<p>5 wrong should be over a 720 unless the curve is very harsh, which is unlikely.</p>
<p>I’m hoping for 2 wrong/800.</p>
<p>I chose parody as well, but I forget the question…</p>
<p>What are the chances that 6 wrong on cr is 730+</p>
<p><a href=“http://www.erikthered.com/tutor/SAT-Released-Test-Curves.pdf[/url]”>http://www.erikthered.com/tutor/SAT-Released-Test-Curves.pdf</a></p>
<p>^^ that chart is VERY useful</p>
<p>The roommate said that he thought with his forehead but the narrator thought with his navel, was dumb, etc. Seemed like a taunt to me, especially considering that he was expecting the narrator to attack him. Not sure what he would be parodying.</p>
<p>I got 5 wrong on CR in May and got 750.</p>
<p>EDIT: looks like 5 wrong is on average 740, and 6 wrong is on average 730.</p>
<p>A parody is an imitation of a serious work. What work was fleece imitating when he told the narrator that he thinks from the navel?</p>
<p>Anyone remember getting 3 D’s in a row on the very first Vocab section? The one that had the MLK Ameliorate as #8…</p>
<p>Did you guys think this was a hard med or easy test in comparison to previous tests you’ve taken</p>
<p>I think I got 2 sets of 3 D’s. That made me pretty nervous. After looking at those charts I’m most worried about writing though, since the curve is really rough compared to the CR curve.</p>
<p>Only 1 SC wrong :). on the march and May SAT i got 8 and 5 respectively</p>
<p>taunt: to reproach in a sarcastic, insulting, or jeering manner; mock. </p>
<p>I think it was taunt rather than parody.</p>
<p>which passage had “account for a phenomenon” as one of the answer choices? i feel like it was the skateboarding…?</p>
<p>What were the other choices for the question whose answer was “digress” and what was the question and what were the choices for the ella baker question whose answer was “shaping”?</p>
<p>That was the passage about blogging</p>
<p>I put vehement because I thought caustic was too strong. BUT, my friend who NEVER makes a mistake on the reading says the answer was emphatic. Her son said Emphatic too, and he got an 800 on reading last time he took it.</p>
<p>I’m assuming vehement was wrong then. I was ify on it anyway.</p>
<p>Emphatic was the answer to a separate question: “What tone did the two passages on nuclear power share?” Answer: emphatic</p>
<p>“What tone was used in the second paragraph of the second passage?” Vehement or caustic</p>
<p>emphatic was an entirely different question. the debate is vehement vs caustic, with more evidence towards caustic</p>
<p>hey, does anyone remember the other answer choices for the sentence completion which the answer had to do with someone earning respect from opponents for being a CLEVER debater?</p>
<p>I had a reading experimental section – and I didn’t have that one – so there must have been more than one experimental reading section.</p>
<p>In case anyone is interested, her is the Ella Baker passage.
