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This Halloween, the Chicago-based government watchdog group, Truth in Accounting, issued what its authors call a "haunting" report....
FULL TEXT: Mayor's Veto Message and Legal Opinion from County Attorney ....
The hearing has been scheduled for 10 a.m. on Thursday, October 31, 2013, at the State Capitol's Auditorium....
...at their moment of victory over the people they quietly admit to the key deceptions used to manufacture consent....
Obama called insurance plans that are getting canceled "substandard" and said people could actually keep those plans if insurers still offered them (which they can't under the President's health care law).....
From developments in China to politicians' pay....
Schoolland discusses the importance of economics education as a way to understand how the world works....
Early on the morning of Oct. 21, more than 250 soldiers from the 65th Engineer Battalion (CE), 130th Engineer Brigade and the 307th Engineer Battalion (C) (A), 20th Engineer Brigade gathered on Camp Leatherneck, Afghanistan....
This report provides a detailed and up-to-date lay of the land on teacher evaluation policies across the 50 states....
Students with disabilities: Originally reported 73.4% graduation rate, revised to 60.1%....
Representative Bob McDermott filed a lawsuit today seeking a Declaratory Judgment regarding the 1998 ballot issue pertaining to same-sex marriage....
Noes, 4 (Senator(s) Gabbard, Kim, Kouchi, Slom....
...people on both sides of the gay marriage debate say the current draft of Senate Bill 1, which would legalize same-sex ceremonies, infringes on religious liberty....
...Union of Operating Engineers cavorts with international crime syndicates, spends union dues illegally and intimidates dissenters with threats of violence....
Economists call the process "adverse selection" and warn that in its worst iteration it could lead to a "death spiral" of falling enrollment and climbing prices....
... raised taxes 13 times in 2013 ....
...under SB1 a child born to a woman will be legally taken from her if the biological father is married to another male....
The three firms will be invited to make presentations to the committee within the next two weeks....
Beneficiaries and other interested parties and organizations are encouraged to review the Draft Plan and submit comments no later than November 18, 2013....
...six different bills addressing religious freedom, parental rights, parentage assumptions tied to marriage, and whether the people will get a chance to vote on marriage via a constitutional amendment....
Rep. McDermott demanded the Minority Party give back their Vice Chair positions, calling them "polluted"....
At noon, Senator Hee announced that if anyone was not present in the next 15 minutes to sign up to testify, they would not be heard....
We estimate that 10 thousand people were at the capitol yesterday to oppose Senate action. In addition, rallies were held on Maui, the Big Island, Hilo and Kona....
"The extensive report summarizes rates of treatment services in Hawaii and reflects substance abuse trends and areas of concern"
...same-sex marriage is still not a 'done deal' in the state house....
"If you like your health care, you can keep your health care plan." --Obama, 2009
The 2013 MoneyRates.com Best States to Retire and Worst States to Retire features ranked each of the 50 U.S. states....
The $63,791,074 collected for the project from July through September marks the highest quarterly total received by HART to date....
With the Senate out all week, the House held its final vote on Wednesday....
Hosted by Representatives Bob McDermott and Gene Ward October 23, 2013....
Hawaii's dishonest anti-biotech activist campaign....
Today, Grassroot Institute of Hawaii and the Institute for Truth in Accounting warned Hawaii citizens about our serious sad state of financial affairs....
White guilt plus political correctness equals restricting free speech and religious liberty in the name of civil rights....
We write in support of same-sex marriage and in support of religious liberty....
Obama is now back to beating the broken drum on amnesty....
Come to the capitol Monday October 28, 2013 at 4:00 p.m. to stand....
...there are plans both ON and OFF the Affordable Health Act's Hawaii Health Connector web site that you are being encouraged to compare....
More than a decade ago, lawmakers and tax department officials finally realized that it is possible to purchase services for resale....
Amy Asselbaye and Patricia Halagao ....
Legislative Committee Hearings set Oct 29-31 ....
Chief Justice Mark E. Recktenwald has appointed Lloyd A. Poelman as judge of the District Court of the Second Circuit....
Video from Hawaii Family Advocates and National Organization for Marriage ...
Garlic salt, leis, stationery, meals, hand towels, computer software, furniture, newsletters and a trip to Tahiti....
Click to watch video ad ...
This resolution passed entire neighborhood board by a vote of 6-2....
Placing any reporting requirements on efforts to communicate with the general public and thereby "stimulate grassroots activity" would seriously undermine the basic premise of our system of government.
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My husband and I saw the movie "Lawless" today. In his opinion, it was fantastic. In my eyes, it was disturbing. I mean, it was a good movie, but I'm a romance/comedy type of gal – this movie wasn't either of those. There was one romantic scene and a couple of laughs in there, but overall, it was violent.
It's strange when you become a mom (or a parent, I guess) how you start looking at things differently. I think I actually started noticing and becoming more sensitive to different aspects of life when I was pregnant.
While I was watching the movie, all I could think of is my 7 month old son. On the way home, I asked my husband something along the lines of "How can we all start out as innocent as our son and then some of us end up so wicked and mean?" I'm sure there are a thousand different viewpoints on this topic, and Freud would have a ball with my question. But, isn't it disturbing to think about how some folks end up so terrible even though the were happy, smiling babies at one point? Maybe I just have an abnormally happy baby, but it's hard to wrap my head around it.
The movie was set not too far from where I live and it's hard to believe there was a time when life was like that. At the same time, I know there are similar things happening in the world today that we just don't know about or acknowledge.
OK, enough gloom and doom on this rainy Labor Day! How about reading this article about Labor Day? The interesting part is the "workingmen's holiday". Guess the women got involved and changed that up, huh?


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|Spinach Salad with Orzo and Cheese
- 1 bag (6 oz) fresh baby spinach
- 1/4 cup orzo (barley shaped pasta)
- 1 table spoon pine nuts, roasted
- 2 cups water
- 1/4 cup black olives, pitted sliced
- 1/4 cup green olives, pitted sliced
- 1/2 cup pearl tomatoes
- 1/4 cup feta cheese or goat cheese, crumbled
- 1/4 cup olive oil
- 1/4 cup lemon juice (juice of 1 lemon)
- 1/4 teaspoon Dijon mustard (optional)
- Salt and pepper to taste.
Prepare salad dressing first by mixing all ingredients and shaking well.
Wash and drain spinach, set aside.
Boil 2 cups of water in a pot. Add orzo and a pinch of salt, cook until tender, about 5-8 minutes. Drain and set aside to cool.
Roast pine nuts in a pan, stirring constantly. Roast until golden brown, set aside.
Place spinach and the rest of the dry ingredients in a bowl. Add salad dressing. Toss the salad making sure all ingredients are mixed well. Serve.
Afiyet Olsun! Bon Appetit!
|Uncooked Orzo
|Baby Spinach and Pearl Tomatoes
|Sliced Black and Green Olives
|Raw Pine Nuts
|Roasted Pine Nuts
|Spinach Salad with Orzo (without Cheese)


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Do you fancy a tandem skydive from 10,000 feet in aid of Hope House?
On Saturday 31st March & Saturday 21st April 2012 at Tilstock Airfield, near Whitchurch Hope House will be holding charity skydives
You'll need to raise £400 in sponsorship to jump for free.
For more details contact the Fundraising Office on 01691 671671 or email firstname.lastname@example.com
Come and join us for a thrill of a lifetime while jumping with a qualified and experienced parachute jumper from 10,000 feet.
Hope HouseChildren's Hospices
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15 Feb 2018 22:50
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Catalyst 2018 – NYC Event Highlights
Artificial Intelligence & Robotic Process Automation in Talent Acquisition.
Alexander Mann Solutions' first Catalyst event of 2018 took place in the Americas and saw over 60 HR & TA leaders converge in New York City for an afternoon and evening of learning and sharing practical lessons from the deployment of Artificial Intelligence & Robotic Process Automation in Talent Acquisition.
Over the course of the event, a range of renowned speakers from world leading organizations discussed the use cases for desktop automation, mini-bots, digital assistants & cognitive computing in talent acquisition today and fielded lively Q&A sessions. Catalyst NYC was hosted atop a building in the Bowery neighborhood of New York City at a modern, creative and innovative venue, enhanced with a signature downtown edge and a professional vibe matching the 'Catalyst' meeting brand.
Video Highlights
At this Catalyst, Alexander Mann Solutions, in conjunction with Talent Collective, went through the following agenda to facilitate the future of Artificial Intelligence & Robotic Process Automation in Talent Acquisition:
'AI & RPA in Talent Acquisition'
Setting the scene for the rise of the bot - Alexander Mann Solutions' Brett McCoy, Lead Consulting Partner, & Sondra Dryer, Global Practice Leader for Brand & Experience kicked-off the event with thoughts and insights
'Starting our AI journey in Talent Acquisition'
Ray Tavares, Bank of America Talent Acquisition Leader, shared the case for AI, lessons learned from implementing AI & where next for AI at Bank of America
Q&A, facilitated by Brett
'Bots @ EY - Talent Acquisition's Goldie & Buddy'
Penny Stoker, Ernst & Young's Global Head of Shared Service Centers, discussed how EY decided the use cases to start with, as well how they built buy-in internally and determined what development/deployment path they wanted to take. She then shared the lessons learned along the way, and the visible measures of success to date
Q&A, facilitated by Sondra
'Blended robot-human solutions - RPA @ AMS'
Erica Titchener and Andrew Wayland, Alexander Mann Solutions' AI in TA experts, shared lessons from building & deploying robotic process automation for AMS' own internal recruiting. They revealed our journey to date and vision for the future
Final Q&A, facilitated by Brett
Brett also closed the agenda portion of the event, Followed by a great evening of networking, drinks and hors'dOevours
NYC Event Gallery
This gathering was part of the Catalyst event series from Alexander Mann Solutions, engagements crafted to inspire innovation, encourage collaboration, provoke debate, showcase best practice and spark change in the world of talent.
your interest in future Catalyst events.
View more highlights from the Austin SXSW Catalyst Networking Event 2018, Anaheim LITC Catalyst Networking Event 2018 and Singapore Catalyst Summit 2017.


