Joan and I both come from broken homes. Her parents were divorced, remarried and divorced again. Her mother wouldn’t allow any contact with her father. For our wedding, Joan walked down the aisle alone. Joe was there for the ceremony but left immediately following. My parents’ divorce had less animosity. Our father was still in our lives. There were visits and support.
But we were both on the receiving end of what we wanted to ensure would never happen to our children. Part of that commitment meant that we would never allow our parents, or anyone else for that matter, tell us how to raise our children.
Need-blind admissions could mean a better school for less money.
“Need-blind admissions” was a term our students did not recognize and yet it can be a major difference in where you go to school and how much you pay. Read on for a definition, description and a listing of colleges that profess to have need-blind admissions.
It is a Boarding School (students live on campus) near Boston
Established 1787
Some people who had ties to the school included George Washington, Paul Revere, and John Hancock.
There are 1154 students on a 500-acre campus with over 100 buildings/sites on their campus map
It is a high school, grades 9-12
Graduates include two Presidents Bush, Jeb Bush and one of the Facebook founders.
48% are students of color
44 states and 45 countries are represented
They have faculty from every Ivy League school. ⅓ of faculty have PhD’s
The “head of school” has a Harvard Law Degree
Every student must be on an athletic team
They have NO AP classes
Harvard calls them a “feeder school”.
They have a student/teacher ratio of 7:1. (Harvard has 7:1, Yale has 6:1, Public Schools avg 28:1)
For the past three years, more than 20 Andover students have gotten into each of the following top schools: Brown, Columbia, Harvard, MIT, Princeton, Stanford, and Yale.
What does this have to do with getting into a better college for less money?
As you can see from the last bullet point above, going to a prestigious high school can be a ticket (or at least a significant advantage) to getting into a top university. Similarly, graduating from a top-tier university can be huge when it comes to getting into a graduate school, medical school, law school or a high-level job.
But top-tier universities have top-tier, seemingly unaffordable prices.
Schools like Notre Dame, Duke, MIT and most of the Ivy League schools cost $70,000+ per year. And because we mid-westerners focus so much on the big state schools and lower prices, the downside can be that we get what we pay for.
If you and I are competing for a spot at graduate school at Harvard, or to get into Yale Law School, will your [Big State School] degree get the same consideration as one from Duke, Notre Dame or MIT?
If I have an engineering degree from [Big State School] and you have one from MIT and we both apply for a position at NASA, your chances are better than mine.
But we don’t consider many schools because of the ‘retail price tag’ we see. That is a huge mistake. In some cases, you can go to a top-tier school for less money than you would pay a state-school.
Increasingly, universities are finding out that accepting students “need-blind” increases both diversity and the overall quality of a student body.
Some top-tier universities (and we had assumed all) consider both your credentials AND your financial ability to pay as part of the admissions process. Not so.
A “need-blind” policy means that they consider ONLY your academic and personal credentials when making a decision to accept you. Then, AFTER they accept you, they consider your finances. And at that point, if you cannot pay the full price, they will use other resources (their endowment, government financial aid, etc) to “get you there”.
THIS PAGE from Notre Dame’s site shows that they meet “100% of every student’s demonstrated financial need”. That means you have to prove it. If you have available funds, they will require that first. And part of your “package” may include loans — but from the amount of loan on the Notre Dame page is manageable.
THIS PAGE is a 2-yr old listing of colleges with need-blind admissions policies. I do not know if it is exhaustive, so check with schools you’re considering. And, as Mr. Petek suggested,
If your first choice does NOT offer need-blind admissions, but your second choice does, that could be a determining factor in where you go to school.
There are surprises every year at Solo/Ensemble contest. I would spend the day encouraging, listening, supporting, congratulating, and consoling. Without question, the experience students gain from participation is strong.
Life is not always fair, and neither are judges. A high school principal once commented to me after a disappointing marching band result that…
“They should judge these things the way we do basketball; points happen when the ball goes through the basket.”
