Securing Accommodations for College Admission Tests

Within the last decade, the disciplines of cognitive science and neuropsychology have exploded thanks to new technology and revelations about the structure and function of the human brain. We now know that human brains have different developmental trajectories that affect our learning preferences and the speed at which we process and encode information. This knowledge has had a huge impact on the field of education, compelling educators to individualize their teaching in accordance with the diverse neurological profiles of their students. Due in part to emerging notions of neurodiversity, it is no wonder that students are more frequently obtaining accommodations in school and on standardized tests. In fact, in 2013, ACT approved almost 90% of requests for accommodations by test-takers – 4% of all individuals who took an official test. Similarly, out of the total number of test-takers who took the SAT in 2013, nearly 40,000 received some sort of accommodation. In this post, we will examine popular test-taking accommodations for college admissions tests and map out the process of applying for accommodations. We will also consider implications for test prep and return to the topic of neurodiversity and the de-stigmatization of learning disabilities (LDs). A Menu of Test-taking Accommodations For both the SAT and ACT, typical accommodations include extended time, computer use for essays, extra and extended breaks, and reading and seeing accommodations. These accommodations are usually recommended for students with mild to moderate LDs, including ADHD, anxiety, and slight visual processing issues. Students with more severe LDs, including major visual impairment, dyslexia, and dyscalculia, may have access to readers, scribes, and large-format test booklets (to name a few). There is an incredible spectrum of potential accommodations for students with LDs; and when families send in their request forms, they can be highly specific in the sorts of accommodations that will be most beneficial to their kiddos. Even if their initial requests aren’t granted, families – and their professional team of psychologists, school administrators, and teachers – can appeal and submit additional documentation to secure the desired accommodation (we’ll return to this topic later). The Nuances of Extended Time Because extended time is the most common accommodation granted by ACT and the College Board, it’s worth a closer look. As it was mentioned before, students with mild LDs are usually permitted 50% extended time on the SAT and ACT; however, the nature of extended time is differently administered by the College Board and ACT. For one, 50% extended time on the SAT typically means that students will have time-and-half to complete each discrete section of the exam. Testers are not permitted to move ahead if they finish a section early, nor are they able to review previously completed sections. In other words, extended time on the SAT is not self-directed. Ultimately, this means that students must sit for over 6 hours of test-taking in a single day – a harrowing prospect for those with distractibility issues. In contrast to the College Board’s application of extended time, the ACT permits self-directed extended time. For instance, students who receive 50% additional time are given 5 hours to move through the multiple choice portions of the test and may finish the exam prior to the full allotment of time. They are then given 45 minutes to complete the optional ACT essay. It’s important to note that extended time does not necessarily apply to breaks between sections. If a student would benefit from additional or extended breaks rather than extra testing time, it’s important that the accommodations request specifies this and includes the appropriate documentation. Although extremely rare, a small number of qualified applicants are granted 100% extended time, or, ‘double-time.’ For the ACT, double-time is akin to the holy grail of accommodations. Students who receive it are often able to take the test across multiple testing days, one section administered per day. As you can imagine, students taking the ACT across several sittings are spared from the mental fatigue induced by many hours of testing. The Necessity of Documentation In order to qualify for an accommodation, families must submit evidence of a diagnosed LD and a history of LD-specific support utilized by the school. Students who are most often denied for accommodations: 1) have formal documentation for very recent diagnoses, 2) do not receive school-based support, 3) have outdated documentation, or 4) demonstrate stellar performance in school without additional support. For students enrolled in public school, families work in collaboration with a school psychologist and the school disability coordinator to obtain psychological testing, evaluate the results, and enact interventions that are outlined in either an Individualized Education Plan (IEP) or 504 plan. Because private schools are not obligated (or equipped) to administer testing, parents of students at these schools often seek independent evaluations from licensed neuropsychologists. The College Board and ACT clearly map out the documentation needed in accommodations requests. If a psychological report is required, ACT states that the report can be no more than 3 years old. The College Board, however, will accept reports that were conducted 5 years prior to the request. If testing does not occur until adolescence, it is recommended that students wait until they are 16 and are assessed on adult-scaled