I Don't Get No Respect!

Total Page:16

File Type:pdf, Size:1020Kb

I Don't Get No Respect! Real Schools Community Members Teacher Practice Article – March 2015 I don’t get no respect! As a kid, one of my favourite times of the week was Saturday mornings. It was a time to take control of the tv and to let the morning cartoons wash over me endlessly. If I was up early enough, it was The Thunderbirds first, perhaps followed by a little Hey Hey It’s Saturday (way back when it was a children’s show) and a procession of quality programming like the Wacky Races, Scooby Doo, Magilla Gorilla, The WonderTwins and of course The Flintstones. But, as we all do, I had a favourite – and it was Jabberjaw. Jabberjaw wasn’t the most popular cartoon amongst my discerning friends but to me he was the king of cartoon characters. I’m not 100% sure of how Jabberjaw earned such high esteem with me. Perhaps it was his enormous bumbling awkwardness I firmly believe that (something I could more than relate to) or maybe it was his infectious “nyuk nyuk nyuk” laugh that I couldn’t quite replicate. Either way, there was a line that Jabberjaw respect is a lot more used in every episode that I couldn’t get enough of. Whenever Jabberjaw was questioned, defied or made to look silly he would eye the ‘camera’ and give a defeated important, and a lot “I don’t get no respect”. Head to https://www.youtube.com/watch?v=EBrHf0I4IgY for a greater, than brief venture back to those Jabberjaw infected Saturday mornings. It’s fair to assume that Jabberjaw didn’t know that he was foretelling an popularity. expression that Teachers worldwide would come to utter despondently in -- Julius Irving staffrooms with monotonous regularity, just a few decades later. As I travel to schools across Australia, I’m often asking if Teachers feel that we have a problem with respect in our schools. Almost unanimously the answer is ‘yes’. The Cheat Sheet Whether it manifests as defiance, a distinct lack of empathy, lying, avoiding Don’t have time to soak in the responsibility, swearing or even threats and aggression – a lack of respect, at least at whole article today? Here’s the an anecdotal level and according to our Teachers, is at epidemic proportions in our schools. big points … It’s also true that schools are far from the root of this problem and that pervasive Respect is big and largely media and helicopter parenting perpetuates continual messages to convincing kids indefinable. that they alone stand as the most important creatures in the world – even though by 2. Many smaller behaviours sit definition they ALL can’t be. beneath the Respect banner. So what then is our role? How then can we contribute to a restored respect in our 3. We have a problem with schools, evidenced by a healthy respect within the inordinate number of relationships Respect in Australian Schools. in a school community? 4. Embed & model the small Well, the first thing that needs to be done is to get clear about what respect really is Respectful behaviours. and how we experience it. This has been explored deeply within Restorative Practices 5. Don’t fall for the trap of research about what the most respected Teachers and Parents do to build and “commanding” Respect. sustain respectful relationships. The research produced a list comprising: Listen Empathise Honest/Integrity Open Respectful Show Interest AITSL STANDARDS FOR TEACHERS Make Time Firm & Fair Encouraging … and you addressed them by reading! Set Clear Boundaries Non-judgemental Acceptance Believe in them Humour & fun Affirming Create a learning environment Be real Apologise – be vulnerable The Big One Then it’s about how we can explicitly weave these behaviours into our practice. While quite informal in nature, it’s clearly the Teachers who have focus and intention in the 4.3 Manage challenging way that they deploy these behaviours who are the most successful in fostering behaviour respectful learning environments. It’s also worth noting that within the list we can’t find the word “command”. It seems But also … that commanding respect might work within competitive systems like armies or 3.3 Use teaching strategies sporting teams but that merely demanding respect the way a dictator might through assumed power within a collaborative system, like a school, just doesn’t cut it … or 3.5 Use effective classroom work. communication 6.3 Engage with colleagues and So it stands to reason that running a hard line about respect and pushing ever harder to extract respect from our students against their will is as counter productive as it improve practice. sounds. The answer to greater respect in our schools is to demonstrate it, model it and embed it as a cultural norm. Of course, there are students who will test our resolve and make it incredibly difficult to stay focused on modeling respect. THIS ARTICLE IS FOR USE BY MEMBER SCHOOLS OF THE REAL SCHOOLS COMMUNITY. IT SHOULD NOT BE DISTRIBUTED TO ANY INDIVIDUAL WITHOUT A DIRECT RELATIONSHIP TO YOUR SCHOOL COMMUNITY..
Recommended publications
  • Here Comes Television
    September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business.