At the end of the day of a Solo/Ensemble festival a few years ago, when two directors were complaining to the site official about the same particular judge, the official response was that…
“…that score represents a personal, professional opinion. That is what we hire them to do.”
There are problematic (for me to justify) judges in solo/ensemble festivals: …
I was putting together a practice sheet for a student when I found I’d already done that. I may post that another time…..but at the end of it, I had some quotes….from me, my son’s trumpet professor and my clarinet professor. Oh, I may also do a more substantial post of my teacher’s comments, these were some of his rare positive ones.
“You should not have to tell someone you are good. BE good. PLAY good (well). And if you ARE good, others will tell you…. and that IS good.”
–me
“Always be modest and humble…..until you put that [trumpet] in your hand and step up to perform ….and then you become one mean, arrogant, confident, son of a [band parent]!” –Dr. CD, Professor of Trumpet at Tennessee Tech University (son’s teacher)
“Fast notes…! So what! NASA can teach monkeys how to wiggle fingers and push buttons. Fast notes deserve to be musical too!”
“Why do you insist on getting nervous when you perform? That is wasted energy and nerves make mistakes. Consider how many people in the audience could do what you are doing. Do what you know you can do and make them stand up.” –Dr. PM, Professor of Clarinet at University of Kentucky
Most participants in high school solo competitions are only in the performance room long enough for his/her performance and maybe for a couple friends’. They could learn so much by sitting and listening/observing for a while.
During some down time in between local student performances at a state level contest, I sat in a few performance rooms just to hear examples of what other students around the state are doing. I did not expect to see the wide range of performance quality given that I was at a STATE level contest and everyone participating had already received a GOLD (top) rating at district competition. If I had to summarize that experience, it would be with the conclusion that…
…not all music education results are created equal.
Sometimes I sit in the clarinet room during the upper level solos at Solo and Ensemble festival. There is a painful pattern of poor choices in music selection and interpretation, including the selection and performances of Sonata and Concerto pieces.
Choosing a Sonata vs Concerto for the wrong reason(s)
A brief music theory overview.
A Concerto is generally written for a Concert Hall …. for a Concert …. featuring a soloist with an orchestral accompaniment. It is normally 3 movements long; a bombastic first movement, a beautiful and contrastingly slow second movement and a flourishing climatic final movement.
Ensemble parts are usually boring, because the soloist is the feature. Only during the brief “Tutti” sections does the ensemble get to play much more than light, soft accompaniment. The Concerto is designed to “show off” the masterful soloist and it normally takes the instrument to the limits in tempo, technique and range. Mozart wrote his Clarinet Concerto for a friend considered to be a prodigy.
For a concerto performance with just a piano accompanist, as what is always the case for solo festival, the pianist is playing a simplified transcription of the orchestra score. In most cases, other than the potential of some 16th note runs in the piano part during the “tutti” sections (which can be edited or left out without drastically changing the piece), the piano parts are relatively simple, or can usually be simplified without changing the intent of the piece.
Historically, a Sonata was written as a chamber hall piece, written for a solo instrument and solo accompanist, often to be performed in a smaller setting than a large concert hall. I won’t get into the form of each of the normally 4 movements, but a sonata is more a “duet” where both instruments are of equal importance. The Sonata is usually less of a flashy piece, rather demonstrating what the two instruments can do together, often involving subjective interpretations of tempo and dynamics.
The Problems
….in picking the Concerto, the most common disappointment is when the student performs the piece at a ridiculously slow tempo. I’ve heard a Rondo (generally a 3rd movement 6/8 time performed in a 2 beats per measure pulse) played IN SIX. Or… the flashy first movement at half the intended tempo. I’m all about telling students they can be slightly under the published tempo to help with accuracy, but drastically changing the tempo also completely changes the piece, in my opinion. If you can’t play it the way it was written or intended, choose something else. Of course, the other option is to commit the practice to get it to performance grade, because the only sound worse than the super slow tempo is the sloppy technique of an ill prepared piece, evidencing a problem to be addressed in a separate post perhaps…..HOW to practice.