measures (e.g. the WAIS – the adult version of the popular child IQ test, the WISC). The results of adult-scaled tests can later be used to secure disability services in college, whereas students with assessments prior to age 16 must undergo the rigmarole of re-testing to qualify. The Application Process and Timing of Requests For most students – especially those attending public school the request and all of the attached documentation will be submitted by the school disability coordinator. Private schools will often have a designated ‘LD Specialist’, typically in their college counseling offices, who will physically complete the request. The College Board has an online application whereas ACT requires paper-and-pencil forms. The optimal moment for submitting requests depends on 1) the test date that the student is targeting, 2) her current grade level, and 3) the turnaround time of the College Board and ACT. For most students, the first official SAT or ACT is taken during junior year, usually between the months of February and June. Students requesting accommodations will want ample time between the request submission and the registration deadlines of the tests. This is especially true for SAT-takers, who will not receive a response from the College Board until 7 weeks after the last piece of documentation is received. Any lingering documents that make their way to the College Board after the initial request will reset the timer and greatly delay the process. ACT is a bit more forgiving in their responsiveness, notifying families of approved accommodations within 4 weeks of the request. After reviewing applications, ACT will send a letter to the student that will list approved accommodations, or, will explain grounds for rejecting the application. The letter contains a reference number that will enable the student to register for the ACT and select a testing site that is equipped to handle the student’s testing needs (e.g. a private room, extended time with other students, multi-day testing in a single location, etc.). Similarly, the College Board sends students a Services for Students with Disability (SSD) number, which is valid for all College Board exams, including the SAT, SAT Subject Tests, PSAT, and AP exams. As a rule, if students are aiming to take the ACT during the fall or winter of junior year, they should apply for accommodations during June of 10th grade. Test-takers shooting for the fall SATs or PSAT should apply for accommodations earlier in the spring of 10th grade (March through May). The Appeal Process Should the accommodations request be rejected, families and schools may appeal the rejection by submitting additional documentation, letters from specialists that reinforce specific accommodations, or by undergoing further testing to meet the evaluative criteria of the testing agency. As it was mentioned earlier, there is also a chance that the accommodations granted do not fully meet the testing needs of the students, or, they make the exams even more arduous (e.g. ADHD and too much extended time). If there is any concern about rejection, especially if a student only recently obtained testing, or, if the school has no history of providing accommodations to the student, it’s best to anticipate a rejection and build in extra time for an appeal. Considering Test Preparation Compass recommends that students know about potential accommodations prior to taking practice tests or delving too deeply into prep. We offer proctored practice tests with extended time in our Northern and Southern California offices along with a short list of other accommodations which allow us to accurately predict performance on official tests and create more individualized plans for preparation. By having a full understanding of students’ LDs and necessary accommodations, our tutors are better able to adapt their teaching methods and curricula to students’ learning profiles. Taking more frequent breaks, aligning lessons with students’ preferred learning modalities, and emphasizing tactics for combatting test anxiety are examples of strategies that our instructors can incorporate into sessions when appropriate. Final Thoughts: Removing the Stigma of LDs Although we often see families jump for joy when the right accommodations are approved, we realize that students may have mixed feelings about receiving ‘special treatment’ on tests. Teens are sensitive to qualities that make them different from their peers, especially in the case of LDs, which are commonly (and wrongly) construed as deficits in intellect and ability. As educators, it is our duty to de-stigmatize LDs by teaching families about neurodiversity – the manifold developmental trajectories of the brain – and helping students understand that every mind has its respective strengths and areas of growth. It just so happens that college admissions tests favor a particular kind of brain, one that is skilled at quick-processing, focus, and resilience under pressure. These skills come easily to a small fraction of students, but for others, particularly those with LDs, they must be developed and scaffolded with the support of accommodations. Students who are able to clearly identify their learning needs, remediate them, and advocate for available support are not only likely to perform highly on standardized tests; they are primed for success in college and in their future careers. For more information about applying for accommodations, or, general questions about test prep, please contact a Compass director. You can also email the author of this piece, Matt Steiner, at matt@compassprep.com.