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First of three parts
When I was a medical student, the only treatment for a badly shattered hip was bed rest in some sort of traction. This futile therapy in an elderly patient -- almost always female -- nearly always resulted in wasting, pressure ulcers or bed sores with infection, severe muscle loss, generalized weakening, and, finally, pneumonia and death.
The development of surgery that at first inserted metal devices in the fracture area and, much later, replaced the entire hip joint, has reversed the situation entirely. The hip replacement operation ranks as the finest achievement of modern surgery. Other operations are more expensive, glamorous, and headline-grabbing, but none saves lives more effectively and consistently than modern hip replacement surgery.
Now, most of the victims of major hip fractures survive, whereas previously most died. But they survive at a great cost -- a cost to the country in dollars and a cost to the patient in suffering and debility.
Is osteoporosis the worst disease facing American women today? It just may be. It depends on how you do the figuring. If you count the total number of women involved, osteoporosis heads the list. There is no doubt about it. No other major disease can claim so many victims. Some researchers claim that half of all American women over 50 years of age have osteoporosis.
Osteoporosis produces a wide variety of disorders. They range from minor symptoms, such as mild backache, to more serious problems such as curvature of the spine with height loss, repeated fractures of the back bones (vertebrae) with additional loss of height, and, finally, that most devastating fracture -- fracture of the hip.
The conventional view of osteoporosis is that it is a disease of older women, usually white or Asian, who haven't taken in enough calcium, who are not exercising, and who have neglected their hormone replacement therapy. Current medical testing tells us that bone loss is the inevitable result of aging, that calcium intake (especially from dairy products) is critical, that estrogen is needed during and after menopause, and that weight-bearing exercise may be of use.
Of course, we all understand that the situation is much more complicated than this. Some 25 or 30 additional factors, ranging from aluminum ingestion to the phosphoric acid in soft drinks, play a role in the onset of osteoporosis, but none of these is of major importance when compared to the "big three": calcium, estrogen, and exercise.
Does this correspond to your understanding of the problem? If it does, you are in the good company of nearly all American women and their physicians.
I would like to challenge this belief by asserting that -- with the exception of exercise -- not much of the standard advice listed above is helpful. To be sure, calcium and estrogen deficiencies are not trivial matters. They are contributing factors in osteoporosis causation, but they are not the main determinants of the disease.
When we are confused about issues of human health, one useful approach is to consider the health of our ancient ancestors, and next to look at groups of contemporary humans in societies other than our own. This allows us to see where we came from, whether osteoporosis is part of our natural, biological inheritance, and to note what happens when humans live differently from ourselves.
Here is one thing that we know for sure about our distant ancestors: Paleolithic men and women had robust, strong bones. It is equally certain that they did not have estrogen supplements, calcium pills, or dairy products. Their :fossil remains clearly show strong teeth as well as strong bones. (Only 2 percent of fossil teeth from the Late Paleolithic period show evidence of tooth decay, and even this is minor. In the pre-modern dental era, the incidence of decay was 70 percent.)
More to the point, the skeletal remains of Paleolithic humans indicate great strength. This is deduced from the highly tufted and large bony insertions for the muscles. The bones themselves are sturdy and dense, showing no evidence of osteoporosis despite their antiquity. So much for osteoporosis in Paleolithic times. It didn't exist.
We don't have to go that far back in time to learn that the bones of English people living in the 1600s were also far stronger than the bones of contemporary English folk. Recently, when a certain church burial vault required relocating, the bones were studied for density before they were re-interred. it was found that the bones of persons who lived in that era were far stronger and denser than those of modern English folk.
Looking at cultures other than our own in today's world is even more instructive. Stated simply, there is very little serious osteoporosis in most of the world. It is found almost entirely in industrialized, Westernized societies, such as the United States, Canada, the United Kingdom, Australia, and Europe.
But most of the rest of the world is nearly devoid of widespread and serious osteoporosis. These are the areas with the largest populations, among them most of Asia, Africa, much of South America, and any other place with little modernization or Westernization. The only notable exception is in the Arctic, where the Eskimo has been plagued with severe osteoporosis for centuries.
An even simpler way to look at the situation is to imagine a map of the world with the low incidence areas for osteoporosis colored bright red. Then picture areas of the world where there is large scale usage of dairy products and estrogen therapy for women. Color these areas blue. You will find your map completely colored, red or blue, with no overlap. In other words, the extensive use of dairy products and estrogen supplementation in the world -- today -- does not prevent osteoporosis. One could logically wonder whether one or the other, or even both, could be involved in actually causing osteoporosis!
As it turns out, one is and the other isn't.
See the next issue of Nutrition Health Review for part 2 of Dr. Kradjian's series on osteoporosis: "Calcium Matters -- But How?"
PHOTO (BLACK & WHITE): Robert M. Kradjian
By Robert M. Kradjian, M.D.