When it comes to the Sonata, I can almost envision the selection. The student is pointed to the band library solo/ensemble music drawer and begins looking through the solo options. Scared of the heavier use of black ink on the concerto, the student pulls out a sonata because it looks easier.
Yeah, eighths instead of sixteenths, hardly any ‘runs’. This piece is for ME.
The pianist, who often only gets 1-2 times to practice with the student, and who is probably also accompanying 10 other soloists, has had neither the time to adequately prepare the tougher piano part, nor the understanding of how the two go together……hence the painful disaster at contest as a result of poor interpretation.
Solutions / Recommendations
Pick a piece to highlight the soloist’s strength.
If your strength is technical proficiency (you can play fast, i.e. runs and arpeggios), the 1st or 3rd movement of a concerto can be a good choice. If a beautiful tone and vibrato are what you do well, then perhaps the 2nd movement of a concerto or some other solo form; such as an ‘air’ or a sound portrait type piece, might be a better choice. If you are good at playing with a wide range of emotion AND have access and rehearsal time to a good accompanist AND time to spend with a music coach who understands the particular piece selected, THEN….a sonata can be a strong choice.
Some of the lowest scores at contest are sometimes given to a decent musician who butchered a sonata, not due to poor musicianship, but to poor interpretation and understanding.
Get some expert coaching and/or listen to professional examples of that piece performed.
If you are studying privately, you should have the expert coaching you need. Your band director can often be a good source. As a director, however, I made an error a few years ago when I interpreted an Adagio tempo for a soloist. Mine was a good metronome interpretation, but not knowing that particular piece, I didn’t realize that the traditional method of performing that solo was to interpret the Adagio at the eighth note pulse and not the quarter note. The first time I heard a judge critique, I blamed the judge. The next time, when it was a different judge saying the same thing, I concluded I was mechanically, but not musically correct.
Sometimes it is difficult to find expert coaching in a geographic area for some specific instruments. Band Directors are usually expert in at least one instrument and may be proficient on multiple, but are not expert at all. The director can help with basics of notes, rhythms, dynamics, articulations, performance pedagogy, etc. But for interpretation, in the absence of a local coach, consider additional options:
1. Internet research. You should be able to find critique or comments on a variety of solo pieces, often as part of either a contribution from a college professor expert or from research data published in intellectual papers.
2. YouTube and other video presentations. CAUTION: Anybody can post videos and some are hideous. Better sources might include college senior music major recitals. Or look for multiple presentations of a particular piece and give extra consideration to the one with the higher number of views…..or to those that represent the pattern rather than the exception from your list of options.
3. Forums or discussion groups. Search to see if others are asking similar questions or having discussions about a particular piece. Often there will be at least one “expert” contributor.
4. Find a Skype coach. Colleges are using Skype to interview applicants. So are employers. When distance is an issue, it is an acceptable alternative. Music lessons or coaching via Skype are not common but are becoming more acceptable and available.
Music students from the local schoola participate in ISSMA (Indiana State School Music Association) sanctioned solo and ensemble district and state level competitions. ISSMA copyrights their judging forms so I can’t show those.
Many categories for solo contests are fairly universal, and as a template for the categories I will use here, I have selected categories posted on a high school site outside Indiana. For each category; the title and considerations are copied, the comments are mine.
INTONATION:
Accuracy to printed pitches.
In Solo performance, are you in tune with the piano (or the recorded accompaniment)? You should tune carefully before you begin, both to check intonation and to ensure the instrument is ready to go, especially if you have been waiting for a while. No instrument is completely “in tune”, i.e. tuning one note is not enough. You need to know what notes or octaves have what tendencies on your instrument and adjust accordingly. Flutes can roll in/out to help, trumpets have a 3rd valve slide and all brass instruments have alternate fingerings to compensate for typically out of tune notes (especially 1 & 3 valve combinations). Trombones are almost without excuse, right? Otherwise, you can bend your pitch up or down by adjusting your embouchure — or by using alternate key combinations. Practice with a tuner to determine which notes are in/out of tune. If you study privately, hopefully your teacher is helping you with the lesser-known key combinations and techniques as you strive for a higher level performance.
