Kerrie Logan Hollihan
Teaching the Power of Wonder
Often we think of Memorial Day as a day for parades, picnics, and opening swimming pools, but it’s a lot more than a day for celebrating summer’s beginning. In fact, Memorial Day got its start way back during the Civil War, when women from both North and South decorated soldier graves with flowers. This practice spread across the country, and in 1873 New York State was the first to established Memorial Day as a state holiday.
In 1887, the US government made May 30 a Memorial Day holiday for government workers, and most Northern states followed suit. But in the South, this tradition became known as Confederate Memorial Day, which is still celebrated in some of the states that formed the Confederacy during the Civil War. In 1971, Congress declared the fourth Monday in May as Memorial Day, a national holiday.
Well into the 1900s, many called this day “Decoration Day,” and families visited cemeteries to tidy up family graves and plant them with flowers. When American soldiers died during World War I, the celebration evolved from remembering Civil War soldiers to memorialize all our soldiers who fought or died in war. Wherever we are on Memorial Day, we Americans are asked to observe a moment of silence at 3 o’clock in the afternoon, because it is the time when most Americans are enjoying their freedoms on the national holiday
Across the country this Memorial Day, tiny flags will mark soldier graves, and solemn ceremonies will mark their sacrifice. The US President or Vice President will lay a wreath at the Tomb of the Unknowns in Arlington National Cemetery. Often “Taps” ring out from bugles in memory of the dead.
Day is done, gone the sun
From the lakes, from the hills, from the sky.
All is well, safely rest,
God is nigh.
My grandfather, a World War I bugler, played taps for years at a national cemetery in Illinois with Civil War graves of Northern and Confederate soldiers. Grandpa bugled the “echo” from afar as taps was played to close every Memorial Day ceremony.
Grandpa is buried in this cemetery now, and someone else plays taps on Memorial Day. I live far away, but every year I celebrate this day by remembering him. Are there people you think about on Memorial Day?
Kerrie Hollihan's Theodore Roosevelt for Kids brings to life this fascinating man, an American giant whose flaws were there for all the world to see. Twenty-one hands-on activities offer a useful glimpse at Roosevelt’s work and times. Readers will create a Native American toy, explore the effects of erosion, go on a modern big game hunt with a camera, and make felted teddy bears. The text includes a time line, online resources, and reading list for further study. And through it all, readers will appreciate how one man lived a “Bully!” life and made the word his very own.
MLA 8 Citation
Hollihan, Kerrie Logan. "Memorial Day." Nonfiction Minute, iNK Think Tank, 25
May 2018, www.nonfictionminute.org/the-nonfiction-minute/Memorial-Day.
Stories that Surprise and Inspire
When musicians play a lively tune, they often find themselves spontaneously tapping their toes and moving about to the pulsing beat. But when Ellen Ochoa played her flute at work one day in 1993, she couldn’t be spontaneous at all. If she hadn’t made careful plans, she could have been blown about the room, just by playing one long note on her flute. That’s because she was an astronaut working on the U.S. Space Shuttle as it circled Earth more than a hundred miles out in space.
Gravity is so weak far out in space that astronauts—and any of their gear that isn’t fastened down—will float about inside a space craft. Blowing air into her flute could have created enough force to actually send Ochoa zipping about the space shuttle cabin. So, to keep herself in place as she played, she had to slip her feet into strong loops attached to the floor.
Dr. Ochoa, now the director of NASA’s Johnson Space Center, was the first U.S. astronaut to bring a flute on a space mission, but she wasn’t the first to make music in space. Nearly thirty years earlier, in December 1965, two astronauts onboard the Gemini 6 space craft played a musical joke on mission control officials down on Earth. Those astronauts—Walter M. Schirra, Jr., and Thomas P. Stafford—told mission control that they saw an unusual object near their spaceship, a satellite perhaps, moving from North to South. They said they would try to pick up some sound from this mysterious object. Then they used the harmonica and bells they had secretly brought with them on that December mission to surprise folks listening down below by playing “Jingle Bells.”
In recent years, other astronauts have brought musical instruments on space missions to help lift their spirits, especially those who spend many months on the International Space Station. Like Dr. Ochoa, these astronaut musicians have to make adjustments, such as using a bungee cord to attach an electronic piano keyboard to a pianist’s leg.
