Minggu, 26 Mei 2013

[Z104.Ebook] PDF Ebook Indiana Jones and the Temple of Doom, by James Kahn

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Indiana Jones and the Temple of Doom, by James Kahn

In his newest adventure, Indiana Jones travels to India accompanied by a female torch singer named Willie Scott and an eleven-year-old boy named Short Round, his self-appointed side-kick.

  • Sales Rank: #592597 in Books
  • Brand: Del Rey
  • Published on: 2008-04-29
  • Released on: 2008-04-29
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.90" h x .70" w x 4.20" l, .25 pounds
  • Binding: Mass Market Paperback
  • 224 pages
Features
  • Great product!

From the Inside Flap
In his newest adventure, Indiana Jones travels to India accompanied by a female torch singer named Willie Scott and an eleven-year-old boy named Short Round, his self-appointed side-kick.

About the Author
Best-selling author, James Kahn, is a medical specialist, writer, and musician-and is considered a legend in the Sci-Fi adventure book, film and TV industries. His writing credits range from authoring Return of the Jedi (on the NY Times Best-seller List for numerous weeks), Indiana Jones and the Temple of Doom, Goonies, and Poltergeist to being the writer-producer for such television shows as Melrose Place and Star Trek: The Next Generation. Icon movie director/producer Steven Spielberg and renowned sci-fi author Lester Del Rey are among his many friends, fans and collaborators over the years.

Lucas is the creator of Star Wars and director of New Hope

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7 of 8 people found the following review helpful.
Chapeau!
By Jon Hancock
"Indiana Jones and the Temple of Doom" disappointed a number of Indy fans, perhaps surprised at the darker tone of the second film, and is generally regarded as the weakest film of what is currently a trilogy. Not so the novelisation.
Whereas the first book was a turgid and often plodding slog this second volume gets the tone absolutely spot-on. The joy of the Indiana Jones films is that they are are B-movies, big budget and carefully crafted, but essentially homages to the Saturday serials and action adventures of the thirties, and the novelisation of "Raiders" seemed to entirely miss that point, and thus failed to capture the thrills and flavour of the cinema version. It cannot be easy writing a novel based on a screenplay anyway, since there is a severe time constraint and the very real possibility that the finished movie may veer dramatically (ahem... no pun intended) from the early written version. This is certainly one reason for a few of the more disappointing scene changes in the "Raiders" novel.
"Temple," however, is much closer to the finished film, adding to it by way of thoughts and motivations for the characters but thankfully avoiding the trap of getting mired down in efforts to produce a "serious" work. James Kahn's book is slim and has rather large type when compared to the first and third novelisations, but in this case I regard that as a plus.
The pace is furious, the action as ripsnorting as you could wish and even - goodness, I can't believe I'm saying it - Short Round actually comes over as rather a good character, which is more than you can say for the film. Indeed, going back to the movie after reading this book I found that my disappointment with the second film had abated somewhat. It is still a less exciting ride than "Raiders" and not such a glorious romp as "Crusade," yet there is much to enjoy on screen and especially in this book. A pity that Mr Kahn did not pen the later original Indy novels, as they would have been vastly improved by a writer with a keen sense of what a damn good B-movie should be all about. Hats off, indeed.

0 of 0 people found the following review helpful.
Great!
By ALo
Got this for my daughter.... she loved it!

0 of 0 people found the following review helpful.
Four Stars
By Amazon Customer
Grandson enjoys reading these

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Jumat, 24 Mei 2013

[E653.Ebook] Download PDF The New Grove Dictionary of OperaFrom Oxford University Press

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The New Grove Dictionary of OperaFrom Oxford University Press

Incorporating a decade of musicological research, the Dictionary is unsurpassed in its scope and quality, with contributions from over 1,300 of the world's leading critics and scholars. A remarkable 11,000 articles, all fully cross-referenced, create a work that has become established as the essential opera reference. Indeed, every aspect of this varied art form is covered: composers, conductors, directors, performers, librettists, literary sources, cities and countries, operatic historians, and opera genres and terminology.

  • Sales Rank: #2493574 in Books
  • Published on: 2004-12-02
  • Original language: English
  • Number of items: 4
  • Dimensions: 12.00" h x 6.20" w x 15.80" l, 22.05 pounds
  • Binding: Paperback
  • 5448 pages

Amazon.com Review
Although not for every opera lover (or every opera lover's budget), this massive four-volume set--each volume coming in at around 1,300 pages--is indispensable for the opera educator, writer, or major fanatic. While in any encyclopedia the quality of writing and the critical viewpoint must of necessity be somewhat varied, the standards in the Grove series of reference works are always high and the level of usefulness enormous. Almost any opera that debuted before 1992 is to be found within these pages, making it especially useful in this age of obscure revivals; most singers of any note who had established careers before that date are also included. Although somewhat Anglocentric in its inclusions, this remains an invaluable reference work.

From Library Journal
This final set developed from The New Grove Dictionary of Music and Musicians ( LJ 12/15/80) covers all aspects of the modern Western opera tradition, including composers, performers, directors, companies, stagecraft, theaters, cities, terms, and individual works. It follows the format of the mother set, with 10,000 signed articles by 1300 opinionated specialists, plentiful cross references, black-and-white illustrations, and secondary bibliographies attached to most of the entries. Composer listings contain detailed information on specific works; articles on individual operas normally include lengthy plot summaries, dramatis personae, and performance history; performer entries are generally limited to one paragraph and are often less than illuminating. Volume 4 concludes with appendixes of role names (e.g., Radames) and first lines. The editor claims that 80 to 90 percent of the material is newly written since the 1980 set; a spot check reveals many unique articles, particularly on contemporary composers (e.g., Michael Nyman) and their works. The expected British bias is evident, most notably in the column inches devoted to composers and cities (New York receives seven pages, London 38). For overall breadth of scholarship, however, no other work approaches this, although The Metropolitan Opera Encyclopedia edited by David Hamilton ( LJ 1/88), The Oxford Dictionary of Opera edited by John Warrack and Ewan West (Oxford, 1992), and The Encyclopedia of Opera edited by Leslie Orrey and Gilbert Chase (Scribner, 1976) are all serviceable single-volume guides. Highly recommended as the core opera reference work for all academic and public libraries. -- Anthony J. Adam, Prairie View A&M Univ. Lib., Tex.
Copyright 1993 Reed Business Information, Inc.