How to Write a Persuasive Essay

How to Write a Persuasive EssayWriting a persuasive essay is the most important part of writing a paper. A persuasive essay has to tell the reader everything that you have to say and convince them to read your paper.The persuasive essay will show the readers that your reason and facts are better than their logical argument and evidence. You need to have an argumentative essay written so that you can explain and convince your readers. The problem with writing a persuasive essay is that you will be competing with other persuasive essays that were written by many other students. Writing persuasive essays is the most competitive part of writing a paper.One way to overcome this competition is to make a persuasive essay that is very unique and original. You have to think of a way to connect the reader to what you are trying to accomplish in your essay. There are many ways to connect with the reader. The first way is to analyze your topic, then write about your reasoning why you believe you r topic is worth debating.Another way to connect the reader to your persuasive essay is to write about how it impacts your life. If you will talk about your experiences and how you came to the conclusion you are sharing, you will be much more persuasive. It is not enough to just present facts; you also have to convince the reader that you are right and what you are saying is fact.The third way to connect your persuasive essay is to show how your way of thinking is different from what everyone else thinks. You can use anecdotes to convince the reader why you are different from the crowd. If you use your own experience and thought process to show why you are better than other people, you will be more persuasive than if you use an outside source.A persuasive essay will be more persuasive if you use these three methods. It will be hard to write an argumentative essay because you will have to convince the reader that what you are doing is better than what everyone else is doing. You need to make sure that you are linking your arguments to your emotions and how you feel in the moment.By using these methods, you will become more persuasive and end up winning more arguments when writing a persuasive essay. You will be in a stronger position when you argue your points. This means that you will be making more persuasive arguments, which will impress your professor. Writing a persuasive essay requires more than just proofreading your essay and choosing some points.

The Animal Welfare Act Is The United States - 1659 Words

Think of a small or large innocent animal, dying a painful death, all because we humans want to advance and need something to test on. They are only being minimally protected because they are seen as just our â€Å"property†. Testing on animals is not the problem, the extremely inhumane way that they are being treated is. Many animals of different species sit in cages of research facilities, instead of being out in the wild where they belong. They are forced to endure multiple tests every day. These tests are harmful, sometimes even deadly. The only thing slightly protecting them is the Animal Welfare Act, But it does not provide very much protection. Those who are supporters of this movement are usually criticized by people who do not†¦show more content†¦Research facilities also have very few restrictions on lab workers. The Animal Welfare Act does not give the facilities any restraints for their employees. â€Å"No legal requirements for researchers to consider a lternatives to their use, nor provide them with relief from the pain, distress, or even the most basic slanderers of care.†(Neavas1) â€Å"Though most are qualified scientists, they do not have to provide a quality of care which is inhumane to the animal.† (Neavas 2) The laboratories that these animals are stuck in may be unsafe and unclean. The animals live in small, dark cages and are forced to live that way their entire lives. Animals should be able to ram free and should not be kept locked away in cages until they are needed. â€Å"Under the Animal Welfare Act, research institutions are required to establish an Institutional Animal Care and Use Committee â€Å"to oversee and evaluate all aspects of the institution’s care and use program.†(Neavs1) â€Å"While the United States Department of Agriculture and the Animal Welfare Act and Institutional Animal Care and Use systems purport to ensure† humane â€Å"treatment of animals in labs, the sys tem is plagued with loopholes that leave animals

Latin Women in Film - Free Essay Example