In Ensemble performance, try to tune before going into the performance room, but take the necessary time to get it right before you start. If the last sound the judge hears before you start is noticeably out of tune, you are in trouble in this category.
Tone is influenced and affected by many factors; instrument, mouthpiece, reed, and performer. If you have a step-up instrument and/or a better mouthpiece than the one that came with your 6th grade year instrument, then you should have some equipment help in tone production. But a good musician can make even lesser quality equipment sound good, while a poor musician can fail to produce what the equipment will allow. In other words, it is more than just the equipment — the judge is judging YOU!
Vibrato will likely be considered here for those instruments that are, at least at the higher levels, expected to play longer tones and melodic sections with a warm, controlled vibrato, typically oboes, bassoons, flutes, saxes, trumpets, trombones and baritones. French horns and clarinets generally are not expected to use vibrato.
Resonance, control, clarity, focus, consistency, warmth….all go to the currently accepted tone for your instrument. The best way, even if you are studying privately but especially if you are not, is to LISTEN to professional recordings. Online videos can be helpful, but some of those are posted by people not better trained or farther advanced than you. Resonance implies a deep, full, reverberating sound vs one that is weak and tentative. Is yours controlled or does it change drastically per octave or when you have skips of large intervals? When I think of clarity, I want to hear the instrument and not the reed, tone without fuzziness or buzziness. Consistency requires control. When someone talks of warmth, I think of a full flavored soft-drink or coffee vs something watered down. Warmth implies some emotional involvement (more below) in your sound.
RHYTHM:
Accuracy of Note Values, Rest Values, Duration, Pulse, Steadiness, Correctness of Meter.
Note values covers a lot. When a quarter note is followed by a rest, do you go all the way to the rest? When you have a dotted eighth-sixteenth pattern, do you sub-divide to ensure the dotted 8th gets 3/4 of the beat….and not 2/3? A common rest mistake is similar; not giving it enough value or rushing to the next note, which gets into Pulse. If it were possible to hook up a heart monitor to the way you play, you don’t want the screen to look spastic, or as if you are having a heart attack. You should have a clear, easy to read (hear) ‘beat’.
Is your tempo Steady, i.e., you don’t slow down during the faster parts and increase tempo in the easy sections?
Your heart rate increases when you run, but your tempo should not change when you play runs.
Practice with a metronome. If it feels like the metronome is pushing you, you’re dragging. If it seems like it is slowing you down, you’re rushing. If possible for 8th note meters (5/8, 6/8, etc), set the metronome so the 8th note gets the click. Obviously that becomes more difficult the faster the tempo.
TECHNIQUE (facility/accuracy):
Artistry, attacks, releases, control of ranges, musical/mechanical skill.
A question I’m often asked in a playing test setting where the student is going to be graded on how he/she plays something is; “How fast should I play it?” My answer is always,
As fast as you can play it accurately.
Facility speaks to how quickly or effortlessly you can play something, to your mechanical skill. Are you up to tempo on a technical passage or are you slowing it down so you can get all the notes. Balanced with facility is accuracy. If you slow it down and get it right, the judge might ding you a little on facility but should credit you on accuracy. The opposite is not true, however. If you play at tempo and miss lots of notes, you have demonstrated a lower level of both facility and accuracy. For the highest credit, practice it slowly, get it right, the gradually speed it up (with a metronome) to tempo. Accurately at tempo is the goal.
Is it better to play it slower and accurately, or at tempo and miss some notes?
Judge response: If you want MY highest rating, play it correctly at tempo.
Two terms above go together; artistry and musical skill. Have you interacted with Siri on the iPhone? That is a mechanical voice. Failure to demonstrate artistry or musicianship (musical skill) would be like listening to someone who speaks in a monotone, or someone who writes without any capitalization or punctuation. Similarly to the impact of a well-delivered preacher’s sermon, politician’s speech or orator’s dramatic reading, your artistry will affect your audience…and the judge.