Review

"A monument of enlightened scholarship."--Sunday Telegraph


"Written by an army of experts."--The Times


"Make no mistake: This will be the definitive reference work in opera for many, many years to come."--The Chicago Tribune


"All inquiries into Opera begin there from now on."--The San Francisco Examiner Chronicle


"...this work will significantly affect not only the way opera is enjoyed in the future, but the way it is made."--The Washington Post


Most helpful customer reviews

38 of 38 people found the following review helpful.
From the realm of academe
By A Customer
The short & sweet of it: this four-volume set is the most comprehensive collection of information about composers, librettists, major singers, and of course, *operas* I have ever encountered. Not for the faint of heart or the casual fan. Within, you will find such goodies as: historical information (place/date of debut, librettist, commissioned by..., compositional style/process, reaction of the public, etc.), role names + voice part, historical photographs, extensive plot summaries, musical examples, orchestration, and a musicological commentary on the opera, most often in the context of the composer's larger body of works. But the best is yet to come, my friends - each entry includes a comprehensive bibliographical listing of major studies done on each opera, composer, singer, or librettist. A great place to start when researching a role, studying for a test, or preparing for a paper.
The only weakness in this volume is that one only reads of aria titles. If you are looking for an aria to sing, or in-depth information on a particular aria, you may not find a lot of reference to it here. But, the book will provide much context for your study, and this volume will point you toward a plethora of valuable resources regarding your aria.
Who should own this book: the scholar, the enthusiast, and the serious performer.

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God's mighty angelic host is not as invisible as you may think. In Angels All Around, Marilyn takes us on a behind-the-scenes spiritual adventure designed to convince Christians and skeptics alike of angelic intervention in the affairs of mankind. Learn about the supernatural warfare angels fight on your behalf. Draw comfort in knowing guardian angels are assigned to you and your loved ones. Thrill in the miraculous "coincidences" brought about by God's not-so-invisible messengers! This book will open your eyes to God's spiritual realm, where angels are all around you!

  • Sales Rank: #1309506 in Books
  • Published on: 2010
  • Binding: Paperback
  • 153 pages

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Kamis, 16 Mei 2013

[X811.Ebook] Ebook Player's Option: Heroes of the Feywild: A 4th edition Dungeons & Dragons Supplement (4th Edition D&D), by Rodney Thompson, Claudio Pozas,

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Player's Option: Heroes of the Feywild: A 4th edition Dungeons & Dragons Supplement (4th Edition D&D), by Rodney Thompson, Claudio Pozas,

Player's Option: Heroes of the Feywild™ is aimed at players who are ready to reach beyond the Player Essential books (Heroes of the Fallen Lands™ and Heroes of the Forgotten Kingdoms™) and play heroes with ties to the arcane plane of the Feywild.  This book includes new options for all characters, not just characters with the fey origin.

Players participating in the Dungeons & Dragons Encounters™ in-store play program from November 15, 2011 through February 8, 2012 will be able to build characters using this product.

  • Sales Rank: #75733 in Books
  • Brand: Wizards of the Coast Games
  • Model: 31731
  • Published on: 2011-11-15
  • Released on: 2011-11-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.20" h x .48" w x 8.61" l, 1.43 pounds
  • Binding: Hardcover
  • 160 pages

About the Author
RODNEY THOMPSON is a game designer at Wizards of the Coast whose recent design credits include the Dark Sun® Campaign Guide, the Monster Vault™ boxed set, and numerous game supplements for the Star Wars Roleplaying Game Saga Edition.

STEVE TOWNSHEND is a freelance game designer whose previous writing credits include Demonomicon™ and Monster Vault: Threats to the Nentir Vale™.

Most helpful customer reviews

47 of 48 people found the following review helpful.
Mechanically interesting options for old classes and new.
By William M. Wilson
Wow. This is, hands down, my favorite 4e player-oriented book since ... well at least since Heroes of the Forgotten Kingdoms, but probably before that, too. There's a wealth of great, mechanically-deep and interesting stuff in here for players. As a note, the options here are pretty complex - probably the most intricate since psionics, if not moreso - and some are just game-changing.

-=-=-=-=-=-=-

Quick, Capsule Summary:

Positives: Three new and incredibly interesting subclasses, design that integrates 4e from the PHBs to the Essentials line, a great collection of feats, some great themes, well-written flavor text even if some of it is a re-tread, and at least two well-designed (though somewhat setting-specific) races, out of the three presented.

Negatives: The fourth class is more stuff for Wizards, there's at least one fairly bland new race, potential power creep from some of the themes, and ... well, I kinda hate the cover art; it's too dark and almost looks like a misprint. It looks very amateurish on Amazon's page, and sadly, their image is pretty accurate.

-=-=-=-=-=-=-

So the main question on many players' minds from the announcement of this book was, "Will this book build on all of 4e, or mostly just build on the Essentials line, like Heroes of Shadow did?"

In what I hope is the way forward, the answer is "All of the above." Everything here is self-contained - you can run any of the new options out of the box no matter if you're running an Essentials-only, non-Essentials, or Kitchen Sink game. Now, while the options here largely don't need other sources, they build on PHB2 more than anything else, and the designers kept an eye on integration, making sure that we have both multiclass feats for the new options AND ways for PHB2 characters to poach the class features from here. So while Heroes of Shadow was still about 80% useful for a game without the Essentials options, Heroes of the Feywild is 100% useful for pretty well anyone.

Okay. So with that out of the way, let's dig in.

First off, there's an abundance of fluff in this book. A lot of it reminds me of the Feywild section of the Manual of the Planes, but I haven't compared them side by side. I don't know if this is a re-write or a re-print, but let's be honest - it's not why we're here! (Although, I like the map!) I'm going to focus on the mechanical stuff, since it's what I more or less live for; the flavor text is awesome, and I love reading it, but you and I both know why we're here, amirite?

So to start, we have three new races. I'm still mostly thinking I have enough races right now, so it's tough to get enthusiastic about more - especially fairly genre-specific ones like these. On the plus side, much like the races in Heroes of Shadow, all three have a suite of racial utility powers they can pick from in addition to their normal class utility powers.

Hamadryads are up first; since the 4e dryad is a nasty wooden monster, they take the role of the "pretty" dryads. Female-only, they wear their "tree faerie" stuff on their sleeves and have a pretty nice suite of racial abilities, including save bonuses versus the nastiest effects in the game. Their encounter power lets them turn into wood, or dazzle enemies with their beauty. Not bad. I don't care for Wilden or Shifters, so these are probably my favorite nature-themed race so far.

Pixies are next, and will undoubtedly make the biggest splash and cause the most confusion. There's a preview on the WotC site which has the majority of their mechanics, but in brief... They are tiny. They fly, but their altitude limit of 1 means they need to be no more than 1 square (er... cube?) above the ground (that's 1 empty square under their feet) at the end of their turn or they fall. So they can fly into a tree, but can't stay hovering out of melee range forever. They mechanically act as Small creatures for most purposes, including weapon rules and reach. They have a way to shrink gear to their size, which is helpful for DMs. ("Why yes, Briarthorn, the orcs *were* randomly carrying around a Tiny Rapier!") They can speak with beasts. And, awesomely, they can share a space with an enemy or an ally, making Pixie defenders kind of insane in a few ways.