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@christianm77 What "new information" are you talking about? Modern music theory has been around for a looong time. There isn't any "new information" there it's the same stuff that's been used since long before you were a twinkle in your mama's eye or even your grandmama's eye. It's really just a matter of how creative you are and then what you can creatively do with it.
On the other hand sometimes I think guitarists think they have to have every lick spoon fed to them by someone else so they're always looking to someone else to show them some specific way to play everything. However if someone else shows a lick to you then, in a sense, it isn't really new. Rather you're regurgitating what's actually been done before and calling it "new". So in that sense it's actually a deception because it isn't really new or original.
The concept I mentioned of "variable licks" is exactly a method for creating something new. Because if you're creative enough what you'll find is by using that method you'll eventually come up with brand new licks that are totally you're own that don't even resemble the original lick you started with anymore, even though they started out being based on the same idea.
Having a solid foundation in the music theory, learning how to play with the different subdivisions during the measure, Playing some of what's already been done as a learning tool to see what's going on musically, then learning methods for creating your own original lines/musical ideas with it all, then playing what YOU hear and feel, that's how you create something new and original. That's how it becomes YOU and not just a clone of someone else.
Originally Posted by Bobalou
I'll find a citation but it's a little dense, but lasted on gets a bit more readable.
So the question is whether players need to know that - I would say not, but I do think it's a useful thing to know in light of pedagogy because it ties up a lot of the threads that get very confused in the types of discussions here.
(I am aware of possible critiques from the cultural side also)
People have lots of great advice but it's not always clear to someone who wants a deeper understanding (again not necessarily the player, more the teacher who wants to help students consistently) and kind of work out where mutually contradictory advice has commonality. There's a lot of the latter in jazz edu. (And not much academic literature which may not be a bad thing, but is certainly in contrast to classical)
On the other hand sometimes I think guitarists think they have to have every lick spoon fed to them by someone else so they're always looking to someone else to show them some specific way to play everything. However if someone else shows a lick to you then, in a sense, it isn't really new. Rather you're regurgitating what's actually been done before and calling it "new". So in that sense it's actually a deception because it isn't really new or original.
The concept I mentioned of "variable licks" is exactly a method for creating something new. Because if you're creative enough what you'll find is by using that method you'll eventually come up with brand new licks that are totally you're own that don't even resemble the original lick you started with anymore, even though they started out being based on the same idea.
Having a solid foundation in the music theory, learning how to play with the different subdivisions during the measure, Playing some of what's already been done as a learning tool to see what's going on musically, then learning methods for creating your own original lines/musical ideas with it all, then playing what YOU hear and feel, that's how you create something new and original. That's how it becomes YOU and not just a clone of someone else.
This is a really interesting discussion.
To me "sounding like jazz" is 90% about how you play notes or rhythms and only 10% about the actual note choice and rhythms.
You can play any rhythm so it does not sound like jazz and you can also play most rhythms so do sound like jazz.
The easiest way to learn (in my experience as a student and as a teacher) is imitation, so really playing along with solos you have learned, and preferably you learned them by ear otherwise you won't be able to nail the phrasing. This again just comes down to listening a lot.
It is also important to keep in mind that swing feel is not something with a right or a wrong solution. Pat Martino and Grant Green are both right, but are at both ends of the spectrum with how even they play 8th notes. Benson emphasizes the down beat very often so does Wes, but not all the time, so there are no strict rules for that.
This makes it hard to teach with analysis and explanations (otherwise I would have made a lot more videos on it.... ) and easier to learn and internalize by ear. This is also a good reason why you should transcribe stuff even if you get a lot of the notes wrong, in a way that is not really that important for learning phrasing and you will still learn tons!
Originally Posted by JensL
I find things like just learning some basic rhythms on percussion (claves, bembe, that sort of stuff) and getting students to sing or play these patterns along with 4/4 swing does a lot to open up the phrasing beyond the usual 8th notes to death thing. Opens up an extra layer of nuance...
It is also important to keep in mind that swing feel is not something with a right or a wrong solution. Pat Martino and Grant Green are both right, but are at both ends of the spectrum with how even they play 8th notes. Benson emphasizes the down beat very often so does Wes, but not all the time, so there are no strict rules for that.
This makes it hard to teach with analysis and explanations (otherwise I would have made a lot more videos on it.... ) and easier to learn and internalize by ear. This is also a good reason why you should transcribe stuff even if you get a lot of the notes wrong, in a way that is not really that important for learning phrasing and you will still learn tons!
It's to me no different from any type of music theory really, just naming specific entities and training one's ear to hear them. Even if it's as simple as knowing what a Bembe bell pattern is, or how it relates to the ride pattern, or 6/8 clave, or the 1/4 triplet - that all strikes me as the sort of thing drummers are very aware of. Drummers are often historians of rhythm with a much deeper understanding of the connections between musical forms.
Also rhythm relates to maths on the most basic level, it's can be as theoretical, or as natural, as any other aspect of music, even if it's as simple as knowing when something should synchronise and when it shouldn't, developing rhythmic independence and so on.
For instance, how do you teach someone to play a Bembe pattern with one hand and tap their foot or other hand in 6/8, 3/4 and 2/4 (Peter Bernstein teaches this for phrasing on a fast jazz waltz for instance.)?
I think most people would have to break it down step by step as with any polyrhythm stuff. There's probably other ways to do it, but that's the most common way I've seen.
Good for the brain, I think. Although drummers are mental.
I sometimes feel people want rhythm to be completely intuitive, different from other aspects of music which sometimes need to be broken down in a step by step way. I'm not sure why this is.
Why does someone need to figure out the solo by ear to nail the phrasing?
Originally Posted by christianm77
When you teach them to swing, is it then with a Grant Green feel or a Pat Martino feel?
Originally Posted by joe2758
If you learn it by ear you usually have it internalized in a much stronger way.
Speaking of jazz phrasing generally - one thing that has helped me a lot is learning the difference between an accented, structural note and 'filler' (it's analagous to ghost notes on a hand drumming), and the placement of those particular notes is important, while the other ones can be a bit less definite.
Some players are more consistent with their beat placement, evenness etc than others, but they all seem to nail the timing of these accented notes very specifically.
Originally Posted by JensL
Bembe is a massive influence on good medium tempo swing feel. Triple time in general, obviously, but the Bembe just has that slinky push and pull thing. Take Wes on Willow Weep and sing the 6/8 clave with him. Billie Holiday too. Hearing Peter singing that rhythm switched on a light in my head, too.
What this type of polyrhythm gives you is the right way to play behind the beat. As Wynton puts it:
Wynton Marsalis: Mm-hmm. Well, it's all of the musics that have a rhythm that's a combination of 4 and 3. They are related technically. It all comes from that kind of African mother clave, then our shuffle is added in.
The 3 rhythm is small and the 4 rhythm is big rhythm in the jazz language. Whereas in the African music, the 3 rhythm is the big rhythm that you hear. The 4 rhythm is the background rhythm. (Well, it's a 6 but you know what I mean.) When they are playing they are hearing both of the times, and they are playing both of the times. But they swing in the lower time.
EI: Barry Harris told me once that he thought Charlie Parker constantly played in 4 and 6 at the same time. That it was in there somewhere…
WM: It's in everybody's music. Billie Holiday is the most pronounced one…
EI: Oh, you think so?
WM: Well, that I've heard of the jazz musicians. If we put on a Billie Holiday record and we tap quarter note triplets, a lot of her phrasing will line exactly up with those triplets. Put her music on and tap out a quarter note triplet. She's always in that quarter note time. "Sailboat in the moonlight with you…"
As Wynton says, you can boil it down to quarter triplets synchronising with 1/3 and this synching with 1 and 4 (as Kreisberg and Larry Koonse teach) but I like the Bembe because it's a bit more musical, obviously connected to the history and encapsulates both the 1/4 triplets in one rhythm.
That said, most of my students struggle at first hearing 6/8 on 4/4 and accurately playing it, let alone the more complex Bembe rhythm, so learning 1/4 triplets is usually a necessary first step.
I've learned a lot by reading interviews on Do the Math with Billy Hart, Charlie McPherson etc.. Those interviews are fantastic.
When you teach them to swing, is it then with a Grant Green feel or a Pat Martino feel?
But you are going to find that they synchronise the upbeat with the rest of the band and don't overdot their 1/8s, anywhere up to playing them pretty much straight and fractionally behind the beat. That's non negotiable. Everyone does that. And that upbeat placement is agreed with the drummer and everyone else in the band.
Anyway, I often find myself fixing players who do the overdotting, jerky thing. I'm sure you know it well.
Can be for a number of reasons... number one reason, I reckon, too much practice trying to synch exactly with the metronome while swinging (which will never work), not enough experience playing straight ahead with drummers, not enough playing with records, whatever.
So, step one, practice singing or tapping consistently the swing upbeat (which can take a while.) Go between 3rd triplet and straight and, just to get the basic reference points. Actually, a lot of overdotters are already able to do this.. (I had a teacher that suggested I practice with the metronome on '1 and' and '2 and', another good idea.)
Then switch on the recorder, get them to start off playing their usual way, so probably quite triplety at this point - and then straighten their playing they ALWAYS sound good - they still swing because they are catching the swung upbeat.
(That's the important part of it that sometimes gets missed. If you don't nail accurately the upbeats in any type of African diaspora music, you don't groove...)
They usual feel a bit weird about it, you play them the recording and they go 'Oh' - do it a few times and they start to learn that feeling. It's not everything - you don't want to play accented downbeats late, for instance, but it works really well. Of course it does, it's the same advice given by many greats.
So I think it doesn't have to be a big deal. If you know what you are doing, you can fix basic problems with swing feel. The other distinctions are more to do with rhythmic vocab, articulation etc
I am not saying that people shouldn't learn polyrhythms and I learned Bembe quite early on back in Denemark.
But I still find that if you want a novice jazz player to learn to sound more like jazz when they improvise then having them do a few solos by ear is not to be ignored. And that was what you started the thread with right?
We can drown in exercises but checking out real music is pretty useful
Originally Posted by JensL
Polyrhythms are essential to jazz phrasing. A sense of swing builds on all of these elements.
But I still find that if you want a novice jazz player to learn to sound more like jazz when they improvise then having them do a few solos by ear is not to be ignored. And that was what you started the thread with right?
Re the OP I say : 'Obviously, one should always give the simple and vital advice to listen to lots and lots jazz (immersion), but I feel other resources would be helpful, and possibly enjoyable for the student.' Anyway, this was for an assignment. Feel free to check out the fairly lightweight but (I think) quite fun resource I posted on the thread linked above.
In general, you could exactly the same value (probably quite a bit more) by transcribing the rhythms of solos (I think Galper has a exercise like this), but the cards thing is quite fun and also helps with reading skills. I do like having exercises where we can forget about pitch choices for 5 minutes. It's so easy to drown in questions about this or that scale.
Personally, I feel the more resources we have that deal with jazz rhythm the better. And there's not that much out there, for the number of players who struggle with it. I know I did, and the advice I got was very general, and not that much help. You may have been luckier... My aim is always to give students a series of clear and finite things to work on rather than just saying 'work on your time.'
I still am working on my time all the .... er... time, but the difference is now I know what I am working towards and I can measure my gains, both by listening critically to myself, because I know what I am listening out for and in other ways. As my understanding improves, so does my ear, so I never really catch up with it...
Re: learning solos by ear. One thing I do is get students to transcribe in the lesson with my help. It can be really intimidating to do this for a beginner. Some students are 100% comfortable with it, even surprised that this is an advised activity.
What's your approach?
We can drown in exercises but checking out real music is pretty useful
(not really)
Last edited by christianm77; 04-29-2019 at 05:26 PM.
i have to double check , but, i think "bembe " bell is called "vassi " in ketu . ketu has various vassi tempos for differant dieties, same bell and pi and le but differant tempos, the solo sometimes just hands on the drum, or ,hand and stick.
what i have discovered in ketu is , if you stick to the basic laws or parameters , there is an incredable cross thing happening.
for instance , jinka has a "pi" and "le" , the two sticks playing the same thing as the other drum , a really bounce pattern almost elvinish , but is in ellington accents on heads like satin doll . the jinka bell is the same as the bravum , where the "pi" and "le" are actualy an art blakey and philly jo jones splang a lang with a triplit cross stick in the jazz drum version. but the jinka / bravum bell is a figure in nows the time and jingle bell rock , so you all can get a very good idea of the feel, its really bouncy and if you just played that rhythm on a solo with a blues , any note you wanted , it would be swinging like crazy .
so , in ketu, sato is a 3/4 beat , and, they just add a beat to the jinka/ bravum bell ( think jingle bell rock) and its totaly 3/4, but they keep the "pi" and "le" the same as in jinka , but , with the new bell, its dramaticly 3/4, yet there is a tug of the duple also
the phrasing of the rums really start going back and forth with the 3 against 4 feeling ,like lets say billie holliday mentioned, but , it seems all these great jazz singers got it from louis armstrong, and , i skated on listening to the hot fives a long time, but , now , getting to it , im blown away. so much is there. his scatting is off the wall even doing a heavy cross 3 worthy of hancock and tony on 4 and more , and serious opanije phrasing on lots of stuff, he keeps coming back to opanije singing and playing the trumpet , even with some bars other cadence. but after hot fives , he doesnt do that as much , all swing went "bravum" for a minute .
but, the actual parameters of these concepts let the phrasing of the solo play to that , or , on top of the beat , that is part of the range of expresion each player brings . in ketu , the solo "rum" has each player doing these similar licks for the dancers , but there are these differances in aproach, some slippery , some sharp , some behind , some on, some ahead, not unlike sax solos, or, the exact differance of a methany , who is more slippery and informed by coltrane and ornette and grant green more rooted in tradition.
so its this incredable two against three , syncopated call responce , simple repeated micro cadences that lead to large beautiful ever changing like life because of improvisation , that you add a beat to a duple concept and the whole structure although playing the same thing , goes into a new feeling , in 3. this goes over and over, the tribe over the hill has a variation and a new dance , its so flexable it always evolves. look how it came to the americas , dominated all the places these concepts were brought to , the grooves , ginga, swing, dances that kept changing every decade ...and jazz is all that...
for example, christian, one video you have i asume the drummer is playing a second line beat in the A . well, if you take a monster ketu beat , "ilu ", on the "pi" and "le" , its really fast, and isolate the opisite hand , still playing the pattern, start slowing it down and first you hit "frevo" then that second line beat ,some louis armstrong unison horn line cadences , some ray charles stuff has it also as a cadence, then you hit "olodum" the brazilian bloco afro who made that beat famous, then , really slow with a high hat and cross stick , you hit bossa...the opisite hand of "ilu", all slowed down, still playing the whole pi and le, starts covering cadences in various world recognised cultural musical patrimonies.
this speaks to the crux of what is going on , the vitality and the importance to plugging into the big picture. which also includes powerful tickits to intuition and sub concious expresion , and the cultural genius of where this comes from
hot five didnt have drums,it had banjo
neither jelly roll nor joplin
this isnt drummer talk at all
I thought about a new thread for this,in On The Bandstand, but maybe it will make sense here.
Some time back I heard a Brazilian master drummer play a simple egg shaker. None of the non-Brazilians could get the same groove.
In the course of a lesson from another Brazilian master, the shaker reminded me of the Little Train That Could, meaning "I think I can" repeated. Some readers will know what that sounds like. The Little Train speeds up and the rhythm of the words changes with the speed, but somehow, it stays in a kind of pocket.
So, I started bringing a shaker to jams. On the Brazilian tunes, if the guitar comp wasn't needed, I'd play shaker instead, chanting silently, "I think I can". The drummers looked happy, which is a good sign.
Then, something interesting in another way happened. When I was playing guitar in one of the sessions, I kept feeling like I was getting off the time. I wasn't sure why. I couldn't hear where the problem was in the band, or in me. But, when I was playing shaker, keeping time with my arm and wrist, I felt pretty confident that I was on the beat. I could feel it clearly. Suddenly, I could hear when the drums, bass, or both faltered. At another session, with a different bassist and drummer, I did it again, finding that it was all fine.
So, as a small, but possibly helpful, idea to improve time feel, I'd suggest putting the guitar down and playing shaker. Other hand percussion is possible, but most other percussion instruments are more complicated than a straightforward shaker part.
Another thing I'd suggest is not playing too loud. I find it easier than it should be to get off the time if I inadvertently drown out the rhythm section. It's better if I put the amp further away, so I hear the guitar more in the group context.
Originally Posted by bonsritmos
Also - guitar is a type of drum - but we forgot in jazz. Other forms of music haven't, funk, rock, reggae and so on. In bossa the guitar is a whole percussion ensemble.
I've played my fair share of early jazz rhythm guitar, even a little banjo. The guitar used to be the drums in the piano trio before Ahmad and Bill changes it up - just listen to Tal Farlow play rhythm.
Jim Hall redefined the role of the guitar just as Charlie Christian had done (now it could play the part of piano as well as horn) but both were masters of the instrument in its original role.
Originally Posted by rpjazzguitar
Anyway, here, most jazz musicians are taught Brazilian music and other African and African Diaspora rhythms by a guy called Barak Schmool, including (AFAIK) Jacob Collier who I think has a pretty good samba feel to these gringo ears (Jacob's first instrument was drums.) I've also had some contact with Barak learning Samba and his approach is pretty technical.
Many sambistas prefer a more immersive approach - they say 'you can learn the patterns but you need to immerse yourself in the culture.' Of course flying to Rio every year is a big commitment for someone who's main focus is jazz, so Barak's approach might be appropriate for jazzers, who might want to save the money for a trip to NYC lol.
Anyway, similar debate to what comes up when we talk about jazz feel.
Barak's project (what used to be the F-IRE collective) is really to equip jazz musicians with better groove skills, more of a connection to dance and so on. The fact that he does this using Brazilian music, not Jazz is striking.
(Problem is of course, while rhythmic vocabulary is from the same roots, feel is obviously completely different. I wonder if yes, Ketu Candomble drumming might be more appropriate. That said the 'can' if 'I think I can' does align with the 3rd triplet upbeat, so there is still a 6/8 lilt in Samba.)
(One thing I did learn from him is that in AD music the downbeat is relaxed while it is the upbeats that are energised. This is true on any level of subdivision - be it 1/2 notes, 1/4 notes, 1/8 notes or 16th notes. This is most obvious perhaps in the way we click our fingers to jazz on 2 and 4, or play 1st Surdo in the bateria on beat 2; and so therefore the scientific finding that jazzers hear the 1/8th upbeat in the same way as the beat in Western music, as a moment of synchronisation, makes perfect sense. It shouldn't have been a surprise lol.)
American Jazz on the other hand, while using many of the same rhythms is a different thing. And there seems to be few reference points. It's interesting what doesn't seem to get taught... basic vocabulary such as Charleston....
I've met plenty of jazz graduates who don't know what a Charleston, or a second line is. Might be less so in the states, but here in London it feels there's a disconnect with the basic rhythmic language of the music. The swinging players know all of this stuff intuitively, of course. Doesn't mean they can teach it.
The shaker thing - do you do the thing where you bring it further back on the 4th 16th (the 'can' if I think I can, or Ta of Karakata as it's been taught to me)? Just interested.
Last edited by christianm77; 04-30-2019 at 05:01 AM.
Another thought re: the importance of having a language to talk about rhythm... Here's a story told by Barak's teacher Joao Bosco De Oliveira.
So, an inexperienced player is practicing with the bateria. He's playing tamborim (I think) and keeps dragging. Now Bosco teaches, 'if the samba dosen't feel like it's speeding up, it's dragging' - so this fella doesn't know this, and the tempo is coming down and coming down. The leader points at him and makes it VERY clear he is fucking up. He then attempts to demonstrate how the part should feel. In process of demonstrating the part the leader does what everyone tends to do when demonstrating - he plays it louder.
(It's a bit like an English tourist repeating the same phrase in English louder to someone who doesn't speak English lol)
Needless to say the guy plays it louder and keeps on dragging. It's later made clear to him not to return.
So - I'm not saying that leaders of Rio baterias should be expected to be teachers (lol) but it does illustrate a point.
- First of all the teacher doesn't necessarily even know the student is dragging per se - it may just be that to him as a person having learned the music as a mother tongue that it's just *wrong*.
- Secondly the student doesn't know what to listen for, so it's not clear what he needs to do to get it sounding *right* (or at least, less wrong) - the leader just picks up the instrument and sounds amazing.
- Thirdly the mode of communication used actually made it worse, because nobody wants the guy playing out of time to play louder lol.
Bosco is one of the best teachers I have had (and everyone who has studied with him agrees), not because he is the best percussionist or anything (although he is great), but because he knows how to break it down and communicate the building blocks of the music, as well as illustrate the culture of the music through anecdotes and history. Of course a student passionate about the music of Brazil should spend as much time in Brazil as possible, but that's a big commitment. He is a master at teaching the basics of the music correctly.
First off, I wouldn't swear that the Little Train rhythm is exactly what the sambistas play. I just think it's closer than what I was doing before. That said, I played it this morning with an American drummer who gigs regularly with Brazilians and he was smiling, fwiw.
One of the drummers who taught it recommended playing the shaker with a physical pattern.
I'll do my best to describe it. Hold the shaker in front of you and shake it.
Now imagine that someone off the side is looking at you do it. The shaker's trajectory is a basically a slight arc back and forth.
Now imagine that you play the forward motion with a bigger arc. Imagine that's the top 30% or so of a circle -- still as seen from the side.
Then, a short backward motion (this would be about 10 o'clock or so on the circle). Then a corresponding forward motion.
And, then the bottom arc coming back to the starting point.
The teacher's point, I think was that if you trace the circle like that, you're more likely to get the rhythm right. It is, in fact, they way he played it -- and not just for demonstration. But, another Brazilian drummer didn't do it, at least not as obviously, but still sounded great.
Another Brazilian said they have something called Trenzhino (I'm guessing at the spelling). The Little Train. It refers to a certain chugging quality to the rhythm. I don't know if it refers to the same Little Train in the fairy tale.
I have also heard the idea that it should feel like it's rushing. I have had the opportunity to play with some Brazilian masters. My impression is that many of them play that way, it's a style. But not all.
" I think I can " ha ha , I have a phrase I go to in up modal bop when a soloist goes linear with no time. I start hearing in my head " these and those and these and those " ha ha , to help me lock into a groove
good point ,Christian , older jazz guitar played more rhythm.
this opanije is funny, it's all in early jazz , when swing went more bravum , it still stuck around in band kicks in arrangements. And as swing got faster , it turned into bop , and the opanije feeling got stripped down, and the last referance I can see is the A head of " milestones " . That kick would be a super fast striped down opanije cadence. So , see how that works? An evolution from the original cadence?
the tuba hits that oom pa oom pa in early jazz , piano picks it up in stride piano , when tempos get faster like with teddy Wilson, he starts laying the chords on the one , like the "oom" from " oom pa " , hit bop with bud Powell style, then McCoy takes it to another leval , then herbie starts getting wispy , but would bring it in occasionaly...but , you have to know the history to get why there is this comp on the one in swing bop and it is crucial in the swing dialogue as a pivot point.
There is this evolution, the tempos get faster , the cadences get striped down , but there still is a thread to the older concept. If young players only copy the new generation of guitar players, they might miss where the kicks their idols play came from.
Yes yes yes, there should be lift in samba and jazz and gua gua co..
i call it the tautness ness of the bow when you shoot a bow and arrow. The spring action affect.
pollyrhythms encourage lift, not drag, it's on top
yes, you can be in a taut rhythm and solo behind the beat in that affect that was talked about relating to the " triplet" feel, but , the rhythm section can't drag. You can't let a behind the beat solo pull the rhythm section down.
i don't know what it is about samba, but , once you really get it , you can swing it on a match box , I can do it, I just can't explain it. It's all in the cadence I think.
Originally Posted by rpjazzguitar
Another Brazilian said they have something called Trenzhino (I'm guessing at the spelling). The Little Train. It refers to a certain chugging quality to the rhythm. I don't know if it refers to the same Little Train in the fairy tale.
I have also heard the idea that it should feel like it's rushing. I have had the opportunity to play with some Brazilian masters. My impression is that many of them play that way, it's a style. But not all.
Originally Posted by bonsritmos
For instance, the way the Bembe/Vassi bell pattern intersects with the 4/4 means if you are perceiving the polyrhythm on top of, say, playing a straight 4/4 ride or rhythm guitar part, you can hear what the soloist is doing and lock in to it.
OTOH the Bembe can exist in a good rhythm sections groove anyway, so the soloist might be more likely to lock in.
In the same way, if you are nailing the upbeat consistently in a swung 1/8th line, the section will feel it. If you aren't... Well you're back to triplets and overdotting (mea culpa.) Obviously if you have a great drummer, they are already giving you the upbeat and all you have to do is lock in...
Jonathon Kreisberg puts it well - 'people think this music floats, but actually it's locked in.'
The polyrhythms are to me akin to upper structures on chords. When I first heard Kind of Blue I thought it was out of tune. Later I learned to hear 9ths and 13th and realised what Miles was doing, and heard the relationship to the chord.
The same with polyrhythmic phrasing; the unsophisticated ear may hear Billie as simply out of time and not hear the 6/8 lilt perceived by Wynton above. Furthermore, 'phrase that melody behind the beat' may become the bandstand shorthand for 'lock into this polyrhythm' which is fine if you know how to feel it.
i don't know what it is about samba, but , once you really get it , you can swing it on a match box , I can do it, I just can't explain it. It's all in the cadence I think.
christian, yes bossa implies laid back, the original writers were writing about the unbeleivable lifestyle of ipanema copacabana on the beach
i think the whole bossa thing is the same as the billy holiday phrasing, its behind but it super aware of the real groove underneath..
remember i hooked one of the standard bossa cadences of cross sticking , to the extremly slowed down opisite hand of the powerful ilu beat, that has two beats that float a 3 against 2 affect, cutting the 3 off at the end of the bar starting the cycle over again.
there is that 3 against 2 phrasing you talk about catching a beat of the 3 making it sound laid back but its not. the trick is always being strong how it comes back in . you can float out a phrase but it has to finish strong to line up with the rhythms section
the whole rhythm thing radicly changed in bossa / samba after the era of jobim /gilberto , when the players who were younger came in who could really really play , and started innovating , like the incredable bass player luizao maia who changed how everyone plays samba bass . the cutting edge got real differant , and it never quite made it to the west...esperanza spaulding is an example of someone who got it...her version of "coisa feita" is something to envy hahahaha
When I hear Ilu I think of this:
Oh hai Barry.
ha , yeah, that is the opisite hand of the pi le two hand ilu beat , slowed way way down.
you got it
the heavy thing about ilu is, especily if you hear it as its normal fast tempo, it also is the grandfather of the coco, forro , baio etc in brazil, it has that constant quarter note triplit feel ( i think that is right , its almost like the first half of a cascara 3/2 clave )implied in the groove ( the two stick handed " pi and le "opens up these other vistas by looking at the opisite hand which is doing a kind of "ruf" ,a drummer rudimental term ,alternating hands . that is where the bossa sidewinder olodum ray charles etc beat gets implied, in this opisite underhand side of looking at the beat ,and in these cases , slowing it down ,way down)
you can hear this quarter note triplit ( first part of the 3/2 cascara clave , more or less) in sections of ragtime, louis armtstrong , the charlston etc
so ilu has these various properties that you see in a lot of differant idioms , and that makes it a very powerful groove
when people talk about the habanera and tresilio, in truth , that is ilu , meaning it is all up in igbo ogeno beats . its like the first part of a cascara of a three two clave over and . the composer and country of origin was under spanish rule but the concept is from west africa, and they are ancient concepts
of course im sure cuban drumming has something related, but, ilu is a yoroba word , isnt it better to perceive those kind of grooves with that word? haha
the bell pattern you can hear in nigeria etc but the effect of the ruff alternating hands so the opisite hand has this cross rhythm for a couple of beats , is for sure in brazilian ketu....just to clarify, i dont want to give too much generalised information so people might think im saying something else . i think these beats would get played so much that ideas started to emerge about the implication of the opisite hand , and how it could create new directions . in america, my gosh that is a mystery but i can only guess it was like a kirilian photograff where you tear up a leaf but you can still see the lost part in the kirilian photo. these concepts were in the people , they came out in differant ways depending where the people were taken. ultimitly leading to artists letting this culture pour out in rag , jazz, blues, rock, funk, hip hop , disco edm etc
I have heard some differences in the way Sambistas from different cities and of different ages handle the groove.
One Elder Statesman, Hamilton Godoy, from Sao Paulo, has as deep a groove as I've heard, but he doesn't have that "sounds like rushing" thing -- and he probably goes with slightly slower tempi on the standards.
But, some younger Sao Paulo players seem to have a way of driving the groove that I haven't heard quite the same way from Rio based players. This could be my imagination, since Rio players also drive hard. I heard Andre Mehmari do it with Yotam Silberstein at Dizzy's a few weeks ago and it reminded me of Chico Pinheiro's comping. They're both from Sao Paulo, but younger than Mr. Godoy. It's based on playing every upbeat, but saying that doesn't do justice to the feel. It's heavily propulsive in a way that straight upbeats are not.
Another point: I hear the "feels like rushing" thing more in the comping instruments and the melody instruments than in the drums. It's subtle and I could be wrong, but I know what it feels like in a group that's doing that - and I usually feel the pressure in the melody and comping. Perhaps the tension is created by the push there while the bass and drums are on, but not ahead, of the beat.
Originally Posted by rpjazzguitar
Another point: I hear the "feels like rushing" thing more in the comping instruments and the melody instruments than in the drums. It's subtle and I could be wrong, but I know what it feels like in a group that's doing that - and I usually feel the pressure in the melody and comping. Perhaps the tension is created by the push there while the bass and drums are on, but not ahead, of the beat.
I don't really know about how kit works in that set up, as I have no experience playing kit.
But - and I'm WAAAAY above my pay grade here, probably talking shit.... it feels like the samba swing fundamentally belongs to the tamborims etc.... as the guitar plays tamborim patterns in brazilian comping styles maybe it's up to us to give that push?
Originally Posted by bonsritmos
One thing I would say is that while the bell pattern on both Jinka and Bravum looks like the spang-a-lang ride pattern, I would think of it as being reversed - the skip note generally comes after beats 2 and 4. But it does synch well with the horns to my ears.
The best São Paulo players I've seen, Celso Almeida, Edu Ribeiro , Kiko Freitas, and other great men and women, especially, São Paulo, are doing " samba na prate" maybe wrong words, but , it's an older style invented in rio , by guys like Edson Machado. Dom um Romão , Milton banana ...etc. timbó trio was going after the rio sound.
so these great drummers are throwing fast notes on the cymbal , and filling around the kit. Bass drum dadodadodao.
if you want to see that style perfected, those are great guys to check out.
i hit rio in 86 , I thank above for that, hit Salvador that year too but lived in rio. It's where you find out about samba. I came down to rio with a dadodado, but changed really fast.
rio has so much history and movements in the music.what I learned from luizao and Paulo, I won't go back on. Especially the samba of luizao , he innovated the sound everyone copied and it throws the foot off the older style into a wonderful new world....those guys are experts at these other styles well worth checking out.
im bringing that sound into the guitar samba thread
Christian , exactly correct about the bell in bravum jinka, it sounds like backwards swing...
but is a monster front line phrase..it is gold, grab its bouncy anchor and you have solo improv power , phrasing power, but also writing power. Emote on that phrase , dig on it , blues it to death, its paydirt.
nows the time, satin doll, its lots of compositions. Shuffle with it and use it to pivot off of and back on to.
this is what makes this Ketu interesting, it addresses profound swing principles.that can be used right away with what you know.
also. If you hear a pop cut like " heat wave" , boom/dada.dada/ boom/dada.dada, that is ilu from the front hand, not the opisite, so, its code is in some of those type of hits. It's a slice of the bell pattern , and the implication of the groove, but less notes, with a little swing shuffle
Originally Posted by bonsritmos
With regard to the upbeats, the sonic image that comes to mind is "jackhammer". I have sat close and watched/listened to the point where I can see what they're doing, but I have not been able to get to that feel.
I've also had the opportunity to sit beside Kleber George (Sergio Mendez) playing Chega De Saudade at a brisk tempo, for that tune. His groove is incredible, but I didn't hear the jackhammer. What I did hear was Ginga -- the Brazilian swing -- really deep.
fantastic you played with those great drummers.
i know Rafael , he is from rio
are you brazilian? Or , do you live in Brazil?
i think samba drumming allows for a lot of personal interpretation. It's really supposed to be imitating percusion.
im glad I went to rio first. At that time, the luizao bass concept was huge . I came down to rio already playing the dadodado on the bass drum, so, to experiabce that new way to play samba with the bass drum implying the rio surdo bass drums, was a dramatic change for me, and I've never looked back, even though the trend now in São Paulo, is to go back and relook at the Edson Machado innovations.some guys and women can maintain 16 note ride at really fast tempos.
I've never been to Brazil.
But, there is a community of musicians, some Brazilian, playing Brazilian music in the Bay Area.
This community includes some great players and great teachers.
In addition, a group of us ask some of the visiting players from other areas to do a class if they have the time. There are some other groups around who do the same thing. Fortunately, quite a few of the Brazilian Masters have been willing to do so. We set it up as a combo class -- meaning we put a band together and have the Master coach us. Sometimes, we just want a chance to jam with them, just to see how it feels to play with them. This has been incredibly valuable, but it is still a gradual process of listening, playing and studying.
Originally Posted by christianm77
For whatever it's worth:
When I was five, I attended Rhythmic classes once a week over a year. A lot of kids circling around the gym, with the teacher in the centre clapping the beat. I still remember it. We had claves, maracas and tambourines and written scores (!). We moved, danced, jumped and sang to different rhythms. I have often thought about what this early training did to my perception of music.
I was born in cold place, far from Brazil, but I have this tendency to resort to latin grooves whether appropriate or not. Maybe it's a guitaristic thing, right hand fingers just want to do the bossa-nova...
Same thing with the Shuffle beat, seems to come natural to guitar players, something about picks, up- and down-strokes perhaps....
If you want to teach someone to swing - have them play triplets and do the Shuffle. Punctured eights are closely related, just that there are different degrees of swing.
Rythm is also very much about dynamic articulation, vital in be-bop like you mentioned, but never expressed in the scores.


