Reviewed by Deb Botzek 2015


text:
August 28, 2001
Mary Ann Travis
Michael DeMocker
The thumping, swinging dirge of a New Orleans jazz funeral, mid-weekday morning on St. Bernard Avenue, is a siren call to civil rights attorney Mary Howell (L 73). Milton Batiste Jr., a 66-year-old jazz musician, educator and member of a New Orleans musical family that has produced several prodigious talents, has died. The music draws Howell to the streets to await the procession. She must pay her respects.
A few blocks from Corpus Christi Church, Howell joins the solemn parade behind the 50 or more black-clad musicians slowly and respectfully playing "Down by the Riverside" and "Just A Closer Walk with Thee." She positions herself in the lineup behind a young African-American man dressed in a red T-shirt with a message on it--"No hatred against me shall ever prosper"--and in front of the mule-drawn wagon carrying the casket.
The New Orleans songs that beckon Howell are in no way false or delusional. They are reality-based in a culture and among people who have witnessed their full share of sorrow and then passed down these grieving rituals to new generations. On the sidewalk in front of the church, Howell greets Morris Reed.
Howell knew Reed in the early 1980s when, as an assistant United States attorney, he presented the case to a grand jury that indicted white police officers in the infamous and racially charged Algiers incident.
The federal district court dismissed the indictments, saying that Reed, a black man, had made an improper and too-impassioned plea to indict the officers charged with violating the civil rights of black suspects and informants in the death of a white policeman. Later, this decision was reversed, and the case proceeded with Howell as attorney for the plaintiffs in the Algiers civil lawsuit.
The music is authentic, and so is Howell's passion for the city of New Orleans. "I love being here," she says. "I love the culture and the people. The musicians are amazing to me. Were very lucky to live in a place where these things exist. These are treasures."
While not "from here" (Howell is a Missouri native), she is no bystander or onlooker to the grit that is as much a part of New Orleans as its melodious tunes. Howell is in the fray. Throughout her professional life, she has passionately and persistently fought for civil rights, most valiantly for the rights of African Americans brutalized or killed by police. "I never liked bullies," she says. "I would always take up for the underdog."
Circa 1962, when she read Black Like Me by John Howard Griffin at age 13, Howell was appalled at reading about the experience of being a black person in the segregated South. "It was so unfair and so unjust," she says. In her small southeastern Missouri hometown, her sixth-grade class had been integrated, but she can recall the segregated movie theater of her childhood. "I think what happened to me is that I really believed all the things they taught me when I was growing up about how Jesus loves all the children in the world."
She also believed school lessons about democracy and equality but saw the contradiction between theory and reality. Howell went to Louisiana State University as a history major and became involved in women's rights issues and the anti-Vietnam War movement.
At an antiwar rally, a speaker, Ben Smith (L 51), "clicked" with Howell. Here was a white man who had aligned himself with the civil rights movement and, in 1963, had been arrested and charged with sedition for advocating integration in Louisiana. He had devoted his career to using the law as an agent for social change.
"It seemed to me he was someone who had been able to integrate what his beliefs were with what his occupation and his work were. I thought then--and I think now--that it is so very rare. But you can do it." Charismatic, courageous and powerful in his convictions, Smith influenced Howell to transfer to Tulane Law School and move to New Orleans in 1971. "I was very fortunate to intersect with him," says Howell.
And, fittingly, this year the Louisiana chapter of the American Civil Liberties Union awarded Howell its highest honor, the Benjamin E. Smith Civil Liberties Award, named for her early mentor.
"The most important thing Ben ever taught me was that if you want to do this kind of law, you have to be better than anybody else in the courtroom," Howell says. "Not that you're smarter. Not that you're more brilliant. You just have to work harder, be better prepared, know the case better, because when you go in there, everything is against you. You are challenging the way things are. You are challenging the status quo. People are comfortable with the way things are. There's a certain inertia that's built into all of this. The law is a very conservative instrument, and to change attitudes can be a painful and difficult process."
While Smith offered Howell practical experience (she was a student clerk in his law firm), Tulane law professor Robert Force provided her with grounding in civil rights law.