Last up are Satyrs, which are the male side of the Hamadryads. You know 'em - Panpipes, goat legs, too much wine, etc. They are pretty durable, and get more mileage out of their healing surges after a rest, and their encounter power gives some added control effects to attacks. They can pick an at-will utility power which will make them insane jumpers. And ... eh. I never really wanted to play Mr. Tumnus, so I think I'll end up passing.

OK! On to classes! These, by the way, are awesome, and truly 5-star.

First up is the Barbarian (Berserker) who's kinda insane, and looks to be an admirable choice for the fifth member of your party. He's Martial and Primal (and those power sources actually mean something for him) and switches between Defender and Striker. The basic way it works is, he starts out as a somewhat below-par, but still relatively potent, Knight-like Martial Defender. He has a defender aura, a punishment mechanic, and some nice bonuses to AC. (Also, he can slow with an At-Will attack, which is great for a Defender.) Once he uses a Primal power, he flips out, goes into a rage, loses his defender aura and AC bonus, and turns into a pretty competent Primal Striker. It's bizarre but it looks like it works. At every level, they look to have choices between Martial (defender-oriented) and Primal (striker) attacks. Picking Barbarian powers from PHB2 will knock them into Striker mode - which works great, too, since those all have their Striker mechanics built in. PHB2 Barbarians can pick many of these powers, too, though will obviously avoid anything referencing the Defender Aura mechanic.

Next is the Bard (Skald). And ... where do I start? They're so ... weird! First, the book suggests giving all Bards (including the PHB2 ones) some new Signs of Influence which are out-of-combat perks demonstrating how socially awesome they are. It's something I'd rather leave to role-playing, but it all looks handled well. And then ... well, jeez. Their Leader mechanic is an Aura 5. Instead of you using Minor actions for it, you and your allies in the aura can take their healing on their own (or give it to an adjacent ally) with a Minor action. They get two Dailies at every Daily Attack level, but rather than prep one like a Wizard, they pick what they're using at the time. (Song of Rest and Skill versatility are still here, ala PHB2.) Their Level 1 At-Will "Attacks" are Minor actions that give your allies in the Aura benefits when you hit with an MBA (for which you use Charisma instead of Strength). Their Encounter and Daily "Attacks" don't have actual attacks at all - they key off of other stuff, sometimes basic attacks, sometimes any attack with a weapon, and so on. Like I said, it's just weird and completely unlike anything we've seen so far in 4e. They straddle the line between a traditional class and a new essentials-style class. And, icing on the cake, there's a feat which lets PHB2 Bards switch from Majestic Word to the Skald's Aura if they so choose. Since all of these powers are Attack powers with a level, the Skald can freely poach from PHB2, and the PHB2 bard can poach from the Skald. There's a lot of brilliant mechanics here, but I have a feeling it will overwhelm some players! They look like they will play incredibly different from anything we've seen yet, and I'm more excited about them than any other option I've seen in 4e.

Next up is a third druid build. I don't care for the original Wild-Shape druid very much, but I love the Sentinel despite all its (many) warts. The new build - the Protector - is another controller, and the first real, true, dedicated Summoner class of the game. They don't wild-shape, but they do pick up either Primal Guardian or Primal Predator, much like the wild-shaper does. They get some nifty cantrips, like having little air spirits do their bidding. They all get a Controller feature which lets them make a zone of Difficult Terrain that has different effects based on their Circle. Most critically, they get uses of Summon Natural Ally instead of regular Daily attacks, letting them fill the battlefield with relatively self-sufficient summoned monsters from wolves to bulettes to ... tyrannosaurs? On the one hand, having your Dailies chosen for you can be rough. On the other hand, their summons look pretty great. Two of their new At-Wills - especially Magic Stones - will probably prove popular with druids of all shapes and sizes in the future. Otherwise, the powers are a healthy mixture of Controller and Leader stuff useful to all druids.

Finally, it's the Witch. Yep, it's YAFW (Yet Another "Friendly" Wizard). Because we apparently have to have a new Wizard build in every book, now. I'll give them credit for sticking to the theme - witches get Familiars and can bargain to trade out their Utility and Daily powers every extended rest by bargaining with their patrons - but it's still mostly a Wizard. You get a locked-in Encounter attack, but then you're a Wizard with a free familiar, and that's about it. The powers are geared towards either Transmutation (e.g. Foe to Frog), Enchantment/Charm, and a few Conjurations, but mostly it's yet another extension of the rather bloated Wizard spell list. It's okay, but I don't think Wizards need any more support for a while.

Okay, so themes! We have some great ones here, including the Fey Beast Tamer (aka, "You guys were all jealous of Sentinels' pets, so now you can all have them"), the Sidhe Lord (aka, "I come with a built-in bodyguard"), Tuathan (aka, "Everyone can change into animals now!), and Unseelie Agent ("Magic weapons? I make my own, thanks.") I think the beast tamer may be a chart-topper, power-wise, especially with their Level 5 Feature which basically makes their animals all have the Sentinel's Wolf's aura, but they're going to largely be restricted to classes who don't low-ball Constitution. Maybe. While I think having a pet owlbear or displacer beast is just awesome, it still feels quite power-creepy, letting everyone poach an entire class's defining feature. Also, with more summons and freely-available beast companions, the battlefield might get mighty crowded.

Then there's paragon path and epic destiny support for the new options. Not much to say here.

And then ... FEATS!

Several of the new feats are "interoperability" feats which let the new options and old options play well with each other. For example, Protector Druids can snag Wild Shape and the ability to take normal Dailies. Bards can swap Majestic Word for Skald's Aura. In addition, there's some stuff I don't know if I ever expected to see much of again - class- and race-specific feats, for two. Paragon-tier feats, for another. It's like taking all the good stuff from the PHB series and mixing it with the innovative design of the Essentials line, and I love it.

As expected, there's a section with new Items and "Fey Gifts." I think I've rambled on enough already, so I'll just note that I love alternative rewards as a DM, and it never hurts to have more!

Oh, and to close things off, there's a Building Your Story section which I mostly missed on first read - I missed the first page, and it all looked like fluff to me. It's ... not, exactly. It's again, very neat and radically different from anything in previous 4e books - it's basically phased, background-oriented character generation which starts from your upbringing, moves to your region, and includes events from your earlier life. It's specific to the Feywild, which is expected, but I wouldn't be surprised to see it for the generic Nentir Vale setting in an upcoming Dragon. It's extremely innovative, and makes for an awesome way to start a new campaign with established and interesting characters.