Sample details Pages: 9 Words: 2675 Downloads: 2 Date added: 2019/03/19 Category Art Essay Level High school Tags: Film Analysis Essay Did you like this example? Introduction Filmmaking, at its core, is a storytelling medium. Whether it is fiction, non-fiction, linear, non-linear, feature or documentary film, the goal with film is to tell a compelling story of an intriguing subject. That subject is often a person, event, place, or place in time. The amazing thing about the film medium, if executed properly, is that it can tell us a story about someone we think we have known through stories, written works, and history books and make us realize we may have not really known the person at all. What is even more impressive is it can tell us a story of someone we knew absolutely nothing about and make that much more of an impact in our knowledge. This is the case for films that are made about Latin Women throughout history that are either highly known, or barely known by the general population and/or history scholars. Films such as Lucia (1968), Camila (1984), and Frida (2002) are motion pictures that tell the stories of revolutionary Latin Women and Important historical events through women’s perspectives from various regions in Latin America that include Mexico City, Argentina, and Cuba. Don’t waste time! Our writers will create an original "Latin Women in Film" essay for you Create order Some of these stories are well known, or at least are thought to be well known, such as Frida. However, the stories of Camila OGorman and the historical situations analyzed in Lucia are less known throughout popular history, especially in the United States and these film’s goals are to broaden the audience to hear and know these important stories of these revolutionaries. The non-fiction narratives of Camila O’Gorman and Frida Kahlo, along with the realistic fiction narratives of all three Lucias show examples of women who challenged societal norms of all sorts and revolutionized their times because of it. This is shown through the film medium by their respective motion pictures. Lucia (1968) is a motion picture written and directed for the screen by Humberto Solà ¡s. Solà ¡s, a filmmaker from Havana, Cuba, has directing credits for popular Cuban films such as, La Huida (1958), and Cantata de Chile (1975) . Lucia aims to highlight different periods in Cuban History over 6 decades in order to show the gradual change of women in society through the times in the perspective of three different women, all named Lucia, in their respective period in time. The first part of the film depicts who we know as the first Lucia or Lucia I, portrayed by Cuban actress Raquel Revuelta, set in the beginning of La Guerra de Independencia Cubana or the Cuban War of Independence; 1895. This segment of the film shows Lucia, a member of the upper class, who’s mind revolves around the war, specifically the rebel army because her brother is a soldier in that army. She worries for him, of course. Like most women in the late 19th century, Lucy’s mind also revolves around who and when she will marry. Because of her brother, her feelings towards the war and politics are negative. With that said, she meets a man, a married man, named Rafael (Eduardo Moure) who she falls madly in love with, she elopes and begins to build a life with him. Lucia is eventually betrayed for information of her people and the war by the one she loved. Because of this, Lucia’s brother ultimately dies in a raid. This shows just how involved society truly was for the people who lived in the crossfire of Cuba and Spain during the war, even those who didn’t want anything to do with it. The second story, or Lucia II, takes place in 1933 Cuba. Lucia, now portrayed by Eslinda Nuà ±ez, shows a different class as Lucia comes from much more humble beginnings from a family of the middle class. This is a life Lucia is not content with and seeks more. This is when Aldo, a young man after the revival of the revolution, comes into play for Lucia. Seeking a fuller and more exciting life through this movement, Lucia and Aldo find tragedy when Aldo is murdered for his efforts in overthrowing the dictator of that time, Gerardo Machado. This depiction of 1930s Cuba shows the political involvement that can be ignited with the desperation and limitations of the middle class such with Lucia. The third part of Solà ¡s’ Lucia or Lucia III contains the backdrop of Cuba in the 1960s. Contrary to the other Lucias who are searching for love and/or marriage this Lucia, portrayed by Adela Legrà ¡, is newly married to Tomas (Adolfo Llauradà ³). I feel as though this chapter was the most effective in showing the dynamics of women in the revolution. What’s most fascinating about it is that it decides to do it through comedy. Tomas is a man’s man who refuses to let his wife out of the house (out of conservative society’s societal norms for women). T hrough comedic depictions such as Tomas nailing the windows and doors shut for comedic effect, it is seen what the symbolism behind it is comically nudging at a man’s reluctance at the time to be part of a revolution that is already happening. Tomas’ traditional ways show the grasp this character has to the past. When Lucia leaves him and is defended by her fellow females, it’s a clear depiction of power in numbers for what’s happening in the revolution. Traditional v Modern Times. The film ends in a Federico Fellini-esque type of way by simply allowing the argument between the two go on as it fades out. This is very effective to show that the argument would, simply, go on. Though Lucia was a fictional portrayal I felt this film was truly affective in its attempt to depict this evolution for the women in Cuba. I felt it related to the readings from Margaret Randall’s book, â€Å"Haydà ©e Santamarà ­a, Cuban Revolutionary: She Led By Transgression†. Haydà ©e Santamaria’s journey through the Cuban Revolution felt eerily similar to the final two Lucias of the film, with a stronger parallel to Lucia III. Santamaria’s humble beginnings from immigration to a sugar refinery and then to become a revolutionary, high ranked one (for women at the time) at that feels similar to the drive that was sparked in women to want to pursue what they did in Lucia. Of course, Santamaria would have more of an impact on a grander scale, but I think it is important to note that this is what’s beautiful about this film. It is depicting the everyday, common woman. It’s not showing the legacy of someone who made a grand impact but instead showing the drop of water that would make part of the ocean to create the tidal wave for change that was the Cuban Revolution. Camila (1984) is a film written by Marà ­a Luisa Bemberg, Beda Docampo Feijà ³o, Juan Bautista Stagnaro and directed by Marà ­a Luisa Bemberg, respectively . The film targets similar themes to the first part of Humberto Solà ¡s’ Lucia. The story of Camila takes place in Argentina in the late 19th century. The narrative follows a young, high class woman who isn’t happy about her current existence despite her social position, this is Camila O’Gorman. When she meets a Jesuit priest, who also comes from the rich class but decided to create his own identity far from his family, she falls in love. Camila and Ladislao create a wonderful life where their dedication focuses entirely on helping others. Shamefully, they are eventually found and arrested. This film helps viewers understand that the desire for societal change, even in the higher class, resonated, not just in one region or another, but throughout all of Latin America in all kinds of social classes. Women, like Camila, searched for a more fulfilling life. What I enjoy about this portrayal of Camila O’Gorman is that it really highlights that the desire of a fuller life came internally by her, an original thought, and not by something she saw necessarily. The talk of the revolution brought by the war circulated, but it wasn’t her key focus. Her key focus was to challenge what she knew as life in order to create her own happiness. The story of Camila and Ladislao is a legendary story in Argentina, I’d argue that it’s their Romeo and Juliet. What’s fascinating to me is that this story revolves heavily on how Camila broke from her reality at a time that made it impossible considering the backdrop of Argentina at the time. This would include the Dictatorship of Juan Manuel de Rosas, her aristocratic family, as well as the constant societal norm that was to marry two people of wealthy descent almost as a business deal merger. Marà ­a Luisa Bemberg’s Camila is an exceptional example of how telling someone’s story could impact not just the audience it’s intended for but also people who have never heard the story. It is important to note that the film was executed by a Latin American FEMALE Filmmaker, something not so common in Cinema in the 1980s. Camila went on to be nominated for the Academy Award for Best Foreign Language Film in the United States garnering an audience for this narrative in places beyond Argentina. The film is still considered a film classic in Argentina