Some astronauts have composed music in space, including Canadian Chris Hadfield. On May 6, 2013, he sang the song he wrote—called “I.S.S. (Is Somebody Singing)”—in a live TV broadcast from the space station as thousands of Canadian schoolchildren sang along with him down on Earth. Click here for a recording of that space-to-Earth performance
Learning to play an instrument can be fun and, at times, frustrating. Amy Nathan's lively book helps young people cope with the difficulties involved in learning a new instrument and remaining dedicated to playing and practicing. Teens from renowned music programs - including the Juilliard School's Pre-College Program and Boston University's Tanglewood Institute - join pro musicians in offering practical answers to questions from what instrument to play to where the musical road may lead. For more information, click here.
MLA 8 Citation
Nathan, Amy. "Music That's Out of This World." Nonfiction Minute, iNK Think
Tank, 11 May 2018, www.nonfictionminute.org/the-nonfiction-minute/
The Master Chef of kids’ hands-on science
Ever notice people wearing headsets to keep out noise? Check out the workers on the tarmac of airports, or gardeners with their leaf blowers, or road workers breaking up blacktop with a pneumatic drill. They wear these headsets to protect their ears from damage caused by persistent loud noise.
Loudness is measured in decibels, dB for short. Complete silence is 0 dB, a whisper is 10 dB, normal conversation is 60 dB or about 10,000 times louder than a whisper. A lawnmower is 90 dB, about 1,000 times louder than a conversation and a jet engine is 120 dB about 1,000,000 times louder than a conversation. Anything over 85 dB does damage to our ears. That’s because sound traveling through air is a force beating against delicate eardrums. Yes, rock concerts damage ears.
Performing musicians often have tiny earpieces in their ears. This way the sound engineers can send them the sounds of their own voices or instruments, so that they can hear themselves over the other musicians. Those pieces are not for protection. So the dB level of rock concerts can affect those musicians’ hearing. There is even a name for it: Noise Induced Hearing Loss or NIHL. Rock musicians are the top profession to suffer NIHL later in life.
But there is a new threat to hearing loss—the earbuds people use to listen to music from their electronic devices. They are fine if you keep the volume down. But if you’re hooked on loudness that invades all your senses so that you can’t “hear yourself think” and you listen for several hours a day, you’ll pay the price down the road.
Your ability to hear high tones is the first to go. Here’s a quick and easy hearing test you can use on yourself and your family: Turn on the TV and hit the “mute” button or turn the volume all the way down. Lean over the back of the set and listen for a very soft, high-pitched whine. If you can hear it, you are listening to the highest sound the human ear can hear. (Dogs, of course, can hear much higher sounds, hence the dog whistle, which people can’t hear but dogs can.) Walk away from the set to find the distance when you can no longer hear it. Do the same test with your parents. Bet your hearing is better than theirs.
Try listening to some old-fashioned, melodic, soft popular music that came before rock and roll. You just might like it.
From School Library Journal--
"Fun!" comes through loud and clear in this energetic exploration of hearing and auditory perception. Cobb gets the anatomy lesson out of the way, then moves on to a series of simple activities to help kids experiment with their own sense of hearing. Students investigate sound conduction, perception of pitch, echolocation, and range of hearing by doing such things as sticking fingers in their ears while they talk."
Available for download at the i-Tunes store -- click here.
Vicki Cobb is a member of iNK's Authors on Call and is available for classroom programs through Field Trip Zoom, a terrific technology that requires only a computer, wifi, and a webcam. Click here to find out more.
MLA 8 Citation
Cobb, Vicki. "Banging on the Ear Drum." Nonfiction Minute, iNK Think Tank, 30
Apr. 2018, www.nonfictionminute.org/the-nonfiction-minute/Banging-on-the-Ear-Drum.
Giving Voice to Children in History
One of the joys of research is uncovering the unexpected. Most recently this happened to me when I was writing Charles Dickens and the Street Children of London. Dickens was a patron of the London Foundling Hospital, a charitable home for orphans founded in 1741. (Foundlings were children whose parents were unknown, and hospital meant shelter back then.)
Researching the Foundling, I learned that a century before Dickens, German composer George Frederic Handel was one of its greatest benefactors. I thought this must be a mistake since he was German. Curious, I took a side journey into Handel’s life to find out.