(I pocketed a test booklet as a was leaving the testing center.)</p>
<p>Ella Josephine Baker’s activist career spanned from 1930 to 1980, touched thousands of lives, and contributed to over three dozen organizations. She was an internationalist, but her cultural and political home was the African American community. Ella Baker spent her entire adult life trying to “change the system.” Somewhere along the way she recognized that her goal was not a single “end” but rather an ongoing “means,” that is, a process. Radical change for Ella Baker was about a persistent and protracted process of discourse, debate, consensus, reflection, and struggle. As she put it in 1969:</p>
<p>* We are going to have to learn to think in radical terms. I use the term radical in its original meaning – getting down to and understanding the root cause. It means facing a system that does not lend itself to your needs and devising means by which you change that system. *</p>
<p>If larger and large numbers of communities were engaged in such a process, she reasoned, day in and day out, year after year, the revolution would be well under way. Ella Baker understood that laws, structures, and institutions had to change in order to correct injustice and oppression, but part of the process had to involve oppressed people, ordinary people, infusing new meanings into the concept of democracy and finding their own individual and collective power to determine their lives and shape the direction of history. These were the radical terms that Ella Baker thought in and the radical ideas she fought for with her mind and her body. Just as the “end” for her was not a scripted utopia but another phase of struggle, the means of getting there was not scripted either. Baker’s theory of social change and political organization was inscribed in her practice. Her ideas were written in her work: a coherent body of lived text spanning nearly sixty years.<br>
Biography is a profoundly personal genre of historical scholarship, and the humbling but empowering process of finding our own meanings in another person’s life poses unique challenges. As biographers, we ask questions about lives that the subjects themselves may never have asked outright and certainly did not consciously answer. Answers are always elusive. We search for them by carefully reading and interpreting the fragmented messages left behind. Feminist biographers and scholar-activists like myself face particular challenges. It is imperative that we be ever cautious of the danger inherent to our work: imposing our contemporary dilemmas and expectations on a generation of women who spoke a different language, moved at a different rhythm, and juggled a different set of issues and concerns. The task of tailoring a life to fit a neat and cohesive narrative is a daunting one: an awkward and sometimes uncomfortable process of wading barefoot into the still and often murky waters of someone else’s life, interrogating her choices, speculating about her motives, mapping her movements, and weighing every word. No single descriptor ever seems adequate to capture the richly nuanced complexity of a life fully lived. Every term is inherently inadequate, each one loaded with someone else’s meanings, someone else’s baggage. How can a biographer frame a unique life, rendering it full-bodied, textured, even contradictory, yet still accessible for those who wan to step inside and look around?
My journey into Ella Jo Baker’s work has been a personal, political, and intellectual journey, often joyous and at times painful. It has taken me in and out of some twenty cities and numerous libraries, archives, county courthouses, kitchen tables, front porches, and a few dusty attics. This long journey has been marked by periods of difficult separation followed by hopeful reunions. In the process I have revisited the faces, experiences, and southern roots of my own mother, father, grandparents, aunts, uncles, and cousins: Mississippi sharecroppers, domestic and factory workers, honest, generous, hard-working, resilient black people. Most importantly, in the process I have developed an intense and unique relationship with my subject. I have chatted, argued, commiserated, and rejoiced with Ella Baker in an ongoing conversation between sisters, one living and one dead. In this book, I have tried to tell Ella Baker’s story partly as she would have told it and partly the way I – a historian and an activist of a different time and place 0 felt it would have been told.
There are those who insist that biographical writing is composed and tainted by an author’s identification and closeness with her subject. This does not have to be the case. I do not apologize for my admiration for Ella Baker. She earned it. I admire her for the courageous and remarkable life she led and for the contributions she made without any promise of immediate reward. I admire her for the ways in which she redefined the meaning of radical and engaged in intellectual work, of cross-class and interracial organizing, and of a democratic and humanistic way of being in the world, all the while trying to mold the world around her into something better.
I first came upon Ella Baker’s story through my search for political role models, not research subjects. As an anti-apartheid and antiracist student and activist and Columbia University and the University of Michigan in the 1980s and as a black feminist organizer thereafter, I was drawn to the example of Ella Baker as a woman who fought militantly but democratically for a better world and who fought simultaneously for her own right to play more than a circumscribed role in that world. As an insurgent intellectual with a passion for justice and democracy, Ella Baker held and affinity for the most oppressed sectors of society. So, my first connection to Ella Baker was a political one. This connection has enhanced rather than lessened my desire to be thorough, rigorous, and balanced in my treatment of her life and ideas. For me, there is more at stake in exploring Ella Baker’s story than an interesting intellectual exercise or even the worthy act of writing a corrective history that adds a previously muted, black, female voice to the chorus of people of the past. To understand her weaknesses as well as her triumphs, her confusion as well as her clarity is to pay her the greatest honor I can imagine. To tell her life truths with all the depth and richness is to affirm her humanity and all that she was able to accomplish, because of and at the times in spit of who she was.</p>