"Force asked the kind of questions that I was asking," says Howell. "He challenged the students. That was a time when you could actually have meaningful discussions about the expansion of civil rights. It was a time of creative experimentation and ideas. Bob Force was an important part of that. "We don't have those discussions anymore. It's all trench warfare at this point."
In the trenches, Howell has seen many casualties, including Smith's death in 1976 at age 49. Many civil rights lawyers in the 1960s and 70s paid a terrible price in terms of their personal lives, health and happiness, Howell says. "There were real problems with alcoholism and depression. I wanted to find out if there was a way to do this work and to survive it."
Howell left New Orleans after graduating from law school and went to Seattle, where she began her work as an advocate for families of the victims of police overzealousness.
Then, in 1977, she returned to New Orleans to open a private law firm. When she came back, Howell began her association with French Quarter street musicians, acting as a go-between among the musicians on Jackson Square, French Quarter residents and city politicians.
It's a role she continues today, helping to work out compromises and get city ordinances passed that allow the musicians to play, the neighbors to have some peace and quiet, and worshippers at St. Louis Cathedral to attend mass undistracted by too-loud music.
"The street musician cases have been dear to my heart," says Howell. "I tell this to law students all the time: Whatever it is in your life that keeps you centered, keeps you sane, that reminds you of why you are on this earth, don't give that up."
Besides speaking up for the rights of musicians, Howell became a performer herself as a bassist in the Evening Star String Band, an old-time country and bluegrass group. Howell also co-founded and was chief organizer of the Piney Woods Opry, a traditional country and folk show at which she performed many Saturday nights during the 1990s.
The Opry, located in Abita Springs on the north shore of Lake Pontchartrain, flourished in a venue just about as far removed from urban-violence issues as one can get in Louisiana. "I would tell people for years that doing this stuff is non-alcoholic and cheaper than therapy," Howell says. "It's this whole other world I could go to."
It was in November 1980 that Mary Howell had her baptism by fire. Racial tension had been building within the New Orleans police department and between the police and the community. Howell had already represented the first officer in the departments history who reported his partner for beating a civilian. Randolph Thomas, a black officer, had been fired after complaining about his black partners actions.
Under a decision in the federal Fifth Circuit Court, Thomas job was reinstated and he got a punitive judgment award against the police chief for not protecting the officer when he came forward with the charges. When a white police officer, Gregory Neupert, was found dead from a gunshot near the Fischer housing project in Algiers on the Westbank of New Orleans, conflict in the community was at the boiling point. And boil it did.
"Within days people were calling in about people being harassed by the police, people being thrown up against the wall, young men being marched through the project with their hands up like prisoners of war in massive roundups," Howell says.
The Algiers incident culminated a week after Neuperts death. Police had tortured two young black men, Johnny Brownlee and Robert Davis, at a swamp in a mock execution to force them to sign affidavits accusing two other black men, James Billy and Reginald Miles, of killing Neupert. On the basis of these affidavits, police stormed the homes of Billy and Miles, killing both men and Sherry Singleton, Miles' girlfriend. Singleton, who apparently tried to hide at the time of the raids, was found nude in a bathtub.
"We got the call [from Singletons family] around noon that their sister had been killed," Howell recalls. "We were there by 3 o'clock that afternoon. We walked in. There had been no effort to secure the crime scene. The place was wide open. We were digging bullets out of the walls. There was bloody clothing all over the place. There was a whole series of things that we were totally unprepared for how to handle."
Howell served as attorney for Brownlee and Davis and for Herbert Singleton, Sherry's brother, who also had been beaten by police in an effort to get information. She also represented the interests of Cornell, Sherry Singleton's 4-year-old son, who witnessed the killings. In all, there were 16 plaintiffs in the Algiers case. "Those people were traumatized for life," says Howell.
After six years of legal work, a significant settlement from the City of New Orleans was awarded in these cases, and three officers went to prison for abusing Algiers residents during their probe. But no officers were indicted in the deaths of Billy, Miles and Singleton. The money from the settlement, however, allowed Howell to keep going, to survive.
And she hasn't given up. "I always have hope," says Howell. "I believe in redemption." Even as she recounts the Adolph Archie case--one of New Orleans "worst atrocities," Howell says, where Archie, accused of killing a white police officer, was beaten to death by police within hours of his 1990 arrest--she remains optimistic.