Brimming with musical talent, Handel moved to London at age 26 to find work and quickly became a popular composer and performer. He decided to stay, eventually becoming a British citizen. Londoners readily recognized him, for he was a great bear of a man who wore stylish clothes and an enormous wig. He spoke with a thick German accent, and when angry, his words tumbled together in German, Italian, and English. He never married or had children, but he had a big heart and readily assisted the needy and destitute, especially children. It’s been said that no other composer contributed so much to the relief of human suffering.
He often helped charities by donating all proceeds from a concert. In 1749 when he learned that the Foundling did not have funds for its proposed chapel, he offered a concert to introduce his newest composition, Messiah. The packed audience was enthralled. A second concert quickly sold out, and the chapel was completed.
Handel became a member of the Foundling’s Board of Governors and continued his financial assistance by personally directing Messiah in the chapel at least once a year, always to overflow crowds. When the king attended a performance, he stood for the “Hallelujah Chorus”--and audiences have been standing ever since. Because Handel knew people would pay to see it, he willed the Foundling an original copy of Messiah.
I listen to Handel’s compositions differently now. It’s no longer mere music from the past; instead, it feels alive, created by a fascinating man with a charitable heart who helped provide for orphans. I attend Messiah whenever I can, and when we all stand for the “Hallelujah Chorus,” I smile to myself, feeling a strong connection to history, for I know exactly why we are doing it.
As much as Andrea Warren loves writing, she also loves research. Getting distracted can pay off, because she's now writing a book on a subject she discovered while researching another book. To learn more about Handel and how he not only helped the poor but also inspired Charles Dickens, take a look at Warren's book "Charles Dickens and the Street Children of London." You'll learn more about it and about her other books at www.AndreaWarren.com .
Andrea is also a member of Authors on Call. Bring her into your classroom via interactive video conferencing. Here’s where you can learn more about her and her programs.
Stories that Surprise and Inspire
The song “We Shall Overcome” was an important part of the civil rights movement of the 1960's. It gave hope and courage to thousands of blacks and whites who protested peacefully against unfair treatment of African Americans. The song is easy to sing, but its words carry a powerful message. Here’s its main verse:
We shall overcome,
We shall overcome,
We shall overcome some day,
Oh, deep in my heart I do believe
We shall overcome some day.
Often protestors faced hostile crowds, were arrested, or even beaten up when they took part in nonviolent demonstrations that called for all Americans—no matter their skin color—to have the same right to vote and be treated fairly in restaurants, stores, businesses, schools, buses, trains—and even amusement parks.
Reverend Dr. Martin Luther King, Jr., a main leader of the civil rights movement, urged demonstrators not to fight back, no matter how badly they were treated. This song helped them do that. Holding hands and joining their voices in “We Shall Overcome” during demonstrations—or in jail—helped them feel they weren’t alone and that despite the danger, their efforts would lead to a better America.
The protests did indeed lead to new laws being passed. The 1964 Civil Rights Law makes it illegal for any business that serves the public to discriminate against people because of race, religion, gender, or national origin. The 1965 Voting Rights Law outlaws rules that make it hard for blacks to vote.
News about these nonviolent protestors—and their song—spread around the world. Before long, people protesting for fair treatment in other countries began singing “We Shall Overcome” in their own languages. It has been sung by demonstrators in such varied countries as India, Czechoslovakia, Romania, China, and Britain.
While I was doing research for a book on civil rights, a man told me how the song helped him when he was surrounded by a hostile mob that hurled insults (and some rocks) during a 1963 demonstration at an amusement park that refused to let in blacks. When police arrived to arrest the protestors (not the stone thrower), the demonstrators held hands and sang the song as they walked through the mob to the police van. Their voices were shaky as they sang the verse “We are not afraid,” because they were very afraid, but the song gave them the courage to keep going.
Click here for source notes on this article.
Amy Nathan is the author of Round and Round Together: Taking a Merry-Go-Round into the Civil Rights Movement, which tells the tale of the nearly ten years of protests that were needed to finally end segregation at an amusement park, placing the story of the park—and its merry-go-round—within the context of the civil rights movement as a whole. For more information on the book, click here.
MLA 8 Citation
Nathan, Amy. "'We Shall Overcome': The Power of a Song." Nonfiction Minute, iNK
Think Tank, 23 Feb. 2018, www.nonfictionminute.org/the-nonfiction-minute/