9 of 10 people found the following review helpful.
Once upon a time...
By Michael J. Tresca
Faeries are the new vampires. If you need any evidence, just take a look at the two new television series, Grimm and Once Upon a Time, and the avalanche of Snow White-related movies on the horizon. This makes Heroes of the Feywild's (HOTF) debut perfectly timed. It doesn't hurt that my alias, Talien, is based on a character from a MUD who was a satyr paladin. Heroes of the Feywild lets you play a satyr. Not a half-satyr, a SATYR. It was love at first pan flute.

4E critics who believe that every splatbook is just a big pile of stat blocks will find evidence to the contrary in HOTF. There's several pages dedicated to backgrounds, Feywild lands, attitudes of characters from those lands, and plenty of fairytales. Every story begins with "Once upon a time..."

HOTF has three themes it returns to repeatedly: fey, storybook, and savagery. The fey part is easy - they don't call it Feywild for nothing - and everything, from the artwork to the descriptions of the various lands, drips with faerie politics. The pixie race and the character themes of Sidhe Lord, Tuathan, and Unseelie Agent all flesh out the fey world in game mechanics. There are even fey magic gifts that can act as alternative rewards to magic items.

On the savage side, there's plenty here. For those old enough to remember, Dragon Magazine #109 debuted the half-nymph and half-satyr, and the new hamadryad and satyr races bare more than a passing resemblance to these early incarnations. There's a berserker path for barbarians, a skald path for bards, and a protector (rather uninspired name) for druids. The paragon paths and epic destines continue these savage concepts - who doesn't want to become a Witch King?

The storybook side is really where HOTF shines. The narrative makes it clear that HOTF is as much about telling a good story as it is about making any sense, and the witch path for wizards reinforces the fairytale nature. It even has a nod to Pan's Labyrinth in the form of a 22 Satyr utility power, Channel the Unseelie. In addition to the aforementioned stories sprinkled throughout the text, Chapter Five features Build Your Story, a random background generator. The player rolls for his background (which can include cruel foster parents, natch) and makes skill checks along the way. The player reacts to the circumstances in a mini-solo adventure of sorts, but it also acts as an excellent means of incorporating the rest of HOTF's rules into a character.

In short, HOTF has everything you could want from the Feywild and adds some things you probably didn't think of.

6 of 7 people found the following review helpful.
A review for Essentials players without core rulebooks
By BSW
This review is directed towards those of you who, like me, decided to begin playing D&D for the first time and only use the Essentials line because it is simplified/easier for beginners and is more current/updated game mechanics. Many people who are D&D veterans or began playing with the core 4th edition rulebooks do not like Essentials. As such, they were disappointed when Heroes of Shadow was released under the pretense that it was useful to both Core and Essentials players, but was really more directed towards Essentials. Heroes of the Feywild has done a much better job at making the book for both Core and Essentials player, which has made the Core players happy. Despite that I really like this book, I must make a complaint that it is different from the other "Heroes" books and caused me some concern. This review will primarily deal with my complaints about the way character classes are set up. The first three "Heroes" books took you through each level for your class and told you exactly what you would get. HotF does not do that however. It gives you the setup for the first level, then powers for levels 1-30, and then directs you towards a chart in the back of the book that is to be used for all four character classes in the book. This is at first unsettling because it makes you think that each class follows a similar pattern. It is also concerning because some levels tell you to replace one of your old encounter or daily attacks for a new one. You think, "I never had to get rid of powers and replace them before! Do I get less powers than other characters?" After do some calculations and reading each class in detail I realized this wasn't true, and so I'll clear some things up. Here's what I found: The Berserker does follow the chart and you must replace 8 encounter and daily atttacks (4 of each) during his paragon and epic levels. The Witch follows the pattern as well but gets three cantrips in addition. The Protector follows the pattern but doesn't replace daily attacks because the only one he gets is summon natural ally (which can be used more often as you gain levels). The Skald does not follow the pattern, however. He is exempt from having to replace his daily attacks but is limited to how many he can use per day. I'm not sure why they created a chart if there are exemptions to it.

To answer the question of whether these classes are less powerful than the classes of the previous "Heroes' books: No. In fact, even with the replacement of old powers, these classes end up with more powers than the ones of other books. You see, the classes from the other books don't get powers on almost every level like these do. Half the time, they features with benefits, bonuses, or improvements to powers. The new classes do not get any of these from levels 2-10. The new classes also have better distributions of at-will/encounter/daily/utility powers. The classes from the other books follow one of two patterns. Martial characters typically get some at will and encounter attacks at level one and then a load of utility powers afterwards. Arcane, divine, and primal characters usually get a few at-will and encounter powers at first level and then daily attacks and utilities afterwards. I am not an expert at D&D but don't think you have to worry about these classes being less powerful. I suspect that WoC set the book up this way so that core users could pick powers from the new classes without having to deal with a restraining Essentials subclass build. I personally am used to and like the Essentials builds, rather than having to look at a chart, then a list of powers, then the paragon path (which is totally separate from the classes and then a epic destiny which is either in this book (after the paragon paths) or in another "Heroes" book.

I also am not crazy that instead of putting in character options for the classes of previous books (like HoS did), they put in character themes, which I think may overpower a character. I do not like the Fey Beasttamer because you have a choice of only four monsters and I think it seems out of place unless you have the Martial Power book with the natural Beasttamer Ranger. The Sidhe Lord and Unseelie Agent give you some pretty powerful additions to your character (I'm worried all my players could choose to be a Sidhe Lord because of it.) I like the Tuathan except that it is only directed at humans and half elves and you can only shapeshift into tiny animals. There are also some good feats in this book (except the ones that don't apply to people who haven't bought any core books [I'm looking at you Gnome, Wilden, and Multiclass feats]). Some of the coolest feats are the Familiar feat for any arcane class to get a Familiar (and a list of familiars) and the feat that lets Protectors have the Wild Shape power (and it reprints the power for you), as well as the Two-handed weapon feat for people who want to use those poorly neglected polearms.

The book also has a lot of items but they left out instruments for the Skald (Guess I'll have to buy Mordenkainen's Magnificent Emporium?). One last comment, this book has a lot of stuff that is useful if you are running a homebrew campaign in the Feywild or are playing the current Encounters campaign at your local hobby shop (neither of which I am doing). Thus, I feel like all the many pages dedicated to the places of the Feywild (which makes the HoS book look empty) and the character background story creator are kind of useless to a player who is using published adventures and unfair to characters who want to create a non-Feywild backstory. Despite this, I think this is a really useful book for creating character diversity in you campaigns.

