I teach high school and I don’t think PBIS or “The First Days of School by (the) Wong(s) are applicable or relevant to that grade level.
*elements* of PBIS work in high school, and if used well at the elementary and middle school create a student able to function appropriately but independently at high school. That much micromanaging at high school is tedious and relates in no way in the real world.
I’d welcome to be proven wrong, but my (high) school tried PBIS and it crashed and burned.
I feel the exact same.
That book was the text for my Classroom Management class back in ‘05 when I was in college. When my admins tried to show his DVDs and use his practices in an HS faculty meeting, it was difficult to even give the semblance of engagement.
I’m not going to silently count to 5 on my uplifted hand to get a Freshmen English class to “quiet down”. I should be able to say, “OK, class, let’s come back together and share what you’ve discussed as a whole.” It should take less than a minute for a class of 24 or less (my experience) to come back and focus. If they can’t or won’t quickly transition, perhaps the class is not challenging or engaging enough to begin with, & that has nothing to do with “how to hand out worksheets” (one of the more ridiculous segments that I remember).
I do agree that a teacher should set the tone of his or her class from the very beginning of the year, but this idea is not owned by the Wongs, but by all educators. My English Ed professor used to tell us, “Don’t smile until after Christmas.” Now, I’ve never adopted such a style, but I have found being firm and consistent is the best initial (& constant) attitude. When you are understanding, but firm, students quickly learn what to expect from you. They also realize the standards of your class and how to meet or exceed your objectives.
David Edelstein reviews The Grand Budapest Hotel—the latest from Wes Anderson:
Composition and color isn’t incidental—it’s the whole deal. The mountainside Grand Budapest is a miniature—a dollhouse—reached by model train. Inside, it expands. It’s immense. The choreography of staff and guests is busy and militaristic in its precision. The colors are intense: pink walls, crimson carpets, staff waistcoats of electric magenta. Anderson can make you dream of a design for living on a higher, more beautiful plane.
This fantastic and moving tribute to Philip Seymour Hoffman by Caleb Slain features over 40 of Hoffman’s films.
At 17:22 the video uses a clip from a 2010 interview with Ross Reynolds of NPR affiliate KUOW in which Hoffman says:
People need each other and that actual interaction or relationship or friendship or romantic love affair, all the different ways relationships take form—is one of the hardest things we do in our lives. It’s one of the biggest risks we’ll take in our lives… If you say ‘yes’ to someone, ‘I will,’ [you] are also saying, ‘I will be hurt by you.’ Because you can’t have relationships if you’re not willing to be disappointed and hurt by that person. It’s almost impossible. And you have to be able to enter the world and realize that the richness of life is all the good and joy and thrill of it, but also all the disappointment, hurt, and heartache of it—and that all of that is what’s great.
Hoffman spoke to Terry in 1999 and 2008. We play parts of both interviews in our tribute to him.
*Quote transcribed as it was said in the interview, not as in the tribute
This is a fantastic tribute. I’ve seen so many of his films, but now I want a list so that I can make it a point to watch every one.
This girl’s emotion is raw and incredible. I could watch this all night.