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Home » Events » VINSE Colloquium Series: "New Functional Materials Enabled by 1D and 2D Nanomaterials " Student Selected Speaker, Michael Strano, Massachusetts Institute of Technology 04/17/18
VINSE Colloquium Series: "New Functional Materials Enabled by 1D and 2D Nanomaterials " Student Selected Speaker, Michael Strano, Massachusetts Institute of Technology 04/17/18
Posted by Alisha McCord on Monday, December 4, 2017 in Events, VINSE Colloquium, VINSE Colloquium.
April 17, 2018
4th Annual VINSE Student Selected Seminar Series
Michael Strano Department of Chemical Engineering Carbon P. Dubbs Professor Massachusetts Institute of Technology
"New Functional Materials Enabled by 1D and 2D Nanomaterials"
4:10 PM, 134 Featheringill Hall Refreshments served at 3:45 Abstract
Our laboratory has been interested in how 1D and 2D electronic materials such as carbon nanotubes, graphene and transition metal dichalogenides, can manipulate electrons, phonons and photons in unique ways. This presentation will focus on recent advances from our laboratory at MIT to create materials with new combinations of functions and properties. Two-dimensional (2D) materials can uniquely span the physical dimensions of a surrounding composite matrix in the limit of maximum reinforcement. However, the alignment and assembly of continuous 2D components at high volume fraction remain challenging. We use a stacking and folding method to generate aligned graphene/polycarbonate composites with as many as 320 parallel layers spanning 0.032 to 0.11millimeters in thickness that significantly increases the effective elastic modulus and strength at exceptionally low volume fractions of only 0.082%. An analogous transverse shear scrolling method generates Archimedean spiral fibers that demonstrate exotic, telescoping elongation at break of 110%, or 30 times greater than Kevlar. Both composites retain anisotropic electrical conduction along the graphene planar axis and transparency. These composites promise substantial mechanical reinforcement, electrical, and optical properties at highly reduced volume fraction. Additionally, we present a theory, experimentally validated, of how fluid phase equilibria is significantly altered when confined to nanometer scale dimensions, creating the potential to embed tunable phase change materials, as well as unique liquid or solid properties encapsulated within new matricies. Our theory, based on the Turbull number, can predict the solid/liquid coexistence for any fluid and any Nanoconfined system down to approximately 4 nm. Below this limit, we show remarkable departures experimentally. Fluid phase transitions inside isolated nanotubes deviate substantially from classical thermodynamics and also allow the study of ice nanotube (ice-NT) properties. Herein, we measure, using two different techniques, the diameter dependent phase boundaries of ice-NTs within isolated CNTs 1.05, 1.06, 1.15, 1.24, and 1.52nm in diameter using Raman spectroscopy. The results reveal both an exquisite sensitivity to diameter and substantially larger temperature elevations of the melting transition than theoretically predicted by as much as 100°C. Dynamic water filling and reversible freezing transitions were marked by 2 to 5cm-1 shifts in the radial breathing mode (RBM) frequency, revealing reversible melting at 138°C and 102°C for 1.05 and 1.06nm single and double-walled CNTs, respectively. A near-ambient phase change at 15°C was observed for 1.52nm CNT, whereas freezing inside 1.24nm tube was suppressed at -30°C. These extreme phase transitions enable the study of ice-NT at high temperatures and their potential utilization as novel phase change materials. These new fabrication and thermodynamic concepts promise fundamentally new materials with unique combinations of properties.
Professor Michael S. Strano is currently the Carbon P. Dubbs Professor of Chemical Engineering at the Massachusetts Institute of Technology. He received his B.S from Polytechnic University in Brooklyn, NY and Ph.D. from the University of Delaware both in Chemical Engineering. He was a postdoctoral research fellow at Rice University in the departments of Chemistry and Physics under the guidance of Nobel Laureate Richard E. Smalley. From 2003 to 2007, Michael was an Assistant Professor in the Department of Chemical and Biomolecular Engineering at the University of Illinois at Urbana-Champaign before moving to MIT. His research focuses on biomolecule/nanoparticle interactions and the surface chemistry of low dimensional systems, nano-electronics, nanoparticle separations, and applications of vibrational spectroscopy to nanotechnology. Michael is the recipient of numerous awards for his work, , including a 2005 Presidential Early Career Award for Scientists and Engineers, a 2006 Beckman Young Investigator Award, the 2006 Coblentz Award for Molecular Spectroscopy, the Unilever Award from the American Chemical Society in 2007 for excellence in colloidal science, and the 2008 Young Investigator Award from the Materials Research Society, the 2008 Allen P. Colburn Award from the American Institute of Chemical Engineers, the 2009 Office of Naval Research, Young Investigator Award and selected as a member of Popular Science's Brilliant 10 in 2009, 2011 Thompson Reuters, Ranked 19th of the Top 20 Chemists of the Decade 2000-2010, 2011 Kavli Frontiers of Science Fellow, National Academy of Sciences, 2012 Nanoscale Science and Engineering Forum Award, American Institute of Chemical Engineering, 2014 Blavatnik National Award for Young Scientist (Finalist; Chemistry) and 2014 Selection for Defense Science Study Group, Department of Defense.
Tags: VINSE Colloquium