    [Show full text]
  • In This Episode of the Flintstones, the Main Characters Are Shown to Seek Martial Arts Lessons
    In this episode of the Flintstones, the main characters are shown to seek martial arts lessons. The judo master in the scene is depicted as a Japanese man who wears a sinister-looking smile throughout the scene. He offers the characters lessons at supposedly good prices. As he rattles off the offers by ensuring them that they could get "silver medal lessons" for "[a] big bargain, big bargain" and "for a few more measly dollars ... gold medals, diamond medals...," his pronunciations are exaggeratedly shown to be wrong by a mix up between r's and l's and by an obvious difference in the emphasis on syllables. The man's speech is set apart from the other characters' by juxtaposing his differently accented words to the others' SAE pronunciation. Also, the Flintstones and their friends bowed while imitating his accent as if attempting to fit that man's mannerisms. However, this can be seen as making light of the man's characteristics and manners as if they are silly. In this scene, the judo master portrays prevalent stereotypes about Asians. The man's inability to enunciate r's and l's reflect the struggle that many people face in differentiating between r's and l's in English because their native tongues do not make the same distinction. More importantly, the judo master's speech is used to indicate a lack of intelligence, as evidence by Fred's comment, "What does 'et cetera, et cetera' mean in Japanese? Sucker?" which is followed by Barney's response in a tone mocking the Japanese man's, "Oh, that's for sure!" Furthermore, prior to that, Fred had thrown in an unintelligible word in an attempt to imitate the man's Japanese accent.
    [Show full text]
  • Retrofuture Hauntings on the Jetsons
    City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/446 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] de genere Rivista di studi letterari, postcoloniali e di genere Journal of Literary, Postcolonial and Gender Studies http://www.degenere-journal.it/ @ Edizioni Labrys -- all rights reserved ISSN 2465-2415 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello The Graduate Center, City University of New York [email protected] From Back to the Future to The Wonder Years, from Peggy Sue Got Married to The Stray Cats’ records – 1980s youth culture abounds with what Michael D. Dwyer has called “pop nostalgia,” a set of critical affective responses to representations of previous eras used to remake the present or to imagine corrective alternatives to it. Longings for the Fifties, Dwyer observes, were especially key to America’s self-fashioning during the Reagan era (2015). Moving from these premises, I turn to anachronisms, aesthetic resonances, and intertextual references that point to, as Mark Fisher would have it, both a lost past and lost futures (Fisher 2014, 2-29) in the episodes of the Hanna-Barbera animated series The Jetsons produced for syndication between 1985 and 1987. A product of Cold War discourse and the early days of the Space Age, the series is characterized by a bidirectional rhetoric: if its setting emphasizes the empowering and alienating effects of technological advancement, its characters and its retrofuture aesthetics root the show in a recognizable and desirable all-American past.
    [Show full text]
  • The Flintstones (1960-1966), About a “Modern Stone-Age Family,” Was The
    Columbia Pictures) to develop a prime-time animated series. They worked out the concept of parodying current situation comedies, especially The Honeymooners and Father Knows Best, with the twist of setting them in a different historical era. Cartoonists Dan Gordon and Bill Benedict had the idea to use a Stone Age setting (although the Fleischer Studios pro- duced a similar series of Stone Age Cartoons back in 1940). The concept was bought by ABC, and premiered Sept. 30, 1960. Voiced by Alan Reed, Jr. (Fred Flintstone), Mel Blanc (Barney Rubble), Jean VanderPyl (Wilma Flintstone) and veteran actress Bea Benaderet (Betty Rubble), The Flintstones finished the season in the Nielsen ratings’ top 20, and won a number of industry awards, including the Golden Globe, and an [email protected] Emmy nomination for best comedy series of 1960-61. A clear appeal of the series lays in its parody of sitcom for- mula plots, and there are elements of satire in the way modern consumer conveniences are turned into sight gags. One of the show’s favorite gags was to have cameos by Stone Age versions of modern celebrities (Ann Margrock, Stony Curtis, etc.). The most popular gimmick was Wilma’s pregnancy, ending with the February 1963 “birth” of their little girl, Pebbles. The next season the Rubbles adopted Bamm-Bamm, a little boy of incredible strength and a one- word vocabulary. By the fifth and sixth seasons, the show began to use more storylines aimed at kids, with new neighbors the Grue- somes (a spin on The Munsters and The Addams Family), and magical space alien The Great Gazoo (Harvey Korman).