today. â€Å"Frida† (2002) is a film based on the book â€Å"Frida: A Biography of Frida Kahlo† by Hayden Herrera. It was written for the screen by Clany Sigal, Diana Lake, Gregory Nava, and Anna Thomas. The film stars Salma Hayek as Frida Kahlo and Alfred Molina as Diego Rivera and was Directed for the screen by Julie Taymor. Taymor has directing credits that include Titus (1999), The Tempest (2010), and Across the Universe (2007), a musical based on the music and stories of the musical sensation, The Beatles. July Taymor’s Frida tells the story of Mexican artistic, political, and sexual revolutionary, Frida Kahlo. The film is heavy in its depiction of Frida’s apprenticeship and relationship to husband, Diego Rivera, humanizing two of the greatest artists in Mexican history and art history. The film not only draws from Herrera’s Biography of Frida, but also from Diego Rivera’s autobiography, â€Å"My Life, My Art: An Autobiography† in certain instances. Not only does the film focus around Frida’s artistic aspirations, but also targets her political activism and standpoints, her different relationships and affairs, as well as her thoughts and known experiences in sexuality. Frida shows just how Frida Kahlo challenged gender and societal norms. We must remember that this film is depicting a woman as an artist and an individual set in Mexico in the mid-twentieth century, particularly the 1920s-1940s. This was why Kahlo’s life was extraordinary and larger than life. The film does not shy away in showing these things. In one of the earliest scenes in the film, we see a young Frida at her sister’s wedding dressed in a man’s gray-flannel suit. Throughout the film, the audience truly does gain a taste of sexual liberation. The film shows just how sexually driven Frida was in a time where Catholicism thrived in Mexico and prudency was honored, in public society at least. In the film, we see the affairs Frida had, with historical figures such as Diego Rivera, who later came to be her husband, Leon Trotsky, a Russian politician, and mentions of some more. Having relationships with multiple men was something that was, certainly, frowned upon in that area in that era. What is even more striking is that the film also points/nudges to Frida’s sexual experimentation with women, a societal issue that was, also, not accepted as far as bi-sexuality and homosexuality went in those times. This is considered to be revolutionary in the area of sexuality and sexual norms in Mexico. Political elements also need to be discussed when it comes to Frida because she was also considered a political participant/activist, something women were engaging in presently . Frida stood out in the midst of this. Frida challenged social norms in search for artistic, political, and sexual expression. Frida was proudly part of the Mexican Communist Party for quite some time before leaving when the party shunned her husband from the party. When entering the US, they joined the Left Opposition party under Trotsky. Though Stalinists were constantly after Frida and Diego, (and Trotsky), they would fight for the working class through their new party affiliations. Frida’s political involvement was one that women paid attention to in Mexico; she is a renowned example of women revolution and feminism, today. This film received mostly positive reviews with critics being enveloped in the beautiful aesthetic as well as the engaging storyline . The film intentionally was slated for an independent/art-house release to only five theaters in the United States but through its gain in popularity, ended opening to 238 theaters worldwide. The film grossed over fifty million dollars in the box office. The film’s critical and box office success pushed for a bigger audience to be exposed to the life of Frida Kahlo. According to the UCLA’s â€Å"Hollywood Diversity Report†, the Degree of Underrepresentation charts indicate that in 2015-2016 Women Leads in Film are 2 to 1 and Women Directors are 7 to 1. The scarcity of Latin American Stories, Latin American Leads, and Latin American Filmmakers still exists today. So it is important to acknowledge those films that do exist and have made an impact. I feel as though films such as Lucia, Camila, and Frida sparked a conversation in their time are clear examples of telling compelling stories of revolutionary women through the art of cinema so that a larger audience are able to know about them. These depictions may be limited in the time frame that a motion picture is set to, but nevertheless are impactful to those willing