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Beware, My people, for the intensity of the time you live in is increasing daily. When the events culminate to a certain point, it will increase suddenly, exponentially. When this happens, your choices will be very limited and many of My people will not survive.
I tell you these things that you may prepare by knowing Me more intimately than ever before. If you know Me intimately, I am able to help you in these times I tell you of. If you do not know Me this way, your faith will not sustain you in them, for they will be dire, indeed.
Plans have been made by those who are privileged, those who have power, and those with special advantages, to make changes according to their liking.
NOTE: I immediately thought of President Trump, and the many who hate him when He spoke that, but He did not say this has anything to do with him.
Their plans will be carried out, because the time of the end is upon all flesh and all scriptures must be fulfilled, that My people can come home to be with Me here in heaven.
The people making these plans are against Me. They are against My people, they are against My Word. They will usher in My enemy.
NOTE: I felt He was speaking of the AntiChrist here, but He did not say that.
This group is made up of many peoples (nations) and they have long plotted to destroy this country because of its foundation in Me. Though many in this country no longer love My Name or serve Me, this country once stood for Me and My ways like no other.
NOTE: He sounded so sad when He said that, like a father who has lost his child.
My children, you must get ready for what is coming. Becoming close to Me, walking in intimacy with Me, is not an overnight process. If you do not begin, you will not arrive. You will not have enough time to do this if you do not begin now.
This year will bring many changes for My people, and many opportunities for those who do evil against them. See that you have no part in oppressing My people. See that you take no part in siding with what is wrong. See that you worship only Me, for the end is at hand, and those who do not will suffer a terrible end.
Podcast with more detail about coming events, and what the Lord showed me about 2018:
Podcast with more detail about coming events, and what the Lord showed me about 2018:
Psalm 91:1-6
- 1 He that dwelleth in the secret place of the most High shall abide under the shadow of the Almighty.
- 2 I will say of the Lord, He is my refuge and my fortress: my God; in him will I trust.
- 3 Surely he shall deliver thee from the snare of the fowler, and from the noisome pestilence.
- 4 He shall cover thee with his feathers, and under his wings shalt thou trust: his truth shall be thy shield and buckler.
- 5 Thou shalt not be afraid for the terror by night; nor for the arrow that flieth by day;
- 6 Nor for the pestilence that walketh in darkness; nor for the destruction that wasteth at noonday.