When it comes to attacks and releases, most attack better than they release. Work at both. In a slower, melodic passage, can you start the note on pure air minus the tongue, or at least get the sound started without the sound of the articulation? Sometimes thinking of a football can work with a picture of how sound (or phrases) begin and end. Don’t start with a thud and don’t end with a chop off. Sometimes you need the tongue to stop the sound, but ending with the air is preferred.
Do you struggle with low notes on a saxophone or high notes on a trumpet or clarinet? Or any instrument? That is about consistency and control. It is more than just blowing and wiggling fingers. Can you maintain a dynamic level as you change octaves? A clarinet descending from high to low actually needs more air at the lower levels to maintain the same volume. Do you have some notes that pop out? That demonstrates a lack of control.
Record yourself using a computer device (such as iPad free app “Recorder Plus HD”) that shows your recording level. When you review, look for sudden peaks or valleys in volume… Sometimes you can get a visual of control issue.
And notice that, with this judging sheet category, “note accuracy” is assumed rather than mentioned. Playing right notes is the minimum of any performance and if that is all you do, you should expect a mediocre rating or result. In a previous article, I likened this minimal notes-only approach to driving a car and staying on the road while avoiding the other signs along the way.
There is a lot of overlap in these categories. Interpretation involves HOW you play WHAT you play. Are you in the style of the piece. Trills and grace notes in a Mozart piece are different from those from more recent composers. The style of a rondo is different from that of an intermezzo. When it comes to phrasing, are you adding fluctuation to the sound? Is it going somewhere? Is there a beginning, a peak and an end to a phrase? Do you play the way you speak? Phrasing can also include articulation (next category) and dynamics. Just as tempo was a part of fluency and accuracy described earlier, it is also part of interpretation. If you play a technical concerto by Mozart or Weber and you take the allegro section at half tempo to get the notes right, you have mis-interpreted the tempo.
Articulation
Few things are more obvious to a trained musician than to hear the errors of sloppy articulation; slurring everything, constant tonguing or a random combination.
Music performance can include articulation interpretations, but if you are changing what is marked on the paper, you need to mark your changes on the judge’s copy. Make sure the judge knows that what you played was what you intended.
If you have an extended 16th note run that is market all staccato, and you struggle with playing that, and you don’t want to reduce the tempo, then you might want to slur two, tongue two in a grouping of 4 sixteenth notes, for example. Mark the judge’s copy. He/she could still ding you a little for your articulation interpretation, but less than if you made the change without marking the original.
The other main weakness in articulation is the technique, i.e. HOW you articulate. Have you ever heard someone with a speech impediment? The challenge in fixing those is that most of what is happening is going on inside the mouth. Speech therapists are trained to do that. Do you need a specialist?
For a reed player, are you touching the reed, the roof of the mouth, or are you making some sort of ‘k’ or other throat sound to stop the air? Not all articulations are created equal. If you make the judge spend time trying to figure out what is going on inside your mouth (articulation technique), you are hindering your success.
Performance Factors
Choice of literature, appropriate appearance, poise, posture, general conduct, manerisms, facial expression.
Choice of literature: Demonstrate your strengths, hide your weaknesses. If you struggle some with rhythms, have trouble with fast passages, perhaps you should choose a slower piece. If you struggle with vibrato, don’t select the slow, melodic romantic-style ballad.
Appropriate appearance has nothing to do with your beauty or your weight. If you go to a job interview that would require you working in a business office and you arrive in jeans with holes and a t-shirt advertising an alcoholic beverage, you start with the wrong impression. Most solo/ensemble festivals will accept clean casual. Understand that most of the judges are college professors, where their performers are often required to wear tuxes and formals. Don’t shock them. If you come to the performance room looking like you have dressed for success, that you are showing respect for the judge, the audience and the event, you will earn credit in this area.