to see them. I believe that cinema can definitely be a reflection society in its time, these films are great examples of that for generations to come. Notes Humberto Solà ¡s, dir., â€Å"Lucia,† Havana, 1968. Marà ­a Luisa Bemberg, dir.,†Camila† Argentina, 1984. Julie Taymor, dir., â€Å"Frida† United States/Mexico, 2002. Humberto Solà ¡s, dir., â€Å"Lucia,† Havana, 1968. Stephen M. Hart, A Companion to Latin American Film, Woodbridge, Suffolk, UK; Rochester, NY, USA, 54. New World Encyclopedia Contributors, â€Å"Federico Fellini†, 4 Apr 2017. https://www.newworldencyclopedia.org/p/index.php?title=Federico_Fellinioldid=1004121 (Accessed on 11/14/2018) Marà ­a Luisa Bemberg, dir.,†Camila† Argentina, 1984. Hart, A Companion, 107. Julie Taymor, dir., â€Å"Frida† United States/Mexico, 2002. Jocelyn Olcott, Mary Kay Vaughan, and Gabriela Cano, Sex in Revolution: Gender, Power, and Politics in Modern Mexico, (New York, Duke: 2007) A.O. Scott â€Å"Film Reivew; A Celebrated Artists Biography, on the Verge of Being a Musical.† New York Times 25 Oct. 2002. Darnell Hunt, â€Å"Hollywood Diversity Report† 27 Feb 2018, www.socialsciences.ucla.edu, 2018, socialsciences.ucla.edu/wp-content/uploads/2018/02/UCLA-Hollywood-Diversity-Report-2018-2-27-18.pdf (Accessed 11 Nov 2018) Bibliography Canby, Vincent. â€Å"Screen: CAMILA, STORY OF LOVE IN ARGENTINA.† The New York Times, 15 Mar. 1985, www.nytimes.com/1985/03/15/movies/screen-camila-story-of- love-in-argentina.html. Hart, Stephen M. A Companion to Latin American Film. Woodbridge, Suffolk, UK; Rochester, NY, USA: Boydell and Brewer, 2004. Hunt, Darnell, et al. â€Å"Hollywood Diversity Report.† www.socialsciences.ucla.edu, 2018, socialsciences.ucla.edu/wp-content/uploads/2018/02/UCLA-Hollywood-Diversity-Report-2018- 2-27-18.pdf. New World Encyclopedia contributors, Federico Fellini, New World Encyclopedia, 4 Apr. 2017 ,https://www.newworldencyclopedia.org/p/index.php?title=Federico_Fellinioldid=1004121 Olcott, Jocelyn, Mary K. Vaughan, and Gabriela Cano. Sex in Revolution: Gender, Politics, and Power in Modern Mexico. Durham, NC: Duke University Press, 2007. Randall, Margaret. Haydà ©e Santamarà ­a, Cuban Revolutionary: She Led By Transgression. Roberts-Camps, Traci. Latin American Women Filmmakers. University of New Mexico Press, 2017. Sayre, Nora. â€Å"Screen: Solass Lucia.† The New York Times, The New York Times, 1 Mar. 1974, https://www.nytimes.com/1974/03/01/archives/screen-solass-lucia.html Scott, A. O. â€Å"Film Reivew; A Celebrated Artists Biography, on the Verge of Being a Musical.† The New York Times, The New York Times, 25 Oct. 2002, https://www.nytimes.com/2002/10/25/movies/film-review-a-celebrated-artist-s- biography-on-the-verge-of-being-a-musical.html

A Speech On My Dad s Baseball Cards - 1236 Words

As I was using my bright pink pencil to write everything my strict teacher was writing down on the board, the loud aggravating bell rang. Which meant it was time for lunch. As the rancid smell of Mrs. Stone’s perfume came near I knew that Regie, Martie, Dan and I were going to be dismissed too line up for lunch. The expired milk smelt so awful sitting next to my squared piece of pizza, I gaged. I scarfed down the pizza feeling like I had to throw up. â€Å"Emma what are you going to do for the presentation in social studies?† asked Martie. â€Å"I don’t know, maybe my dad’s ancient baseball card collection.† I responded. â€Å"Sounds..† The bell rang. Lunch was over. As I was walking on the holy and cracked sidewalk to get home I decided that I would do†¦show more content†¦As I was taking notes over every single one their was a long break before I heard my dad say â€Å" I don t remember having this card or this player. My dad got up from his rocking chair and told me he was going too start making dinner. I reached into my big green bag and grabbed the computer, so I could google the player. As my fingers touched the rubber of my keypad cover I searched Frank Keppler the base ball player, and found 328 websites that related to my search. As I was getting towards the last of the options google gave me I looked at my thin black clock on my computer it said 11:47. I knew it wasn t good because I still had math and E.L.A too do. I was stressing out about everything I had to do. So I took a 13 minute break. One minute for every year I have been alive. Walking down the stairs very quietly trying not to wake anyone up because if I did I would have everyone yelling at me. As I moved all my stuff too my room I heard my mom s soft and sweet voice say â€Å"The cats dancing on the table.† I was thinking that she must of been dreaming a very detailed dream. Once I was settled in my room I noticed the hole house w as pitch black My computer screen was the only light in the entire house. Looking at all these dumb web sites I was having a breakdown, because I knew this card had to be important if my dad knew nothing about it because he s like a walking encyclopedia of baseball. My very last place I checked out was ebay. My moms friend Josh solled