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Before I even go into it, everyone HAS to see this movie. You have to. Oh. My. God. Cutest film EVER! And its soooo funny! I went to an advanced screening of it tonight with my mum [best person to watch this movie with] and it finished at 9 and its now 11.21pm as I'm typing this and we're still grinning ear to ear and repeating what we saw and laughing and oh my God, its just left us with such a happy, warm, fuzzy feeling! I'm so happy right now because of this movie.
It's a documentary following 4 babies, from birth to their 1st birthday, in 4 different parts of the world; Mongolia, Namibia, San Francisco and Tokyo. Not only are the babies so incredibly cute and so funny but it's a film that also makes you think. The Mongolian baby and the Namibian baby were soooo happy and they pretty much had the outdoors as their toys [ranging from bones to goats, seriously]. Then you have the 'richer' babies from America and Japan, and the American baby was a bit stressy [and boring, actually] and the Japanese baby throw [the most hilarious] tantrums. There's a great 'scene' where it cuts between the Japanese baby throwing a hissy fit because she can't get her toys to do what she wants them to do and the Mongolian baby who is so freaking happy with toilet paper to play with. It just shows the differences, money doesn't always make you happy. Oh my god, though, the Mongolian baby was my favourite, he was just always so happy and incredibly funny and I could watch him all day. Same goes for the Namibian baby who was so smiley and curious about the world.
Seriously, everyone has to see this movie, you will not be disappointed, its so lovely and cute and funny and makes you go 'awwww' and you will leave feeling so happy! Fantastic movie. May of even made it to my top 10 films ever!
PS: GO SEE THIS MOVIE!!!!!! Its out in theatres Sunday 9th May, Mother's Day to you Americans so go see it with your mum, she'll love it!


