September 19, 2002
Creating impossible standards and punishments for not achieving them brings the obvious manipulation of the interpretation of the "No Child Left Behind" law ("School Standards Paradox," editorial, Sept. 15). As a retired educator, I think the title of that impossible-to-satisfy law tells it all. There are so many variables in a child's life that cannot be legislated that it becomes a ridiculous joke to impose a standard that includes everyone. Children are not widgets. They and their schools cannot be forced into a one-size-fits-all conformity.
January 6, 2007
Re "5 steps to get out of skid row," Current, Dec. 31 The authors omit one hugely important area of consideration in ending homelessness: the family context from which each person arrives on skid row. Here's an example: Years ago, my roommates and I invited a young, homeless man to stay with us. We helped connect him with work and made sure he was well-fed and groomed to improve his job prospects. I asked if he had any family who might be able to help. To my surprise, he responded that his parents were on a world tour and unreachable, but owned a house in Manhattan Beach to which he was no longer invited.
January 2, 1989 |
Four feature-length documentaries on social and political issues will be shown over the next three weekends at the Monica 4-Plex. They will be screened Saturday and Sunday mornings simultaneously but with staggered starting times: Cathy Zheutlin's "Just One Step: The Great Peace March" (10:15), Martyn Burke's "Witnesses: Afghanistan--The Untold Story" (10:30), Morley Markson's "Growing Up in America" (10:45) and Beverly Shaffer's "To a Safer Place" (11).
July 30, 1995
Nina J. Easton does us a disservice by attempting to relate so closely the '60s violence of the Left and the '90s violence of the Right ("America, the Enemy," June 18). In terms of tragedy, the Oklahoma bombing stands alone, its carnage having exceeded by plenty any other terrorist act in U.S. history. It was designed to kill and maim as many people as possible. The Far Left simply hasn't operated in that coldblooded a manner. For example, the explosives planted in 1970 in a Wisconsin ROTC building by the ultra-left Weathermen were timed to go off at 4 a.m., when few would be present.
November 25, 2005 |
Restored to its original length and rich color under the supervision of its legendary cameraman Vittorio Storaro in 1994, Bernardo Bertolucci's 1970 "The Conformist" seems every bit the masterpiece it was when first released by Paramount. In this dazzling film, Bertolucci manages to combine the bravura style of Fellini, the acute sense of period of Visconti and the fervent political commitment of Elio Petri -- and, better still, a lack of self-indulgence.
February 20, 1998 |
Tedious political didacticism on one hand, or confessional self-indulgence on the other afflict much recent art that concerns itself with social topics. Christina Hale's stunning drawings at Robert Berman Gallery steer clear of these extremes, claiming a solid place for themselves where the personal and political fuse in the form of everyday social conditions and responses to them. This is the first solo show for the young L.A.
February 7, 2011 |
Social conservatives say they're trying to address the problems of family breakdown, crime and welfare costs, but there's a huge disconnect between the problems they identify and the policy solutions they propose. It's almost like the man who looked for his keys on the thoroughfare, even though he lost them in the alley, because the light was better. Social conservatives tend to talk about issues such as abortion and gay rights, stem cell research and the role of religion "in the public square": "Those who would have us ignore the battle being fought over life, marriage and religious liberty have forgotten the lessons of history," said Rep. Mike Pence (R-Ind.
September 20, 1995 |
A Chicago police officer shoots and kills an unarmed man in a dark hallway. The cop is white, the victim is black, the racial tension is thick. Whether the cop should be charged with murder is only the first of several issues raised by Aaron Iverson in "Unjustifiable Acts," an Atomic Theatre Company production at the Powerhouse.