Security Administration, Inc. - 1359 Words

Kaplan University IT286 Unit 9 Jennifer Polisano To: Mr. Ross, CISCO Web Site 101 West Branch, IN 55545 From: XXX Security Consulting, Inc. Mr. Ross, As we discussed previously, this document includes our recommendations for just a few of the security policies that would be useful for your organization. These recommendations are written in a form that will be approved by you and your management and are intended to demonstrate what is needed, not how the policies will be implemented. Procedural documents which will provide step-by-step directions on the implementation of the policies will follow the approval. Due to the time restraint and the increasing focus on vulnerabilities in your security structure, this document only covers four of the areas that will eventually have written security policies. Please be aware that the information contained in this documents is confidential and should not be circulated to anyone who does not have a security position with your organization. Based on our assessment, these four areas will require security policy approval: I. Authentication Authentication – the use of a system to allow user’s access to a computer or network based on three factors: something you know, something you have and something you are. Purpose: A process used to identify someone or something and determine, if they/ it are who they have declared themselves to be. This allows users the access to the files they are meant to have and noShow MoreRelatedAirport Security: Why Safety Is More Important Than Privacy1453 Words   |  6 PagesSarker-3 Airport Security: Why Safety Is More Important than Privacy Since September 11th, people have become concerned about airport security. The millimeter body scanner is one of the outcomes of people’s concerns. The scanner creates a full body image that can reveal any suspicious element that may be concealed on their person. While this type of image can calm some fears, the scanner is now a controversial issue. 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Essay on How Television Impacts our Children - 1123 Words

Television has been around for over a half century. The first view of TV in the United States took place at a Worlds Fair in 1939, but standard television broadcasting did not begin until the late 1940s. Worry about the influence of television on children began when TV was in its early years. Early on in the 1950s, educators and parents began to ask legislators to do something about the amount of violence on TV. This concern still exists today. Parents have reservations about the quality of television programs intended for children, the amount of advertising aimed at young viewers, and the manner in which television depicts men, women and ethnic minorities. There are also apprehensions about the effects of the amount of time that†¦show more content†¦Children who watched the violent shows were more likely to strike out at playmates, argue, go against authority and were less willing to wait for things than those children who watched nonviolent programs. Studies have also foun d that children who watched many hours of television violence when they were in elementary school were inclined to also show a higher level of aggressive behavior when they became teenagers. On average, five violent acts are committed during 1 hour of prime time television programming and 20 to 25 violent acts occur each hour on Saturday morning childrens programs. Before they leave elementary school, children who watch the typical amount of TV will see about 20,000 murders and more than 80,000 other assaults. Thats about 100,000 violent acts witnessed by children before they become teenagers. Some of the violence will show on realistic programs and some will show on cartoons. Even though scientists are certain that children can pick up aggressive behavior from television, they are also sure that parents can limit some of these effects. Another concern among parents is the amount of advertising aimed at young viewers. 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