    [Show full text]
  • 69-15957 SANDERS, James Taggart, 1935- a DEVELOPMENTAL STUDY of PREFERENCES for TELEVISION CARTOONS. the Ohio State University
    This dissertation has been 69-15,957 microfilmed exactly as received SANDERS, James Taggart, 1935- A DEVELOPMENTAL STUDY OF PREFERENCES FOR TELEVISION CARTOONS. The Ohio State University, Ph.D., 1969 Psychology, general University Microfilms, Inc., Ann Arbor, Michigan A DEVELOPMENTAL STUDY OP PBEFEBENCES FOE TELEVISION CARTOONS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James Taggart Sanders, A.B., M.A. #*###* The Ohio State University 1969 Approved by Adviser Department of Psychology ACKNOWLEDGMENTS I should like to thank my adviser, Dr. John Horrocks, whose patience and support endured the sternest tests that any graduate student could devise. I am very grate­ ful. I should also like to thank my good friend, Dr. Steven Buma, who suggested the basic Idea of this study, although he bears no responsibility for any of the de­ fects in its elaboration. Finally, I wish to acknowledge the very considerable contributions of two of my Canadian colleagues, Drs. S, H. Irvine and A. G. Slemon. Their continuous encouragement and help are greatly appreciated. 11 VITA February 12 1935 Born - Canton, Ohio 1957 . • • III A.B., Harvard College, Cambridge, Massachusetts 1963-196A • t • • Teaching Assistant, Department of Psychology, The Ohio State University, Columbus, Ohio I96A . M*A., The Ohio State University, Columbus, Ohio 1964-1966 • . « Assistant Instructor, Department of Psychology, The Ohio State University, Columbus, Ohio 1967-1969 • • , • Assistant Professor, Department of Psychology and Sociology, Althouse College of Education, The University of Western Ontario, London, Ontario, Canada TABLE OP CONTENTS Chapter Page ACKNOWLEDGMENTS....................................
    [Show full text]
  • Looking Back at the Creative Process
    IATSE LOCAL 839 MAGAZINE SPRING 2020 ISSUE NO. 9 THE ANIMATION GUILD QUARTERLY SCOOBY-DOO / TESTING PRACTICES LOOKING BACK AT THE CREATIVE PROCESS SPRING 2020 “HAS ALL THE MAKINGS OF A CLASSIC.” TIME OUT NEW YORK “A GAMECHANGER”. INDIEWIRE NETFLIXGUILDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 REVISION 1 NETFLIX: KLAUS PUB DATE: 01/30/20 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 09 CONTENTS 12 FRAME X FRAME 42 TRIBUTE 46 FRAME X FRAME Kickstarting a Honoring those personal project who have passed 6 FROM THE 14 AFTER HOURS 44 CALENDAR FEATURES PRESIDENT Introducing The Blanketeers 46 FINAL NOTE 20 EXPANDING THE Remembering 9 EDITOR’S FIBER UNIVERSE Disney, the man NOTE 16 THE LOCAL In Trolls World Tour, Poppy MPI primer, and her crew leave their felted Staff spotlight 11 ART & CRAFT homes to meet troll tribes Tiffany Ford’s from different regions of the color blocks kingdom in an effort to thwart Queen Barb and King Thrash from destroying all the other 28 styles of music. Hitting the road gave the filmmakers an opportunity to invent worlds from the perspective of new fabrics and fibers. 28 HIRING HUMANELY Supervisors and directors in the LA animation industry discuss hiring practices, testing, and the realities of trying to staff a show ethically. 34 ZOINKS! SCOOBY-DOO TURNS 50 20 The original series has been followed by more than a dozen rebooted series and movies, and through it all, artists and animators made sure that “those meddling kids” and a cowardly canine continued to unmask villains.