Poise and posture. Look like a performer. If standing, consider having both feet flat on the floor. If sitting, move forward on the chair with both feet on the floor. Poise includes the idea of selling both yourself and what you are doing. A college professor was advising a modest, yet talented musician and explained it this way:
Humility is a virtue. It is okay to be meek and mild….UNTIL you put that [instrument] in your hands and walk out onto that stage. THEN I want you to be an arrogant, confident, mean son-of-a-[band parent]. Take the stage. Command and control the audience.
My college professor told me to…
…make them stand up.
General conduct / manerisms, facial expression. Avoid toe tapping. Don’t grimace when you make a mistake. You’re in the spotlight and everything is important.
This is generally a catch all category and judges can use it to give you a higher rating here than maybe they were able to on other areas. This should be the category in which everyone can do well.
NOTE: I was teaching when I wrote this. I have since retired, so rather than go through and edit what I am doing with what I did do, I’ll just put this disclaimer out there so you know.
Adults who are afraid of teenagers or who feel like teens of today are nothing like those from their day (adults have been saying that forever, right?) ….. or who think the quality of teens is crumbling….. should come hang out with the teens I get to spend time with.
As a teacher, I can’t use the “love” word, must avoid the “creepy” label (they DO use that word too much), have to be careful how I compliment the way someone looks, and often settle for handshakes and high fives when a good pat on the back or a hug seems so much more appropriate for the circumstance …. but I thoroughly enjoy my time on the school clock. I LOVE the youthful enthusiasm. I ADMIRE their dreams, goals, and aspirations. And I RESPECT those who make the best of their circumstances as they strive for excellence. I am all about encouraging achievers because they allow me into their lives. I “love” this job AND these teens.
My response to the parent who asked recently, “How do you put up with a room FULL of teenagers?” is “I feel sorry for those who DON’T get to experience a room FULL of teenagers.”
Some of the “types” of teens I admire….
I admire teens who thrive because of their parents…
Band students have complicated schedules that can challenge parental patience. There is the expense of instruments and extras (reeds, valve oil, drum sticks) — not to mention private lessons, summer camps, etc. Vacations get adjusted and, especially until the teen can drive, there are countless trips to drop off and pick up.
Some parents sacrifice soooo much in time, energy and money so that their teen can focus on being a better student, athlete, musician, academic or whatever. But all of that is for naught if the teen doesn’t take advantage of it. I admire teens who appreciate what they have and commit themselves to “getting their parents’ money’s worth”.
I admire teens who thrive in spite of their parents.
I was outside Door 34 prior to a rehearsal when she jumped out of the car and ran up to me, crying and wiping tears from her eyes, “G… I’m sorry…..I’m so sorry.” As she ran off into the building I got the impact of her emotion when I saw the approaching papa angrily waving a copy of our schedule.
“How much of this is mandatory?”, he asked angrily
“All of it.”, I responded quietly.
He huffed and puffed and returned to his car. When I walked into the band office, the daughter was waiting for me, tears streaming….wanting to know that I was okay after an encounter with her father. She needed a hug, and I gave her one.
Additional random examples….
“We’re going to pull our son out of band…..his room is a mess.”
“I can’t come to band today. I’m grounded and part of my punishment is whatever consequence I get from you for not being here.”
” He really loves band…..which is why this has to be part of his punishment.”
“She can’t major in color guard in college….so there is no point in the expense for her to be in this activity.”
“My parents took my band card money and my paycheck money. What do I do?”
“Here’s my paycheck to pay you back for letting me go to Disney. I will be able to pay you back from my job over the next three months.” (And did.)
“I have to stop taking private lessons because my dad says if I have money to waste on music lessons that I can pay rent.”
“G, I just got kicked out of my house.”
“Why are you telling my kid (s)he needs extra money for music lessons? Aren’t you the teacher? Why don’t you do what you’re getting paid for?”
“Why should I buy another [instrument]? I bought the one they told me to buy when (s)he started.”
Some of the most determined to succeed band students have parents I never meet. I understand busy and I understand the struggles of single parenthood (there were five kids in my single parent home) and it can be hard….yes, it can be hard. But it is sad sometimes to watch students try not to show disappointment when the parent is not there…. just sayin’.