While she's certain that "bad people do bad things," Howell has come to understand that "good people do bad things, too." And she believes in accountability. Howell continues to take on cases of whistleblowers who come forward to expose wrongdoing. She's taken several cases to stop hogtying, a police practice in which suspects hands and feet are bound together in back. Hogtying can cause positional asphyxiation, resulting in death.
Howell has worked with police to figure out a simple alternative to hogtying that involves hobbling suspects hands and feet in front rather than in back. She's representing the family of Kim Groves, a black woman who was murdered by a hit man at the behest of black policeman Len Davis within hours of Groves filing a brutality complaint against Davis in 1994. She has brought suit against the Orleans Parish sheriffs office to stop strip-searches for minor offenses. She has a case against the police for arresting a young African-American male because they said he was trespassing when she says all he was doing was visiting his grandmother in a housing project.
Howell is adamant in her defense: "You have a right to be on a public street. You can't trespass on a public street." A concern that Howell has now is finding other people who'll come up behind her--other, younger lawyers who'll pick up the fight. "I want fresh blood," she says. "I want their energy, ideas and commitment. I want people who want to make a difference. After 25 or 30 years of doing this, you would hope it would be better, but it's still not good."
"Free Gary Tyler" bumper stickers used to be seen everywhere in New Orleans. You don't see them so much any more, but Gary Tyler still isn't free. He is doing time at the Louisiana State Penitentiary at Angola, serving a life sentence without parole for the shooting death of Timothy Weber in a 1974 incident when Tyler was 16 and Weber, 13.
When the incident occurred, Tyler was on a bus filled with black students in front of a St. Charles Parish, La., school in a racially polarized community in turmoil over school desegregation. A crowd of white students and adults surrounded the bus. Weber and his mother were nearby. A shot was fired, and Weber was killed. Tyler was accused of the crime and later convicted.
Falsely accused and unjustly convicted, says Howell, who has been on the case since the early 1980s. "It's a situation that cries out for a remedy," says Howell. "The final ruling of the courts was that Gary's trial was fundamentally unfair. He was denied the presumption of innocence." The gun allegedly used in the shooting has disappeared. Witnesses, saying police threatened them, have recanted their early testimony naming Tyler as the killer.
Still, no Louisiana governor has pardoned Tyler, who once was the youngest person in the United States on death row. But Howell continues to visit Tyler in Angola, and he calls her once a week to "cheer" her up. He has overcome bitterness, Howell says, because he didn't want to lose his soul.
"I've spent a lot of time in places where there's a lot of sorrow--at funerals, in prisons," Howell says. And she finds herself thinking often about Mrs. Weber. "The pain of that family is enormous. The loss of a child is horrible. It's a terrible thing. You never recover from it."
In the past few years, Howell has come to know the sorrow of loss firsthand. She is not only an advocate for young African Americans in the courtroom; she has brought kids to stay in her home. Howell and her longtime companion, Ron Ridenhour, the Vietnam veteran and journalist who in 1969 first disclosed the My Lai massacre of Vietnamese civilians by U.S. Army troops, befriended Dominic Johnson, one "remarkable" young man with artistic and culinary talent.
Johnson's father had been murdered, his mother was unable to care for him, and hed been in foster care much of his life. Howell met Johnson when he was 9. "We spent a lot of time with him. He went on vacations with us. He became an integral part of our family," she says.
But Johnson was shot and killed on Father's Day 2000 after leaving a party in an upscale New Orleans East neighborhood. He was 18 years old. At the time, Howell was still coping with the loss of Ridenhour, who had died at 52 of a heart attack on Mother's Day 1998, after playing handball.
"I try to figure out what I can learn from all this," says Howell. "These experiences have given me deeper insight into human suffering in a personal way. "I've had a privileged life. I've had a fortunate life, certainly compared to my clients, certainly compared to what I see in peoples lives who are just struggling to survive in the most basic way."
She says she's experienced suffering vicariously through her clients. "But now it's an out-of-body experience to be sitting in the courtroom, not as a lawyer but in the victims row with other family members and listening to this stuff in a whole new way." Sorrow, somehow, has to make you a stronger, better person, Howell says.
