My goal is to connect the young teachers to the old, to reignite their sense of struggle.
The contrasts between what is spent today to educate a child in the poorest New York City neighborhoods, where teacher salaries are often even lower than the city averages, and spending levels in the wealthiest suburban areas are daunting challenges to any hope New Yorkers might retain that even semblances of fairness still prevail.
Children, of course, don't understand at first that they are being cheated. They come to school with a degree of faith and optimism, and they often seem to thrive during the first few years. It is sometimes not until the third grade that their teachers start to see the warning signs of failure. By the fourth grade many children see it too.
In high school, I had a teacher there who was really great to me and with whom I finally dared to admit I wanted to be a writer myself, and we did a project where I wrote terrible, 17-year-old fiction. But I remember a couple of the stories. I'd love it if I could read with pride something that I wrote that long ago, but it hasn't happened yet.
One of my favorite pieces of advice about being a writer came from a very formative teacher I had as an undergraduate, named John Hersey. On our last day of class together, which was also John Hersey last day before retirement, he said, "Remember, the world doesn't need any new writers." Which at first didn't seem like great advice, but when you unpacked it, it was really that it's not enough to be confident in what you do; be conscious of bringing something to the world of readers and writers that it hasn't seen before. Something idiosyncratic.
I always want to be doing both to travel as a teacher and lecturer, and to be a musician. I think in this generation institutionalizing the art form and spreading it to the younger generation through education is really important for all artists to have some hand in. Right now in popular culture and the mainstream, it's not a big part at all. I think education by young artists talking to young people, not just older people talking to young people, it gives an experience never felt before. I think over the years it will do a lot for the music.
My sophomore English teacher encouraged me to write for the school paper, and that's what got me started. Suddenly it struck me that being a writer could be a romantic and adventurous position. Previously, I had thought I would be a tennis pro, giving lessons at a local club. I thought that would be a good life, and it might have been.
I thought we were out of money!? You can't simultaneously fire teachers AND tomahawk missiles.
Even before I became a recording artist, I did other things in music. I was a teacher, I did studio work, and I was an arranger and a producer.
As a Member of Congress from one of the fastest growing States in the country, we hire close to 2,500 new teachers a year, close to 5,000 support staff and faculty.
Teachers are unparalleled in the role they play in children's lives.
We are fortunate to have some of the greatest and best teachers in the world, but we want to make sure that those few that try to sneak through the system are caught in advance.
I had a great year with Bob Mintzer [at Laguardia School of Arts]. Bob is great. We could have just brought the clarinet or dealt with classical stuff, or brought the flute or just dealt with comp and arranging... what a great teacher.
I learned some classical music history, which I had done quite a bit at of Performing Arts. But I got some more with a great teacher named David Noon, who I've been in contact with quite a bit in recent years.
I took some comp for non-comp major classes with Giacomo Bracali and Ludmila Ulela, who was a really famous composition teacher.
What I feel the most confident about as a teacher, whatever my strengths and weaknesses are. The fact that I got to be around those people, I feel like that I have something to offer because of that blessing. Being around them a little bit... I'm not them. I'm certainly not trying to compare myself to them. But in lieu of them being able to impart something, the fact that I had so many people like that that were kind to me and talked to me was invaluable.
My opponent is my teacher and I am his teacher. I have to show him what he's doing wrong and I have to learn from what he's teaching me. You can't think of him as an enemy, it's the wrong mindset, you don't fight with anger or hate, you're always going to lose that way.
I went to school to play sports, but I got involved in theatre in college kind of by mistake. I ended up taking an acting class almost just to get rid of an arts requirement, but I wound up in this wonderful acting class with this teacher named Alma Becker who really saved my life. I was just kind of this knucklehead kid from DC and I was in and out of trouble all of the time. I took a theatre class and she really discovered something in me and I absolutely fell in love with it.
But you also are facing an uphill battle if you are trying to be the first teacher who asks students to think in class and they are already 16 years old.
Since the most important responsibility of a coach in regard to the actual playing of the game is to teach his players properly and effectively to execute the various fundamentals of the game, he is first of all a teacher.
The coach must never forget that he is, first of all, a teacher. He must come (be present), see (diagnose), and conquer (correct). He must continuously be exploring for ways to improve himself in order that he may improve others and welcome every person and everything that maybe helpful to him.
The outstanding coach is a teacher that gets all his squad to accept the role that he considers to be the most important for the welfare of all.
When I was coaching I always considered myself a teacher. Teachers tend to follow the laws of learning better than coaches who do not have any teaching background. A coach is nothing more than a teacher. I used to encourage anyone who wanted to coach to get a degree in teaching so they could apply those principles to athletics.
Cult leaders are often self-styled prophets who have not studied with great teachers or undergone lengthy training or discipline themselves. . . Many of the most dangerous cultic figures of our times have no such stabilizing context of tradition, lineage or transmission, but are self-proclaimed gurus who sway their followers through their charismatic talents. . . .
I remember one English teacher in the eighth grade, Florence Schrack, whose husband also taught at the high school. I thought what she said made sense, and she parsed sentences on the blackboard and gave me, I'd like to think, some sense of English grammar and that there is a grammar, that those commas serve a purpose and that a sentence has a logic, that you can break it down. I've tried not to forget those lessons, and to treat the English language with respect as a kind of intricate tool.