    [Show full text]
  • Magilla Gorilla Episode Guide
    Magilla gorilla episode guide Continue Magilla GorillaThe Magilla Gorilla Show characterFirst appearanceThe big gameSyov HannaJosef BarberaVoed Allan Melvin (1964-1994)Maurice Lamarche (Harvey Birdman, Attorney) Frank Welker (Scooby-Dao and Guess Who?) Jim Cummings (Jellystone!, 2020-present) In the Universe informationSpeciesWestern lowland gorillaGenderMale Magilla Magilla Gorilla is a fictional gorilla and star of the Magilla Gorilla Show Hannah-Barbera, which aired from 1964 to 1965. Also Brazilian boxer Adilson Rodriguez named himself Magilla after the cartoon. The description of the character Magill Gorilla (voiced by Allan Melvin) - anthropomorphic gorilla, who spends his time languishing in the window of the pet store Melvin Peebles, eating bananas and draining the finances of the businessman. Peebles (voiced by Howard Morris and then Dock Messik) significantly reduced the price of Magilla, but Magilla was invariably bought only for a short time, usually by some thieves who needed a gorilla to break into a bank or an advertising agency, looking for a mascot for their new product. Customers always end up returning Magilla, forcing Peebles to return their money. Magilla often finished episodes with his catchphrase We'll Try Again next week. Many of Hannah-Barbera's animal characters were dressed in human accessories; Magilla Gorilla wore a bow tie, suspender shorts and an unfinished derby hat. The only client really interested in getting trouble-prone Magigly was a little girl named Ogi (voiced by Gene Vander Phil and the uttering of Oh Gee!). During the theme of the cartoon song, We have a gorilla for sale, she asks, hopefully, how much is this gorilla in the window? (turn to the old standard, (How much) Is The Dog in the window?), but she's never been able to convince her parents to let her keep Magilla.
    [Show full text]
  • Dual Audio Television; an Experiment in Saturday Morning Broadcast and a Summary Report
    el, DOCUMENT RESUME ED 118 123 IR 003 028 AUTHOR Borton, Terry; And Others TITLE Dual Audio Television; an Experiment in Saturday Morning Broadcast and a Summary Report. INSTITUTION Philadelphia School District, Pa. Office of -Curriculum and Instruction. PUB DATE 1 75 NOTE 21p.; For related documents see Ed 094 753 and IR 003 027-030 EDRS PRICE MF -$0.83 HC-$1.67 Plus Postage DESCRIPTORS ' Audiovisual Instruction; *Commercial Television; *Educational Radio; *Educational Research; Elementary 'Education; *Experimental Programs; Instructional, Innovation; Instructional Technology; Programing (Broadcast); Research Methodology; Statistical Analysis; Statistical Data; Television; *Television Research; Television Viewing; Vocabulary; Vocabulary Development IDENTIFIERS *Dual Audio Television; Flintstones; Gilligans Island; Philadelphia City Schools; Scooby Doo ABSTRACT'. The Philadelp hia City Schools engaged in a four-year program to develop and test dual audio television, a way to help' children learn more from the massive amounts of time they spend watching commercial television.Ache format consisted of an instructional radio broadcasthich accompanied popular television shows and attempted to clarify and amplify the vocabu#ry concepts that were presented. Supplsentary audio broadcasts were developed for"Gilligan's Island," "'Me Flintstones," and "Scooby Doo," and studies were conducted to measure their levels of utilization and their effects on vocabulary development': Results shoved that the audience size was insufficient to justify-national
    [Show full text]
  • Imagining the Future Into Reality: an Interdisciplinary Exploration of the Jetsons by Jane Elizabeth Myrick a THESIS Submitted
    Imagining the Future into Reality: An Interdisciplinary Exploration of The Jetsons by Jane Elizabeth Myrick A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Arts in English (Honors Scholar) Honors Baccalaureate of Arts in Education (Honors Scholar) Presented April 30, 2019 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Jane Elizabeth Myrick for the degree of Honors Baccalaureate of Arts in English and Honors Baccalaureate of Arts in Education presented on April 30, 2019. Title: Imagining the Future into Reality: An Interdisciplinary Exploration of The Jetsons. Abstract approved: _____________________________________________________ Eric Hill This investigation examines The Jetsons’ vision of the future and tracks to what extent the content of the show is relevant to the modern era, both technologically and socially. Much of the dazzling technology in the show feels familiar, and most of it is either already available or is in development, so the innovations of the present are largely keeping pace with the show’s vision. Culturally, the show reflects the values of the era in which it was created (in the 1960s), and despite the show’s somewhat dated outlook on culture and society, we can still empathize and see our own modern experiences reflected back at us through an animated futuristic lens. Therefore, The Jetsons serves as a touchstone for our hopes for the future as well as the experiences of the past and the values and goals of the
    [Show full text]
  • Meet the Flintstones
    Meet the Flintstones Fred and Wilma Flintstone have a joint checking account 1-654-9 at RFB-Rock Branch with Fred as the IRS owner. Fred, a quarry equipment operator, SS# 123-45-6789 came in and deposited 8,500 in cash which was his cash bonus from recent quarterly quarry sales. Later in the day, Wilma SS# 987-65-4321 brought in 2,500.50 in cash from the sale of her rock necklaces from the weekend craft show along with 555.75 in checks. She took $500.15 of the cash to purchase a bank check to pay tuition for Pebbles to attend 4H, Happy Horned Toads, pet camp with her pet, Dino. She then took $75 cash from Pebbles’ account 9-321-7, to pay for vaccinations for Dino so that he is eligible to attend camp. After school that day, Pebbles also came to the bank with some friends to deposit $25.00 in coin to her savings account which was her portion of profit from Shamrock sales by the 4H club as a fundraiser for camp. Pebbles’ SS is 456-98-7321 no DL, her student ID from Bedrock Jr Hi is on file as well as her birth certificate. Fred and Wilma are co-owners with Pebbles on the savings account. As it happened, Fred had written a check to his fellow lodge brother, Barney Rubble, for his share of the recent St Patrick’s Day bowling party they hosted for the lodge. Barney brought the check to be cashed on the same day, 4/1/2013, as the other transactions.