As the pallbearers at the Batiste funeral solemnly carry the coffin into the church, the musicians keep up their poignant accompaniment. Back in the crowd, Howell spies a boy about 3 years old, carrying a trombone. She hugs him and parts the crowd to let him make his way to the front row so he can join the older musicians. He blows a few sweet notes. Reverently, Howell says, "That's the future." The city and its music go on.
Mary Ann Travis is managing editor of Tulanian and a senior editor in the Tulane publications office. This article originally appeared in the Summer 2001 issue of Tulanian.
Tulane University, New Orleans, LA 70118 504-865-5000 email@example.com


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STANFORD, Calif. -- Stanford teammates Maya DiRado and Felicia Lee, are the five nominees for the Honda Sports Award for swimming & diving as announced by Chris Voelz, Executive Director of THE Collegiate Women Sports Awards (CWSA) today. California's Missy Franklin, Breeja Larson of Texas A&M and Georgia's Brittany MacLean are also nominees.
The Honda Sports Award is presented annually by the CWSA to the top women athletes in 12 NCAA-sanctioned sports and signifies "the best of the best in collegiate athletics." The winner of the sport award becomes a finalist for the Collegiate Woman Athlete of the Year and the prestigious 2014 Honda Cup.
The nominees were chosen by a panel of expert coaches from the sport of swimming & diving.
DiRado was named the 2014 Pac-12 Women's Swimmer of the Year and garnered six All-America honors a the 2014 NCAA Championship. The senior from Santa Rosa, Calif., won NCAA titles in the 200 and 400 individual medleys and garnered two more as a member of the 400 medley and 400 free relay teams. She finished her career with 21 All-America honors.
Lee earned seven All-America honors at the 2014 NCAA championship while capturing five NCAA titles. She finished first in the 100 fly and with relay teams in the 200 and 400 free and the 200 and 400 medley. The senior from Wayne, N.J., was a two-time Pac-12 Swimmer of the Month and finished her career overall with 19 All-America accolades.
The Honda Sports award winner for swimming & diving will be announced next week after voting by administrators from over 1,000 NCAA member schools. Each NCAA member institution has a vote.


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Grammar Girl's Quick and Dirty Tips for Better Writing (Quick & Dirty…
by Mignon Fogarty
No current Talk conversations about this book.
If you write for business or pleasure this is an excellent resource. It's not a style guide (there are already gazillions of those) but it does tackle 24 of the most common grammar 'issues' by offering easy tips and memory tricks to help you remember grammar rules. The author also produces a weekly podcast on the topic and offers an email mailing list with even more tips for better writing.
First, I have to say that I love Mignon Fogarty, and I think she's a genius for marketing a "how-to-improve-your-writing" book with a title that includes the words "quick and dirty." People are looking for a quick fix (hence the "quick"), and any time you can convince people that they're getting away with something (the "dirty"), you are likely to attract readers. Forgarty focuses on grammar issues, but in the context of writing. Issues are addressed and explained one at a time, allowing the audience to select more pertinent and helpful chapters.
This is the one book I recommend to my high school seniors at the end of their illustrious career. I tell them everyone needs to know how to write well, and I then promote the book. They're usually sold when they hear "quick and dirty." I loaned my copy of the book to friends who are trying to get through a writing class or requirement. I do keep a copy in my classroom, but for students, I'm more likely to recommend the student edition of the text. This makes a great resource for budding and struggling writers.
My life would be less frustrating if everyone read this book.
I can be a little (annoyingly) pedantic when it comes to grammar and usage. I'm not concerned about dangling prepositions or split infinitives, but my god, it gets to me when people misuse "affect" and "effect," comma splice, or think that "e.g." and "i.e." are interchangeable. And don't even get me started on "your" and "you're."
Although I expected this to be kind of dry, I found myself laughing out loud. I thought I would know everything in it, but I learned quite a bit (like about misplaced modifiers). Did you know that a bad apostrophe (like "banana's for sale") is called the greengrocer's apostrophe? Have you heard the term "CamelCase" before?
Fogarty made it clear what the traditional rules were, what is currently acceptable even if it's not traditional, and what varies from style guide to style guide. There's even a little bit of linguistic history thrown in as a bonus.