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Player's Option: Heroes of the Feywild: A 4th edition Dungeons & Dragons Supplement (4th Edition D&D), by Rodney Thompson, Claudio Pozas, PDF
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Rabu, 15 Mei 2013

[S655.Ebook] Download Understanding Anesthesia Equipment (Dorsch, Understanding Anesthesia Equipment), by Jerry A. Dorsch MD, Susan E. Dorsch MD

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Understanding Anesthesia Equipment (Dorsch, Understanding Anesthesia Equipment), by Jerry A. Dorsch MD, Susan E. Dorsch MD

The "Bible on Anesthesia Equipment" returns in a new Fifth Edition, and once again takes readers step-by-step through all the basic anesthesia equipment. This absolute leader in the field includes comprehensive references and detailed discussions on the scientific fundamentals of anesthesia equipment, its design, and its optimal use. This thoroughly updated edition includes new information on suction devices, the magnetic resonance imaging environment, temperature monitoring and control, double-lumen tubes, emergency room airway equipment, and many other topics.

Readers will have access to the fully searchable online text and an interactive quiz bank at a companion Website.

  • Sales Rank: #423057 in Books
  • Brand: Brand: Lippincott Williams Wilkins
  • Published on: 2007-10-02
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.25" h x 8.50" w x 1.75" l, 5.96 pounds
  • Binding: Hardcover
  • 1056 pages
Features
  • Used Book in Good Condition

Most helpful customer reviews

4 of 4 people found the following review helpful.
Necessary But Could Be So Much Better
By Jacob and Kiki Hantla
Dorsch and Dorsch's Understanding Anesthesia Equipment is simply the most thorough book on anesthesia equipment out there that I am aware of. You will find most of the general basics of anesthesia equipment in Barash's Clinical Anesthesia and even more summary books like Stoelting's Basics of Anesthesia) and Morgan & Mikhail's Clinical Anesthesiology. Nevertheless, those books tend to not give you the ins-and-outs of all of the various equipment out there. Dorsch & Dorsch provide very detailed information ad nauseum. However, the endless black-and-white diagrams and black-and-white photos (though it appears very accurate) make the book very difficult to find the precise information that you are looking for. And the black-and-white diagrams tend to be much more difficult to understand than is necessary. For a book that has been through so many revisions and costs well upward of a hundred bucks, I would expect some color photos and some better constructed color diagrams.

The book does seem thorough, but is simply so much more difficult to use than it needs to be. Using Dorsch & Dorsch as a base text, we are strongly in need of a full revision aimed at formatting, photo, and diagram revisions.

The website included in the book offers a searchable text and a test bank. The search engine on the text is poor and very difficult to use. I find myself going to the chapter of interest and using a ctrl-f browser-based search of the page. The online quizzes are the exact same as is found at the end of each chapter. I have taken about half of the quizzes and have found errors in the online-based quiz bank in approximately half of those that I took. In need of some quality control. Nevertheless, I am appreciative of the online access to the text.

9 of 9 people found the following review helpful.
Disappointed
By Thomas A. Mc Hugh
I am sad that this will be the last volume by authors I have relied on since I began in anesthesia in 1981. This is my third purchase of one of their works but I must say that I am dissappointed. Much of the charm of earlier editions (I own 1st and 4th) seems to be missing and there seems to be a reliance on manufacturer's supplied illustrations. Explanations and diagrams seem to come directly from the manufactuer.

That being said I would still recommend this book to students (both SRNAs and Resident physcians)as a required text. This book will alow you to be competent to trouble shoot a system while waiting for BME to arrive,or for you to feel confident to swap a machine in the middle of a case. It gives you a familiarization of much adjunct equipment before you use it the first time. It apprises you of possible hazards and deals with evnvironmental issues in anesthetizing locations.

Not their best work, but have not seen anyone else consistently cover this topic over the span of their work. A replacement will be hard to find, and future practitioners will suffer with their retirement.

0 of 0 people found the following review helpful.
if you want a "tell all"
By bren.bren
this is definitely the book to give you everything you need to understand anaesthesia equipment
its a "stay at home book" tho
big and heavy
the pages are not as easy to read since its all black and white and there's alot of material to read plus the pictures are not as many as i would have liked
but still a very good book
glad i got it for my residency
always on top of my info because of it

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Minggu, 05 Mei 2013

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Teach Like a Champion 2.0: 62 Techniques that Put Students on the Path to College, by Doug Lemov

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Teach Like a Champion 2.0: 62 Techniques that Put Students on the Path to College, by Doug Lemov

One of the most influential teaching guides ever—updated!

Teach Like a Champion 2.0 is a complete update to the international bestseller. This teaching guide is a must-have for new and experienced teachers alike. Over 700,000 teachers around the world already know how the techniques in this book turn educators into classroom champions. With ideas for everything from classroom management to inspiring student engagement, you will be able to perfect your teaching practice right away.

The first edition of Teach Like a Champion influenced thousands of educators because author Doug Lemov's teaching strategies are simple and powerful. Now, updated techniques and tools make it even easier to put students on the path to college readiness. Here are just a few of the brand new resources available in the 2.0 edition:

  • Over 70 new video clips of real teachers modeling the techniques in the classroom
  • A selection of never before seen techniques inspired by top teachers around the world
  • Brand new structure emphasizing the most important techniques and step by step teaching guidelines
  • Updated content reflecting the latest best practices from outstanding educators

With the sample lesson plans, videos, and teachlikeachampion.com online community, you will be teaching like a champion in no time. The classroom techniques you'll learn in this book can be adapted to suit any context. Find out why Teach Like a Champion is a "teaching Bible" for so many educators worldwide.

  • Sales Rank: #1539 in Books
  • Published on: 2014-12-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x .90" w x 7.00" l, 1.74 pounds
  • Binding: Paperback
  • 504 pages

Review

“Doug Lemov is also essential reading for anyone who wants to create a safe learning space for children of all ages by building up habits that will support success throughout school and beyond” (Time Education Supplement, August 2015)

From the Back Cover

Achieve classroom greatness with updated Champion techniques

Teaching is one of the most important jobs in the world and often one of the hardest. Excellent teachers continually strive to learn and improve their craft, and no matter how good a teacher is, there's always room for improvement. Teach Like a Champion became a global bestseller because it offered concrete, engaging, easy-to-implement techniques teachers could use to keep their students engaged, focused, and learning. Teach Like a Champion 2.0 compiles the feedback gathered from real teachers in real classrooms around the world to deliver an updated set of techniques, made even more effective by the continual fine-tuning of daily classroom use. Effective and informative for both new teachers and classroom veterans, Teach Like a Champion 2.0 describes how to:

  • ADJUST CLASSIC TEACHING TECHNIQUES TO BE EVEN MORE EFFECTIVE
  • IMPLEMENT ENTIRELY NEW TECHNIQUES THAT KEEP STUDENTS ON TRACK
  • TRANSLATE THEORY INTO ACTION WITH VIDEO DEMONSTRATIONS

"Teach Like a Champion 2.0 made me a better teacher. The rigor, depth, and applicability of each technique Doug shares immediately allowed me to improve the teaching I do with school leaders, teachers, and kids. TLaC 2.0 builds seamlessly from the first edition—going deeper on some key concepts and introducing us to a host of new methods."
—Dave Levin, cofounder, KIPP

"Like the fantastic teachers who have informed this book, author Doug Lemov is never satisfied and is constantly pushing himself and others to a higher and higher level. Teach Like a Champion 2.0 is a must-read for those in pursuit of ensuring their students learn at the highest levels, including those who read Doug's first amazing book!"
—Wendy Kopp, founder, Teach For America; chief executive officer and cofounder, Teach For All

"I love two things about Doug Lemov and the Uncommon Schools team: a relentless focus on student learning, and a dedication to the proposition that the best professional development occurs when teachers learn from teachers. The pages of Teach Like a Champion 2.0 are imbued with both ideals."
—Daniel T. Willingham, author, Why Don't Students Like School? and When Can You Trust the Experts?

About the Author

Doug Lemov trains educators at Uncommon Schools, the nonprofit school management organization he helped found. He holds a Bachelor of Arts from Hamilton College, a Master of Arts from Indiana University, and an MBA from Harvard Business School. He is also the author, with Erica Woolway and Katie Yezzi, of Practice Perfect: 42 Rules for Getting Better at Getting Better.

Most helpful customer reviews

23 of 24 people found the following review helpful.
0) is by far the better of the two
By Lupa
I read TLAC 1.0, and this edition (2.0) is by far the better of the two. And that's saying a lot, because I also loved the first as well. It offers an even deeper exploration of techniques that really help increase rigor, including several new techniques for writing (Art of the Sentence and Show Call were my favorite). Even when the book tread on topics I was familiar with, I didn't feel like I was rereading the same book at all (Systems and Routines, Ratio, and Checking For Understanding get HUGE upgrades). The clips were also great companions to the book. I was a little hesitant at first because I thought I was going to get the same as 1.0, but 2.0 is so different and in all the best ways. I'm really glad I read it, and I can't wait to use these techniques in my classroom!

15 of 16 people found the following review helpful.
A Must-Read Resource for Educators
By ST
One impediment to change in any situation or field is that we tend to hesitate to believe in things we haven’t seen with our own eyes. Sometimes when you want to solve a problem, the solution doesn’t exist. But sometimes it does and you just haven’t seen it yet. For example, maybe you still believe achievement gaps aren’t closeable.

To this point, Doug Lemov’s TEACH LIKE A CHAMPION 2.0 makes this argument: “We are not suffering from a lack of solutions so much as our failure to learn from teachers who have generated insight and put their ideas to work.” Achievement gaps are closeable, and this book, a follow-up to his 2010 bestseller, TEACH LIKE A CHAMPION, describes 62 techniques that have been demonstrated to help.

This new version is not merely some lightly-ruffled second edition. Doug and his colleagues have spent the past four years vigilantly researching what he calls “champion teachers,” looking for additional clues about what makes them successful. For instance, he has added a whole new section on checking for understanding and how to build a “culture of error”—an environment in which it’s safe to be wrong. As he rightly points out, “If your goal is to find and address the mistakes your students make, your task is far more difficult if your students seek to hide their errors from you.” So he explains how to solve that problem. He has also expanded the original technique called “Ratio” into several chapters that focus on how to strengthen student engagement and rigor (what he calls “participation ratio” and “thinking ratio”)—by building ratio with questioning, writing, and discussions.

Doug addresses many important concerns that teachers have, whether they’ve been in the field for 20 minutes or 20 years. And his writing is crisp, clear, and humble. He knows this is hard work, and he’s doing everything he can to help. Last but definitely not least, in addition to refining his previous ideas and developing new ones, he includes 75 video clips.

So we can see things for ourselves.

Sarah Tantillo, Ed.D.

53 of 65 people found the following review helpful.
Understanding Teach Like a Champion I'm currently in the process of reading ...
By Margaret Robertson
Understanding Teach Like a Champion
I'm currently in the process of reading Teach Like a Champion 2.0. I'm reading it because it is one of the "go to" books shared via Relay Graduate School of NYC, and unfortunately, their work is being spread far and wide here in Colorado in many of our districts, including mine. We are at a very precarious time in public education - our work as educators is being stripped from our schools and replaced by non-educator think tanks who pride themselves on high test scores. Teach Like a Champion 2.0 is written by Doug Lemov. I'll let you read more about him here. Ultimately he is not an educator, but has great experience within the world of charter schools. He has two degrees in English and one in business. He is a corporate education reformer. Period.

To be honest, after reading over 100 pages of the book (there will be a follow-up blog when I finish reading the entire book), I have to say it's incredibly shallow and simplistic - yet the scary part is the dictatorial demand to keep everything shallow, uniform and simplistic. And as mentioned above, Lemov's beliefs about "teaching like a champion" are beginning to co-opt what true educators really understand about teaching, child development, and engaging learners. This book is a great primer for reducing learning to uniform and robotic student behavior which is easy to "track" (Lemov's word - not mine) and manage, in order to get the results that you want. And the results that they want are high test scores. Lemov is clear in stating that this work is gauged via state test scores.

True learning is incredibly messy, but with an inherent structure in place to support the messiness. Those of us with vast experience in public education know this. And we also know that in order for true learning to occur, we must embrace the messiness, while all along keeping a structure in place to allow for the ebb and flow of learning. We create routines and structures, with student input, to foster an environment which supports student engagement, student learning styles and interests, all the while making certain that our teaching is developmentally appropriate and meeting the needs of each learner. If we have the necessary resources, the autonomy to teach, and a class size that allows for us to address each child's needs - amazing things can happen. If children have food, healthcare and books in their home we can move mountains. However, in this day and age - having everything necessary for all public school children to thrive mentally, physically, academically and emotionally - is rare, if not non-existent.

My experience includes teaching almost all grades Pre-K - 6 (never got to teach third!), serving as a district literacy coordinator, serving as a literacy coach, and working as an educational consultant. I have supported the development of principals and teacher leaders across Colorado and I have worked with teachers nationwide to support their understandings of literacy instruction. I am currently a literacy interventionist in my 19th year of teaching.