I admire students who, despite the potential negatives of their circumstances…..are determined to succeed…..
In 7th grade, attending a band clinic at Morehead State University, I made the definite decision that I wanted to be a band director. No one on either side of my family had been to college, so I was clueless in many aspects of what it would take.
My band director, James Copenhaver, pulled me aside one day to explain:
You want to be a band director. That means you’re going to need to go to college, but your family can’t pay for you to go (My parents were divorced and my polio-surviving mother was raising five children.)
Your grades are okay, but not good enough for academic scholarships. You’re not athletic, so that is out.
The best chance for you to get to college is to become good enough on that clarinet that by the time you graduate, a college will pay for you to come. You’ve got four years.
I was in 9th grade when my band director, who had heard I wanted to be a band director, pulled me aside to tell me that 1) being a band director would require going to college, 2) my family couldn’t afford it, and 3) he had a way, “make yourself valuable”.
My parents divorced my 7th grade year. Dad was a firefighter and Mom, a polio survivor, was left raising five kids….I was the oldest.
Mr. Copenhaver emphasized that my grades weren’t good enough for academic scholarships and pointed out that I wasn’t athletic, so he told me the only way I would get there was to be good enough at something that a school would pay for me to come. He said I was decent on clarinet and suggested I focus on that. I had 4yrs to prepare. He helped me get 1-1 instruction with the best teacher in the region, to attend summer camps at two universities, to partipcate in band clinics, solo/ensemble festivals and honor bands — for both the experience and the exposure. It worked. I made myself valuable.
I did have a loan (don’t remember the amt). Of course, the number was lower, but my first teaching job only paid about $10k, so all the numbers were lower. I had on and off-campus jobs, including (for a while) a 3rd shift cleaning job at a restaurant and a job I went to over breaks and around summer schedules. I rode my bike about 3-4 miles to an area high school 2-3 times a week to work with about 15 students until I got my first car in time for student teaching.
I do remember learning how to pay my bills, including deciding which ones I could pay after each teaching paycheck. I get that.
Are there problems with the system today? Absolutely. College prices are outrageous. When our younger son was in school, their prices increased $1000/yr — and are now double what they were when we were dealing with them. Schools can raise their fees because loan-makers make it easy to get higher loans to pay the higher fees. Many universities (including state schools) have billions (with a B) endowments. They could go tuitionless for at least several years. Meanwhile, the cycle keeps going.
The contractor we hope will soon get us on his schedule is driving a truck I could never afford. He told me he dropped out of college when he figured out that, instead of debt, he could quickly be making more than he would make with the degree he was working on. A military recruiter told our band class that going his route could enable someone to have 6-figures in the bank instead of 6-figures in debt.
I would hope we can find a way to help the needy without just transferring that obligation to those who couldn’t go to college or who went to trade school (and borrowed money for buildings, vehicles, tools, etc) or into the military instead.
Blanket cancellations (which I know this is not): the SCHOOL wins because they got their money and can now raise prices again, the LOAN-MAKERS win because they can make bigger loans.
Somebody a lot smarter than me is going to have to figure it out. I do not believe it is an easy solution.
If you want to respectfully respond, even to disagree, feel free. If you’re going to call me a non-Christian, selfish or some of the other names I’ve been called (like these twitter responses):
Selfish shell fish
Special snowflake
Ignorant to the rest of the world
Sweetie
Conversation of which I know nothing
You ASSume things
smarmy asshats
I looked at your profile pic (old, fat, bald)
I was putting together a practice sheet for a student when I found I’d already done that. I may post that another time…..but at the end of it, I had some quotes….from me, my son’s trumpet professor and my clarinet professor. Oh, I may also do a more substantial post of my teacher’s comments, these were some of his rare positive ones.
I was in 9th grade when my band director, who had heard I wanted to be a band director, pulled me aside to tell me that 1) being a band director would require going to college, 2) my family couldn’t afford it, and 3) he had a way, “make yourself valuable”.