Monday, December 19, 2016

Put Students, not Achievement, First

There are multiple reasons for the Elementary and Secondary Board to reject the request of Achievement First, a private corporation controlled by a private board, to increase the number of charter schools in Providence:  fiscal, educational and cultural.  The fiscal logic is overwhelming.  RIDE estimates that the Providence Public Schools will lose about $35 million dollars a year if Achievement First expands to 3,000 students.  When this taxpayer money is removed from public education into the private sector, it will also be removed from public oversight.  Privatization of public services replaces the public interest with private interest and control. 

From an educational perspective, there are two main problems.  First, according to InfoWorks, 28% of AF teachers at the Providence Mayoral Academy are not considered highly qualified, versus 3% of the state.  RIDE has developed a rigorous teacher certification system that AF has been allowed to ignore.  Second, while AF touts higher scores on standardized tests, these results are based on a narrow curriculum mostly confined to preparing for tests.  As a former AF teacher from Connecticut wrote in a recent blog, “It is much easier to teach behavioral management tactics than to foster deep passion and knowledge about an academic field.” 

Related to that is Achievement First’s focus on discipline.  The 2014-2015 rate of suspension for AF was 7.8 elementary students per 100, which is twice as high as the statewide average of 3.8 per 100.  According to the Civil Rights Project (2016), “there is a wealth of research indicating that the frequent use of suspensions…contributes to chronic absenteeism, is correlated with lower achievement, and predicts lower graduation rates, heightened risk for grade retention, delinquent behavior, and costly involvement in the juvenile justice system.” 

Even more disturbing is the lack of cultural responsiveness in a school where most students are youth of color.  In Linda Borg’s feature article two weeks ago, a senior leader at AF was quoted as saying, “We live in a white culture, so it’s important to learn these skills—making eye contact, shaking hands, speaking loudly and clearly.” Appropriate expectations for behavior are essential to student learning, but these behaviors should not be coded as white, nor should they be narrowly defined.  Students from diverse cultures have diverse cultural norms.

Finally, any expansion of schools should be based on multiple measures, which are currently unavailable on InfoWorks.  As a purely business proposition, it makes no sense to expand when there is not enough data to determine whether these schools are successful. Test scores are not indicators of child well-being, and the limited data available on the two AF schools in Rhode Island do not indicate that AF is significantly better than the rest of the state in most measures.


In order for significant positive change to happen in public schools, state and district leaders need to acknowledge that results will not change unless conditions change.  Blaming students for not meeting standards and teachers for student failures is misguided.  Research shows that poverty negatively impacts child well-being and ability to learn.  Furthermore, using test score data to measure student outcomes widens—not narrows—the opportunity gap.  This state is full of educators, researchers, parents and youth who are eager to find creative and culturally responsive ways to support learning for all children, and there are plenty of local and national public school success stories that can serve as models.  

Wednesday, December 14, 2016

My Post-Election Recovery Playlist


It’s been a month since this country, or to be precise, the Electoral College, broke my heart and elected Donald Trump president.   Solace has come in the company of like-minded others, which led me to the mantra of the Civil Rights Movement:  courage, compassion and creativity.  The arts, especially music and poetry, have always been a way to speak truth to power, and a generative place for addressing systemic injustice. 

The relationships among social change, intellectual curiosity and love for humanity generated this playlist.  Accordingly, this group of songs spans decades, crosses genres and weaves beauty, anger and sensuality with the call to provoke conversation and action.    

1.      One Voice/The Wailing Jennys
2.      Ohio/CSNY
3.      March of the Billionaires/Cracker
4.      Enough/The Band of Heathens
5.      I Will Not Go Quietly/Don Henley
6.      Joy/Lucinda Williams
7.      They Want More/Ages and Ages
8.      None of Us Are Free/Solomon Burke
9.      If It Takes a Lifetime/Jason Isbell
10.  Hole in the World/Eagles
11.  Blooming through the Black/Parsonsfield
12.  Find the Cost of Freedom/CSNY
13.  Finlandia/Indigo Girls w/Girlyman
14.  I Wrote a Song for Everyone/Mavis Staples
15.  Bury My Heart at Wounded Knee/Indigo Girls
16.  Blanco Y Negro/DeSoL
17.  My Shot/Hamilton Original Broadway Cast
18.  The Revolution Starts…/Steve Earle
19.  This Land Is Your Land/Neil Young & Crazy Horse
20.  Divisionary (Do the Right Thing)/Ages and Ages

The Wailin’ Jennys tap into the beauty and spirit of human potential, an important place to begin.  “This is a song for all of us/singing with love and the will to trust” reminds us that we all have what Ralph Waldo Emerson called the “Divine spark.”  