    [Show full text]
  • Being Fred Flintstone
    Being Fred Flintstone Stephen Balzac Remember the classic kid’s TV show, the Flintstones? Fred and Wilma Flintstone are a stone age couple who live in something that looks oddly like the 1950s with rocks. Lots and lots of rocks. Despite this, the show had nothing to do with either rock music or getting stoned. It did, however, have an episode which predicted that the Beatles were a passing fad. So much for prognostication! Fortunately, that episode is not the point of this article. In one episode, Fred complains to Wilma that he can’t understand what she does all day. How hard can it be to take care of a house? Of course, as Fred swiftly learns, after he and Wilma make a bet, the answer is very hard. Fred, of course, makes a total mess of the whole thing. Now, obviously, the cartoon was playing off of social issues of the time and was intended to make people laugh. The obvious lesson, that a “non-working mother” is a contradiction in terms, is hopefully one that most people have figured out by now. The less obvious lesson is the much more interesting one: it is often impossible to gauge from the results, or from watching someone work, just how difficult a job actually is or even how hard they are working! Conversely, how people feel about the results has little bearing on how hard you worked to get them. At one company, a manager told an employee that he wasn’t going to get a raise because he made the work “look too easy.” Of course, one might argue that most people who develop their skill in a field eventually become good enough that they manage to make the job look easy.
    [Show full text]
  • Cartoon Shows Brackets.Xlsx
    FAVORITE CHILDREN'S CARTOON SHOWS - VOTING BRACKETS First Round Second Round Sweet Sixteen Elite Eight Final Four Championship Final Four Elite Eight Sweet Sixteen Second Round First Round Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes 1 Jonny Quest 79 122 Looney Tunes 1 Jonny Quest 24 79 Looney Tunes 32 Jabberjaw 37 1 Clutch Cargo 32 Jetsons 71 71 Looney Tunes 16 Jetsons 105 King27 Leonardo & his Short Subjects 16 Jetsons 58 4 Heckle & Jeckle 17 Quick Draw McGraw 18 83 Heckle & Jeckle 17 Jetsons Looney Tunes 8 Space Ghost 61 44 GI Joe 8 Space Ghost 47 18 Fat Albert 25 Captain Caveman 51 70 Fat Albert 25 Space Ghost 18 18 Rocky & Bullwinkle 9 Great Grape Ape 69 118 Rocky & Bullwinkle 9 Great Grape Ape 29 63 Rocky & Bullwinkle 24 Perils of Penelope Pitstop 43 2 Roger Ramjet 24 5 Herculoids 64 36 Tennessee Tuxedo 5 Herculoids 22 56 Alvin & the Chipmunks 28 Help! It's the Hair Bear Bunch! 48 86 Alvin & the Chipmunks 28 Smurfs 50 45 Alvin & the Chipmunks 12 Smurfs 69 25 Battle of the Planets 12 Smurfs 59 27 Speed Racer 21 Huckleberry Hound 53 85 Speed Racer 21 Smurfs Alvin & the Chipmunks 4 Wacky Races 55 38 Voltron 4 Josie & the Pussycats 48 34 Inspector Gadget 29 Josie & the Pussycats 61 82 Inspector Gadget 29 Josie & the Pussycats 36 43 Peabody's Improbable History 13 Top Cat 59 77 Peabody's Improbable History 13 Top Cat 31 48 Peabody's Improbable History 20 Auggie Doggie 58 42 Woody Woodpecker 20 Hanna-Barbera Early TV Networks (to mid 80s) 6 Flintstones 109 118 Tom and Jerry 6 Flintstones 62 53 Tom
    [Show full text]