In the 90's I had great autonomy to teach. The inquiries and projects my students completed would not even be possible under today's testing conditions. Several of my classes opened restaurants - we literally opened a restaurant in our classroom and charged for meals. We designed the restaurant, shopped for the ingredients at the grocery store, and we made the pasta from scratch in our classroom. Students applied for jobs at the restaurant. We took reservations for parents and district staff to come and eat! Another example was with a sixth grade class in which we created a partnership with a nursing home. Each sixth grader had a friend at the nursing home where we visited weekly to plant flowers, read, sing, and develop relationships with these women and men at the home. The sixth graders interviewed their friends, researched the corresponding time period, and wrote biographies. I had a fourth grade class who researched activists across the country who were making changes in their communities. These students really wanted to know how they could give back to the community. We created our own service learning project and gathered food for food banks and worked at the food banks and served at a soup kitchen. We canvassed the neighborhoods gathering canned goods and other items to support families in need. I had other classes who raised money to end landmines that were harming children - we researched these countries and read about the impact on children and created a public campaign to end the landmines. What is interesting about all of these inquiries and projects is that we could connect them to every facet of our day - math, science, social studies, language arts, music, art, and on and on. Those are just a few of the learning opportunities my students had.

I share my experiences because they are important in understanding what education can and should look like. Teaching and learning should not be uniform and defined within a box. Education begins with the students in the classroom, and we then build our curriculum around the students' strengths, needs and interests. Teachers each have their own talents, their own quirkiness and their own passions which influence their teaching. Students also have their own talents, learning styles and interests which influence how a class takes shape over the year - if indeed we wish for education to be truly intrinsically engaging and purposeful for students. Every classroom is unique - if indeed we are focused on equity for our students and their learning. Education that is standardized and is top down ultimately is dumbed-down.

Teach Like a Champion 2.0 is focused on uniformity. Lemov discusses the idea of standardized formatting for worksheets and note-taking. It is my experience that learners find that certain formats work for them and others don't. I always share a variety of styles for note-taking with students and ultimately I let them pick what works for them as it's important that they are able to begin to discern how they learn best and what tools will best support their learning. Classrooms must be equitable. In order to be equitable we must discern what is just and right for each student. We cannot demand all students use a tool if it does not meet their needs; this is why we have notebook paper with narrow lines, fat lines, no lines at all. This is why we have fat pencils, thin pencils, and pencil grips. This is why we want children to pick and choose their independent reading books. Uniformity ultimately destroys any chance of equity - again, considering what is fair and just for each individual student. At times do we all use a particular format - or process? Of course! But uniformity and standardization do not drive the learning - students do.

Lemov is very interested in teachers being able to quickly see the answers students are writing as they walk around the room - this is why he prefers standardization of note taking. Efficiency, mastery and getting it right is key. On page 19 Lemov states that the purpose of order in the classroom is to promote academic learning. I think the purpose of order in a classroom is to create a space which is safe and inviting for student's social, emotional, physical and academic learning. Physically I want my students to be comfortable so that they can learn. I want them to be able to move around the room as needed to meet their personal needs. Of course, understand it's not a free for all, children aren't running willy nilly around the room - but they do stand if needed or cross their legs in their seats, and at times they spread their work out on the floor if that is the best space for their learning to occur. Couches are a wonderful place for children to read and work. My students can have a very carefully articulated plan for the day as they maneuver around the classroom as needed to learn, as they get the necessary supplies, and or converse with the necessary people, to do their work at hand. We work as a community and develop spaces within the room to support our work as a whole group, small groups and as individuals. We trust one another.

In contrast, Teach Like a Champion classrooms are typically rows of desks and the instruction videotaped is always whole group instruction, in which the teacher asks a question and a student answers. So, if you were diagramming the conversation in the classroom on paper it would be straight lines from teacher to student - starting at focal point (the teacher) and spreading out like a fan. Ultimately if you are wishing for a rich conversation that thrives on student talk you are looking for a diagram where the lines intersect. So, the teacher might talk, then a student, then another student responds, and another, and then back to the teacher...so forth and so on. A classroom in which the teacher asks a question and pops from student to student is very dictatorial and ultimately lacks richness and depth of learning - if the teacher is continually directing the discussion then how do we know what the students are thinking and wondering? Of the 46 videos I have watched so far the questions the teachers ask are pretty basic - questions about defining a word, a sentence starter - there are some deeper questions asked at the high school level, but the arrangement of the lesson and the classroom makes it truly difficult to really have a deep, rich conversation which builds and ultimately engages the learners in a way that develops student strengths and empowers their individual voices. There is definitely not space for individuals to come together to share and build a greater and bigger idea or thought as a result of student sharing.

I have yet to see any classrooms with tables. Tables are wonderful for classrooms where we value community, conversation, and working together. Out of the 46 videos I have watched so far I have seen only two tables for two small groups of children. I have 29 videos left to watch.

Out of the 46 videos I've watched I've seen 12 teachers smile and/or laugh and 6 students smile and/or laugh. Out of the six students who smiled or laughed 3 out of the 6 were due to a child having difficulty answering a question and/or making a mistake when answering. In the videos, when a student talks in the classroom, it is only a result of the teacher allowing the student to talk. In terms of what "talk" looks like, it takes form as a direct answer to a question from the teacher, popcorn reading (where the teacher calls on students to read a portion of a text - always a fun and relaxing strategy for readers who struggle), and 4 videos which showed a brief moment where children were allowed to partner talk (simply turning to the person next to you to converse). Another form of talk that takes place occurs when the teacher requires the entire class to repeat something in unison - there is a lot of parroting back what the teacher says.

There was one video - out of 46 that I have watched - in which a child showed some emotion and said "Oh!" as he raised his hand in excitement to answer a question. There is very little, if any emotion displayed, within any of these videos. When children are forced to comply with such great constraints and boundaries I can imagine that after awhile the emotion is beaten out of them. There are some teachers who exhibit some emotion and kindness, but the children are only allowed to exhibit any kindness to their peers in the form of hand signals or a statement of encouragement shouted in unison as a whole class. On page 11, Lemov points out that a child smiles in a video in which the teacher asks them to pass out papers faster. As Lemov explains how the students are passing out papers quickly in order to increase time for learning in the classroom he states, "The students, by the way, are happy as can be. They love to be challenged and love to see themselves improving. They are smiling."

Students love to see themselves improving at passing out and collecting papers? *sigh* Such an insult to the children. But I'll move pass that and talk about papers for a minute.

The videos are full of papers. I get that there is a lot of paper in classrooms, but these papers in the videos typically come in the form of worksheets and packets - seat work. I found it interesting that when they read passages from a text they didn't have actual books in front of them (based on what I've seen so far) -they typically had a worksheet.

On page 12 Lemov states, "Few schools of education stoop to teach aspiring teachers how to train their students to pass out papers, even though it is one of the most valuable things they could possibly do."