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On 30th November we'll be holding a tournament at Shoreditch Powerleague to mark World AIDS Day.
10 teams will play 5aside for the coveted TackleAfrica Trophy, followed by a barbecue, drinks and networking. The event is co-sponsored by the PFA and Salesforce, so 100% of the £500 per team entrance fee goes straight to TackleAfrica.
Further details are below – to register or for enquiries contact


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Rating: NNNNN
If the toy department at your local dollar store is looking a little bare, it's probably because Kameleon designer Elizaveta Yankelovich has cleaned it out to create her one-of-kind novelty necklaces. She chain-links chunky Lego cubes, miniature sewing machines and child-sized tea sets into fun, kitschy jewellery. To dissuade you from stringing one of her necklaces over a pirate blouse, each hefty bauble comes with a simple cotton tank. There's no upstaging these babies. $44-$107, Boutique Le Trou (940 Queen West, 416-516-7122), www.woomp.com/kameleon.


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(Adds CEO, analysts comments)
By Aluisio Alves and Carolina Mandl
SAO PAULO, May 9 (Reuters) - State-controlled lender Banco do Brasil SA sees fiercer competition with financial startups as likely to reduce the country's average credit margins in the coming quarters, CEO Rubem Novaes told journalists on Thursday.
He said the bank still is likely to reach the top range of its guidance for net income or 17.5 billion reais, as Banco do Brasil will control operating expenses and speed up loan book growth.
Novaes' statement comes as financial startups and small lenders have cut fees and rates to lure consumers, fighting against mainstream banks.
Banco do Brasil on Thursday posted a higher-than-expected first-quarter profit as loan-loss provisions fell sharply and despite a contraction of its loan book growth.
It reported a recurring net income of 4.247 billion real ($1.08 billion), up 40.3 percent year over year.
The bank's return on equity, a gauge of profitability, also beat analysts' expectations at 18.3 percent and Novaes said there is room for improvement.
Profit was mainly boosted by a 26.3 percent drop in loan-loss expenses year on year to 3.126 billion reais.
A lower tax rate, at 23 percent, also helped results. "If the same tax rate is sustained for coming quarters, BB will very likely reach the upper bound of its 14.5 billion reais and 17.5 billion reais net income guidance for the year," BTG Pactual analysts said in a note to clients.
Total loan book, however, shrank 1.9 percent in the quarter, due to a contraction in corporate loans.
Novaes said the bank is likely to reach the target range set for the growth of its loan book, between 3 percent to 6 percent in 2019. So far, it rose 0.9 percent.
Loans in arrears for more than 90 days stood at 2.59 percent in March, roughly in line with the previous quarter.
Shares in Banco do Brasil were down 0.26 percent in early afternoon trading, while the Ibovespa benchmark index was down 0.5 percent.
Novaes reinforced Banco do Brasil's independence to set its prices for financial products, as a recent comment by far-right President Jair Bolsonaro raised questions on governmental interference.
In an event in April, Bolsonaro begged Novaes to cut interest rates for agribusiness.
"He was just kidding," Novaes said. "Banco do Brasil is free to set its interest rates."
$1 = 3.9273 reais Reporting by Carolina Mandl; additional reporting Paula Laier; editing by Jason Neely