I'm off to give this book to all of my coworkers. I hope that won't offend them.
If you're like me and have trouble figuring out where commas go and which words to use when, its really nice to have a book handy that can give you clear cut examples. And I've looked at lot of them...and frankly half of them put me to sleep. This one though is a quick, easy read and a handy reference tool to have around. Mignon puts things in easy to understand format and uses some creative/humorous examples to illustrate what to use when. Its now a permanent part of my collection and sitting in easy reach for when I have a question come up on the tricky topic of grammar (actually...I think I need a second copy just to keep at work.)
Interesting and great fun. This goes with Grammar Girl's podcasts about usage and the English language.
References to this work on external resources.
Wikipedia in English (8)
Amazon.com Amazon.com Review (ISBN 0805088318, Paperback)Are you a fool for mnemonics? If so, you'll fall head over nubucks for Mignon Fogarty--a.k.a. the Grammar Girl--and her handy new audio guide to writing and speaking well. It's chock-full of smart little anecdotes and memory tricks for felling the most common grammatical foes (who can ever remember the difference between "nauseous" and "nauseated" anyway?) and at just an hour long it's the perfect turn-to resource for students and professionals alike. I didn't try too hard to stump Grammar Girl in our Q&A, but with her eagle eyes she spotted my grammatical (typographical?) misstep without missing a beat! --Anne Bartholomew
Questions for the Grammar Girl
Amazon.com: Now that we communicate so often via e-mail and text messaging, do you think that people have become more desensitized to poor grammar, or in your experience is awareness more heightened as a result?
Grammar Girl: The average person seems to have become more desensitized to poor grammar, but language lovers seem to be tormented by the flood of mutilated e-mail and text messages—at least a lot of the people I hear from seem to be tormented. It might be a self-selecting group. To use one of my father's favorite phrases, language lovers seem to feel as though they are "being pecked to death by a duck."
Amazon.com: Your weekly podcast helps millions of listeners use good grammar and write more effectively. Do you think there is more value in learning by listening, as compared to reading and practical exercise?
Grammar Girl: Perhaps it's ironic, but I have a hard time learning by just listening. I need to read things, which is one of the reasons why I provide full transcripts for all my audio podcasts on the Grammar Girl Web site. People learn in different ways, so those who want to listen can listen, and those who want to read can read.In my experience, nothing beats practical exercise. I often have to look up grammar rules over and over again because I can't remember them, but once I've written a show about a rule, I always remember it.
Amazon.com: Have the grammar mnemonics you've developed come easily to you? Which ones were the toughest to capture in an easy-to-remember tip?
Grammar Girl: Some mnemonics come easily and some don't. I had a hard time coming up with a way for people to remember the difference between "its" and "it's," and I ended up using a really complicated story about a dream I had involving the eBay "it" advertising campaign.I think the best mnemonics are the simple ones. Remembering that you should say "different from" instead of "different than" because "different" has two f's and "from" starts with an f isn't awfully creative, but it's easy to remember.
Amazon.com: Is there a grammar rule that even Grammar Girl finds it hard to remember?
Grammar Girl: There are so many that it's hard to pick just one! I have a notoriously terrible memory, which is why I'm always making up mnemonics.
Often I find that when I can't remember something it's because it is a style issue instead of a hard-and-fast rule, so different people do it differently and there is no "right" answer. For example, I always have to look up the rules about whether the verb should be singular or plural after collective nouns like "team" and phrases like "the couple" and "one of the people who."
But when I look up the rule for collective nouns, I am reminded that the "rule" is that you have to just decide whether your collective noun has a sense of being a group or a sense of being many individuals. (And then there are also differences between British and American English.)
It's even worse with a phrase like "one of the people who": experts are split over whether the verb should be singular or plural. There really isn't an answer; you just have to pick a side. I have a hard time making a mnemonic for something like that!
Amazon.com: It used to be that proper grammar and thoughtful wording were the defining factors of a good piece of writing. Increasingly, however, writing is prized for the speed with which it is produced and not necessarily the craft. How can conscientious writers find the happy medium between form and efficiency?
Grammar Girl: What, didn't I answer your questions fast enough?