Wow. I don't even know what to say to that. Perhaps the best thing to say is that that statement pretty much exemplifies the depth of the entire book. Honestly, reading the book and watching the videos is terribly depressing.

The sections I have read in the book so far deal with getting students to answer questions and making sure that the answer is (god I hate this word) "rigorous." Students must answer questions and if they can't answer the question they must repeat the answer after another student or the teacher gives the answer. At one point in the book (p.92) he shares an example of a student who doesn't parrot back the answer and he states that the child will have to come in at recess because this is a "case of defiance." So - not "parroting" back an answer is defiant? Defiance is defined as a daring or bold resistance to authority or to any opposing force. I personally wouldn't parrot it back because I'd find it insulting. I'm not a dog who needs to repeat a trick in order to be "trained." If this is considered defiant I fear for the child who feels the need to scream and throw these worksheets in the trash.

In regard to rigorous - there is much discussion about "rigorous" content. On page 84 Lemov discusses how it saddens him that Diary of a Wimpy Kid is one of the most read titles in sixth grade. It is not considered rigorous enough. He obviously has not read the research on pleasure reading. But again, he is not a true teacher, so that is to be expected.

There is lots of discussion around errors. I always find this to be a fascinating pattern within books by non-educators. They focus on the negative. I have always used students' strengths to build on their attempts and next steps. However, in this book the focus is on creating a culture of error where students feel comfortable making errors and teachers scan for evidence of "incomplete mastery." I agree that students should feel comfortable taking risks in a classroom, but his concept of error and getting it "right" are so different than mine. In a democratic classroom we take risks continually, and when we problem solve and figure it - often together - it's a process of learning versus this idea of searching for the errors and getting it right. I believe that the process of learning is full of risks and ultimately, NOT necessarily the right answer, but perhaps......another question?

Lemov uses the word "tracking" a lot. Teachers track students, rather than "watch" students and students must track the speaker. It really feels a bit like hunting when watching the teachers "track." They are looking for specific answers and they will hunt the answer down until they get it. There isn't a sense of students really ever working together to problem solve and/or determine some finite answer (this is very much about finite answers) - it's more that the teacher directs the hunt until he or she hears or sees the answer. It's very much whole group instruction with individual seatwork to determine "mastery" of the direct instruction. The definition of "tracking" is different for students. When the students track, they literally must shift their whole body to face the speaker - it's a rather robotic movement to observe. I think about sitting in meetings and how teachers respond when someone speaks - I don't believe I've ever seen an entire group of adults literally shift all their bodies to turn and listen to someone speak - and I definitely haven't seen it happen in unison.

There is a lot of unison in body movement and speech. Some of the teachers snap their fingers to demand all students say a word at the same time. Teachers will ask all students to repeat something like, "adverbs end in -ly." There were some moments where children were reprimanded and you could hear the teacher saying quietly "Laughing is ten dollars." or "I'll call your mother." If I were a child in one of those classrooms I would positively have exploded under the pressure of keeping my body still and my voice still. All students must be sitting up very straight. Many classrooms have the students folding their hands on the desk at all times - and if they raise their hand, they very quickly rush the hands back to folded position when they are done answering the question. When students raise their hand they are praised for how high and straight the arm is. If they praise a student they will often ask the whole class to repeat a phrase like, "Way to go, you!"

I can't sit still for more than ten minutes in a meeting before I must shift my body. If I am required to sit still for too long I ultimately feel very agitated. I wonder how the children feel? And how does this impact how they act when they are finally able to leave school?

All the classes are mainly children of color in the 46 videos I have observed so far. Out of the 46 videos there was only one video in which the children did not wear uniforms. I wonder, where are the wealthy districts in suburbia in these videos? Has this been tried out at Sidwell?

There are all sorts of whole group movements like banging on the desk or doing rock paper scissors all at once to determine an answer to a multiple choice question. Hand gestures are used continually to replace actual speech.

I have grave concerns about this book being used in any school as a model of techniques which support student learning. The fact that I have to explain this in a blog clearly signals a very sad period of time in the history of public education in our country. There is no room for student learning styles in terms of how students sit, talk, or process their learning using these techniques. There is no respect for culture - some children come from cultures in which eye contact is actually disrespectful. There is no respect for specific learning needs of children - what about the child who does not process quickly, yet is required daily to participate in the gut wrenching practice of cold calling (in which a teacher rapid fires questions at random children with no think time for the child). These strategies are absolutely detrimental to the second language learner or the child with learning disabilities as there is no scaffolding or additional supports to meet their needs. Children will simply become compliant or..... they will revolt, and then, they will be asked to leave the school. We must remember, few charter schools accept all children and these techniques come straight from charter schools. Charters are also excellent at counseling children out of the school. There is not a single video I have observed yet that shows children independently moving around the room. The children move like robots and the teachers dictate their every move.

Lemov believes that all these techniques create efficiency and therefore better use of time for students to reach "mastery." What I observe is a large amount of time wasted parroting motions and words that require minimal thinking but 100% compliance. I do not observe any authentic learning. The children are expressionless. In a classroom of vibrant learning you can feel the buzz and hear the buzz of learning. These classrooms feel more like boot camp.

As an educator I have a vast array of approaches I use to support children. My bachelor's is in Elementary Education and my master's is in English as a Second Language, so I understand clearly the many scaffolds and teaching methods that can be used to meet the needs of a diverse group of students. Yet, in these videos of diverse classrooms, the only approach I have observed is whole group direct instruction.

Where are the chatty children who are engaged in learning as they lean over a project or book? Where are the smiling children? Where are the excited children who are bubbling over with information about their learning, their friends, their family and their school? And where are the sad children who need the extra moment to talk quietly with the teacher about how they were up all night due to a parental fight? The children have no emotion. After watching 46 videos of children with absolutely no expression on their faces - minus only six children who let out a brief smile or laugh - I literally wanted to cry.

There is a reason I am absolutely livid over this book. There is a reason I am angry that Colorado - and the rest of the country - is allowing this book and the Relay Graduate School to infiltrate their schools. When I read the book and watch the videos, all I can think of is fascist, racist times in history in which children were harmed. Corporate education is devouring our children - specifically - our neediest children. It is gut wrenching to watch the students in these videos. I know what is possible in a school community - a school where vibrant learning occurs and students and teachers are engaged - with purpose, passion and humanity. Sadly, the strategies in this book adhere to very direct instruction and dictatorial behavior models which strip children of their identity and culture - all in the name of high stakes tests scores. There is no equity here. There is no justice for children.
http://www.pegwithpen.com/2015/09/understanding-teach-like-champion.html (see blog post for embedded links)

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