text: ESKOM has noted with concern various misleading reports in the media regarding the signing and execution of budget quotations and power purchase agreements with independent power producers (IPPs) participating in the Department of Energy's procurement programmes. In 2012, Eskom established the Grid Access Unit (GAU) department with a primary mandate of managing the overall service relationship with the Independent Power Producers (IPPs) and facilitating IPPs' access to the national grid. To date, Eskom has processed and issued over 1 300 cost estimate letters and 110 budget quotations to preferred bidders appointed through the various DoE IPP procurement programmes.As of January 2017, Eskom has connected 62 IPP projects as part of the Department of Energy's Renewable Energy Independent Power Producer (RE IPP) and Peaker programmes. These 62 projects have cumulatively added 4 200 MW of generation capacity to the grid. A further 620 MW is expected to be added to the grid in the 2017/2018 financial year as the third bid window of RE-IPP projects are integrated to the national grid.The integration of renewable IPPs to the Eskom grid has not only contributed to the diversification of the energy mix but also to South Africa's economic growth. Eskom's total capital expenditure costs for enabling IPP connections amount to R3.7bn for projects in bid windows BW1 to BW4 of the RE-IPP procurement programme. Eskom's total energy costs for IPPs amounted to over R18bn up to March 2016.Eskom wishes to assert that it remains committed to government's energy procurement programmes and intends to sign budget quotations and power purchase agreements related to these programmes. This commitment will be carried out within a framework that takes into consideration the scale and pace of the roll-out of IPP procurement programmes, the long-term financial sustainability of Eskom and the value for money criteria vis-a-vis whether South Africa's customer base can afford the current IPP tariffs and their projected trajectory. The uncertainty on the cost recovery mechanism for IPPs' energy costs remains a key concern to be clarified with Nersa and other relevant stakeholders.Eskom will continue to provide non-discriminatory access to the power system to all IPP projects in compliance with the Electricity Regulation Act. Eskom is currently processing 50 budget quotations totaling 3 381 MW for the RE-IPP, co-generation and coal baseload programmes. Of these, 32 budget quotations had to be revised owing to delays in the signing of related power purchase agreements. The balance of the budget quotations include new applications from recently appointed preferred bidders. The costs of connection to the grid (connection charges) are regulated by Nersa through the South African Grid Code and the Tariff Code. Eskom's quotation process makes such costs explicitly transparent to IPPs and load customers. The implementation of Nersa's 2014 amendments to the South African Grid Code in respect of connection charges and the Tariff Code makes it imperative for Eskom to charge IPPs and load customers for additional transformation charges where applicable. In some cases this has led to discrepancies or variances in the costs indicated in the issued (or initial) cost estimate letters and actual costs in the budget quotations. This change in policy has affected some of the costs of projects in bid window 4. IPPs were part of the development of the amendments of the code and therefore aware of such changes.Renewable energy remains an important part of South Africa's future diversified energy mix and it is therefore critical that the implementation of such programmes should be carried out in a multi-stakeholder approach that supports the country's economic growth and the realisation of its socio-economic ambitions. *Thava Govender is group executive for transmission at Eskom. Read Fin24's top stories trending on Twitter: Fin24's top stories


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More on Invicta FC 2 - Baszler vs. McMann
Invicta FC 2 Weigh-in Results: Shayna Baszler, Sara McMann Hit Marks for 135-Pound Main Event
By: Mike WhitmanRead More
Shayna Baszler and Sara McMann made weight Friday ahead of their Invicta FC 2 headliner.
Podcast: 'King' Mo Lawal
By: Sherdog.com StaffRead More
TJ De Santis and Jeff Sherwood hosted Friday's edition of "Beatdown" on the Sherdog Radio Network. On this two hour edition, the duo...
Jordan Breen Weekend MMA Pre-Fight Chat Recap
By: Jordan BreenRead More
Sherdog.com Administrative Editor Jordan Breen will host his weekly live mixed martial arts chat at 1 p.m. ET.
Podcast: Boetsch, Miller, Knapp
By: Sherdog.com StaffRead More
On Wednesday's edition of "Beatdown," hosts TJ De Santis and Jeff Sherwood were joined by guests Tim Boetsch, Cole Miller and Shannon Knapp....
Invicta Fighting Championships' Sophomore Effort to Stream on Promotion's Website
By: Tristen CritchfieldRead More
Like the promotion's debut event this past April, Invicta Fighting Championships 2 will stream for free on InvictaFC.com on Saturday night.
10 July Tussles Worth Watching
By: Tim LeideckerRead More
Invicta Fighting Championships will hold its second women's-only event on July 28 at Memorial Hall in Kansas City, Kan., with an Olympian as...
Invicta FC 2 Update: Sarah D'Alelio Replaces Kelly Kobold, Faces Vanessa Porto on July 28
By: Tristen CritchfieldRead More
Sarah D'Alelio will look for her second consecutive win with Invicta Fighting Championships on July 28.
'Night Queen' Replaces Ishikawa, Meets Chavez on Invicta FC 2 Undercard
By: Mike WhitmanRead More
The Invicta Fighting Championships' second effort has seen a small change occur to its undercard, as atomweight Kikuyo Ishikawa has withdrawn...
Shayna Baszler-Sara McMann, Alexis Davis-Hitomi Akano Top All-Female Invicta FC 2 Bill
By: Mike WhitmanRead More
Olympic freestyle wrestling silver medalist Sara McMann will headline Invicta Fighting Championships' sophomore all-female event on June 28, when she'll meet submission specialist...


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One of the slogans I have been working with is "Keep an Open Mind." That is not easy for someone who tries to control the outcome of everything around her. My aim, of course, is to "love what is" which requires an open mind. This has been a lifelong opportunity/challenge for me and I'm sure for many others. Giving up control is not easy when you've been doing it for years.
A perfect example of that is what happened this morning. I am away for the weekend visiting a friend in NH, and spoke to my husband, Bob, on the phone. I asked him what he had for dinner last night and he said that he had pizza. At one time I would have responded, I hope you had a salad too. However, I have made some positive changes along the way and refrained from saying anything in response because what he had for dinner is none of my business. Positive changes really are being made because tonight I didn't even ask what he had for dinner. That is his choice without me checking up on him to make sure he ate what I think is a healthier choice.
Synchronicities abound. This morning I pulled a mug out of the cupboard and it was exactly what's been going on. It was the only mug there. It has a drawing on the side of a character smiling out at me and it said, "Want to Know how you can be proud of me every day? Lower your expectations." I had to really smile at the synchronicity of that mug being the only one there and it applying to exactly what I was dealing with to keep an open mind, love what is and forget about expectations of what I think others should or shouldn't do.
I can still have expectations for a beautiful, wonderful, joyous day, and at the same time be grateful for whatever shows up with an open mind and heart.
When I asked for comments, this is what came through.
You are right, it is time for you to give up attempting to control everything. So, the cup and the whole set up of what has been happening in your life and in the lives of many is exactly what is good for you to "see" and focus on. One of the writings in Volume 1 of Tuning In To Spirit actually says let those who have the eyes to see, see.
We will share here again that it is long past time for so much and yet there are so many who do not feel called to see or to think there is anything to see other than their old tired way of being and living. You would like to help them get out of their lethargy into more awareness.
There is a way to do this without being controlling. That is to love you and them just as you are and to hold the vision of good health and prosperity in whatever area it is needed. Simply let go and let God without forcing anything. You will see how much more it flows with grace and ease in divine timing and divine order.
The writing Keep It Simple and Surrender from Tuning In To Spirit addresses this so keep it simple and surrender by keeping an open mind and allowing others to go at their own pace without trying to change them. Also, look at where you are trying to fine tune everything to make it more perfect. It will save you from a lot of wear and tear on your body and you will have a lot more energy to do what really is yours to do.
Simply stay tuned to what your spirit has in store for you, rather than focusing on all the things that need to be corrected or changed in your family, friends or in the world at large.


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This is one of the most elegant designs that I have made to date. Hand sawed out of recycled brass sheet stock, this ornate set of earrings are both elegant and simple. The negative space and contrasting brilliant brass is a real showstopper. The pearls add a delicate touch that further the pieces already refined feel, and the chain is 100% solid brass. The earrings measure 2 1/4 x 1 3/4, and although they are larger, they're incredibly light due to the metal that has been subtracted. May you feel like you are stepping out of a Alphonse mucha painting while wearing these- as this was the muse of my inspiration.
Note:This is also sold as a set with matching pendent- if interested, please see a separate listing on my site with reduced cost for buying the set together, which saves you $15.00
- Item #: 024


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New blog location… March 15, 2013Posted by Mark Hillary in Current Affairs, Government, Hardware, Internet, IT Services, Outsourcing, Software.
Tags: blog, location, moing, moved, new
Thank you for visiting the Thomas Eggar technology blog. We have moved the blog to our main website – please click here to be taken directly to the latest version of the blog!
Photo by Steve licensed under Creative Commons
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