But seriously, I don't think I've come in contact with the people who value speed. As a Web editor, I certainly wasn't happy when people turned in bad writing, even if they turned it in early. And when I was writing magazine articles or corporate materials for a living I never felt rushed (except when I waited too long to get started).
The places where I do feel a sense of urgency are in e-mail and messaging; people seem to expect immediate responses. But writing a high-quality message doesn't take much more time than writing a careless message; it just takes more focus.
Amazon.com: Bonus question: I wrote all these questions with no more than a cursory grammar and spelling check. How did I do?
Grammar Girl: I found only one major error, and I changed the text to bold. It looked like a typo rather than an error in your understanding of the rules. Good job!
(retrieved from Amazon Thu, 12 Mar 2015 17:58:33 -0400)
The founder of a popular weekly podcast shares comprehensive explanations for troublesome grammar rules in a resource complemented by memory tricks, word-choice guidelines, and e-mail tips.
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Our newly blended family needs lots of prayer. My husband won custody. His ex was found to have mental issues by the psychologist in their divorce. Her new husband has inappropriately touched at least one of the boys but charges were dropped after an investigation came out as 'unfounded'. The boys are currently in therapy. She is constantly starting arguments then tells the 3 boys that it's their father's fault. She bad-mouths me to the boys all the time. And now has filed a 2nd false report of child abuse. My husband has health issues related to stress and can't take much more. I honestly think she is trying to break us up or drive him to an early grave. The children wouldn't be where they are today without their father. They have come so far since he has motivated them and gotten them professional medical help. And I don't want to give up on my newly formed family. Please, God, help us!
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Pray for my 18 year old daughter. She is at rock bottom. I pray now she will look up and seek Jesus, and ask Him what he is trying to teach her through all this. Please pray God's safety and protection on her mind, body and soul, and that she will emerge from this a truly changed person ready to live for Christ and seek his direction for her life and find new Godly influences that will point her toward the Lord and what he has for her.
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Light House is proud to present Crispin Hellion Glover's Big Slide Show along with a screening of the second part of the 'It' trilogy: It is fine! EVERYTHING IS FINE.
Crispin Hellion Glover performs a one hour dramatic narration of eight different profusely illustrated books. The images from the books are projected behind Mr. Glover during his performance, plus a screening of feature film It is fine! EVERYTHING IS FINE, followed by a question and answer session with Crispin Hellion Glover.
There will be a book signing after the performance.
Tickets cost: £15 (Over 18s only)
For more info visit http://crispinglover.com
'Wildly impassioned and macabrely fascinating.' Laura Kern, New York Times
'Four stars! As surprising for its visual boldness – as it is for its sincerity.' Ben Kenigsberg, Time Out
Light House Media Centre, The Chubb Buildings, Fryer Street, Wolverhampton, WV1 1HT e: email@example.com t: 01902 716 055 | Web design by Substrakt


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Movie: 'The Omega Man'
Release Date: August 1, 1971
How It Got Made: These days, it's usually Will Smith who gets called upon to save civilization. Forty years ago, it was Charlton Heston. When he wasn't busy rebelling against those damn dirty apes or discovering what corporations were really trying to feed us, he was fighting off infected albino vampire zombies in 'The Omega Man,' a cult classic released 40 years ago this week that holds a special place in the hearts of cheese-loving sci-fi fans, including Tim Burton and Smith himself (who remade it as 'I Am Legend'). Heston reportedly came up with the idea to film Richard Matheson's 1954 novel 'I Am Legend' after reading it on a plane, unaware that it had already been filmed in 1964, as an Italian-made movie called 'The Last Man on Earth,' starring Vincent Price. In the screenplay developed for Heston's version, the plague that has apparently wiped out all of humanity (save the inventor of an experimental vaccine who used the serum on himself) doesn't come from mosquito-borne bacteria but from biochemical warfare between China and the Soviet Union. As in Matheson's novel and the previous film, Heston's last uninfected man finds that he's not alone; soon he's defending himself every night against nocturnal, plague-infested mutants who see him as the infection.