Songs 2-5 identify how institutionalized power causes human suffering and political imbalance.  “Ohio” reminds us that what is happening now is nothing new—that song was written in 1970 after the shootings on the Kent State campus“March of the Billionaires” by Cracker is particularly appropriate with Trump’s chosen cabinet.  This sentiment is echoed in “Enough” by Band of Heathens:

You got enough seeds for all your farmers
You got enough mouths for them to feed
You got electricity and coal mines
You got enough poverty and greed        

While Cracker and the Heathens name the injustices, Don Henley offers a clear response in “I Will Not Go Quietly”:

Yeah, I'm gonna tear it up
Gonna trash it up
I'm gonna round it up
Gonna shake it up
Oh, no, baby, I will not lie down

This song riffs off Dylan Thomas’ classic poem “Do Not Go Gentle into that Good Night,”  demonstrating the power of language as protest.

Songs 6-10 speak to the darkness--and the hope--that comes on the heels of disaster.  Lucinda could have spoken for me on Nov. 9:  “You took my joy/I want it back.”   Following that, Ages and Ages sing about how overwhelming it can be to work toward justice.  You could see this vision as bleak, but you could also see it as realistic. Solomon Burke captures this feeling of hopelessness in “None of Us Are Free.”  He sings:

And there are people still in darkness
and they just can’t see the light                                                                                                       
If you don’t say that it’s wrong                                                                                                   
That says it’s right

His roots in 60’s soul have a deliberately gospel feel connecting to the spirituality of the Civil Rights Movement.  By shining a bright light on how “none of us are free as long as one of us is in chains,” he shows the universality of our humanity.

Jason Isbell expands on the theme of being chained in “If It Takes a Lifetime”—whose major chords and contrasting stoic lyrics show the time (a lifetime?!) and patience it takes to overcome one’s demons, whatever they may be.  But ultimately, there’s hope. That’s echoed on a larger scale with the Eagles’ “Hole in the World,” written in the aftermath of 9/11:

They say that anger is just love disappointed.
They say that love is just a state of mind.
But all this fighting over who is anointed
Oh, how can people be so blind?

Ironically, that cataclysmic event united the country in many ways, but unfortunately our designated common enemies—Islam and Iraq—turned out to be false foes.  Perhaps that’s where this current divide resides: not just in economics, but in determining who is standing in the way of the American Dream, real or imaginary.

Songs 11-14 are sometimes sober, sometimes uplifting, sometimes both.  From Parsonsfield’s “Blooming through the Black”:

She's blooming through the black
born of destruction
burned but she's coming back

The next two songs are about patriotism, albeit from different perspectives.  There is the inevitable point where the ultimate loss has to be acknowledged, which CSNY does so beautifully in “Find the Cost of Freedom,” the B side to “Ohio.”  This focus on loss moves to a song of hope for unity, not only in the words but in the harmonies, where the Indigo Girls and Girlyman sing “Finlandia” together.   

Mavis Staples closes this set with a John Fogerty song, “Wrote a Song for Everyone.”

Saw the people a standin' thousand years in chains.
Somebody said it's diff'rent now, look, it's just the same.
Pharaoh spins the message, round and round the truth.
They could have saved a million people, how can I tell you?

 Her version turns this swamp rock masterpiece into a gospel stomp: seeing the truth clearly requires some energy and verve, which Mavis delivers.

Songs 15-16 get at the individual and collective history of the United States: the indigenous and the immigrant.  In “Bury My Heart at Wounded Knee,” the Indigo Girls rock this Buffy St. Marie song, particularly appropriate with what is happening at Standing Rock.  DeSoL take a another approach in bringing a Nuyorican feel to “Blanco Y Negro.”  This song is about how difference shouldn’t make a difference in how we see one another.

Songs 17-19 are patriotic, but not in a jingoistic way.  “My Shot,” from the Hamilton musical, is nothing less than a summons to speak out and speak up for the ideals of democracy.  This call for revolution against the British leads into a modern revolution with Steve Earle singing “The Revolution Starts…Now.”

The revolution starts here
Where you work and where you play
Where you lay your money down
What you do and what you say
The revolution starts now

 Both songs are calls to act—immediately, wherever you are, whatever you do.  Because, as Neil Young channels Pete Seeger, “This Land Is Your Land.”   This 60’s anthem reminds us that those of us who object to the current president-elect are not moving to Canada.  This place and its ideas and ideals, as flawed as they are, belong to us. 

And then there is the last song:  “Do the Right Thing.”  This is more than a call for revolution.  This is a call for love and justice. 


Music has always been a way of responding to our fears—from hymns to gospel to folk to blues to jazz to rock to hip hop.  This playlist covers my many emotional, aesthetic and political responses to the election.  Despair and hope.  Diversity and unity.  Fighting back and building community.  I would love to hear what your playlists look and sound like.  Feel free to respond to this blog and share what has offered you emotional sustenance over the last few weeks.