A new twist comes in the form of another group of feral humans, young and still unzombiefied, that Heston's Robert Neville discovers. They're infected but not yet turned. They rescue him when he is captured by the mutants and is condemned to death by their neo-Luddite leader, Matthias (Anthony Zerbe). Neville struggles to recreate his vaccine in order to save the survivors, and he even falls in love with their leader, Lisa (Rosalind Cash). With a new vaccine made from his own antibodies, Neville is ready, like Christ, to redeem humanity with his own blood sacrifice, but a final war remains to be fought between the zombies and the survivors.
The movie addressed many issues of the day, in pop form. There was the Cold War dread of a global conflict that would wipe out civilization, homegrown fears of urban crime by roving nocturnal gangs, echoes of the Civil Rights and Black Power movements (the survivors, led by Cash's Lisa, are a largely African-American group), worries that science and technology were progressing faster than human moral development (a standard sci-fi trope, but here voiced by the villainous mutants, who blame chemists like Neville for their predicament), and even apprehension over a counterculture turned violent (the mutants call themselves 'The Family,' with the nihilistic demagogue Matthias evoking Charles Manson).
Directing the movie was TV veteran Boris Sagal. To serve as a set for his desolate postapocalyptic urban landscape, Sagal's location scouts discovered they needed look no further than downtown Los Angeles, whose shopping district was all but abandoned on weekends.
How It Was Received: The film received mixed reviews. It cemented Heston's fondness, however, for these sort of last-sane-man-on-Earth roles. He'd succeeded not long before, with 'Planet of the Apes' (1968). Two years after 'The Omega Man,' he'd go back to the well again for 'Soylent Green.'
One thing not much remarked upon: the interracial romance between Heston and Cash's characters. Such couples were uncommon on screen in 1971; indeed, they still are today.
Long-Term Impact: The film boosted (or at least did no harm to) Heston's career, which remained fruitful for another three decades. Zerbe, too, remained a busy character actor, most famously in another postapocalyptic sci-fi saga, as a councilor of Zion in the 'Matrix' trilogy. Cash, for whom 'Omega Man' was only her second film, went on to play feisty women in a slew of TV guest parts.
'Omega Man' launched two careers of actors who made their film debuts as youngsters in the movie. Brian Tochi went on to do character parts, most famously in 'Revenge of the Nerds,' and as a voiceover actor, best known for the role of Leonardo in the 'Teenage Mutant Ninja Turtles' movies. Eric Laneuville, who played Lisa's little brother Richie (the first guinea pig for the new vaccine), went on to be a series regular on 'St. Elsewhere' and became a prolific TV director.
Sagal went back to directing television, which he did for another decade, before dying in a 'Twilight Zone'-type helicopter accident on a set. These days, he's better known for being the father of 'Married... With Children' and 'Futurama' star Katey Sagal.
'The Omega Man' made an impact in other ways, too. Sagal's eerily empty cityscape vistas proved influential on other filmmakers; similar scenes appeared in nightmare sequences in Taylor Hackford's 'Devil's Advocate' and Cameron Crowe's 'Vanilla Sky.' Other films used similar zombie/infection/end-of-the-world plots, notably 2002's '28 Days Later,' in which the deserted city is London.
Tim Burton cites 'Omega Man' as one of his favorite films, one he'll stop and watch whenever it comes on TV. He says he especially likes how Heston drops a mordant quip every time he gets violent (a habit since adopted by Arnold Schwarzenegger, Will Smith, and countless other action heroes). Burton got to repay the favor when he remade 'Planet of the Apes' in 2001 and cast Heston in a cameo, where he got to repeat one of his famous lines in a new context.
In 1994, Warner Bros. began planning a remake. It went through 13 years of turnaround, involving numerous script rewrites, directors (including Ridley Scott and Guillermo del Toro) and stars (Tom Cruise, Michael Douglas, Mel Gibson, Schwarzenegger, Nicolas Cage), before finally ending up with director Francis Lawrence and star Smith. Their 'I Am Legend,' shot on location in New York, was released in 2007 and became one of the year's biggest hits.
How It Plays Today: The technology and Nixon-era paranoia, along with Sagal's '70s-TV-cop-show-style direction, date 'The Omega Man' in an amusing but not fatal way. Heston's old-school charisma and an evergreen premise overcome the cheese factor to keep 'Omega Man' scary and relevant.
Follow Gary Susman on Twitter @garysusman.
categories Columns, This Week In Movies


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