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Florida State, Auburn to play for BCS National Championship
Florida State and Auburn are ranked first and second, respectively, in the final Bowl Championship Series standings and will face each other for the national championship on Jan. 6 in Pasadena, Calif.
"We've gotten the matchup everybody wants to see," said Bill Hancock, the BCS executive director. "We felt we'd get the two best teams, and we did."
In the final year of the BCS being the Football Bowl Subdivision's top postseason format, the Seminoles finished atop the standings for the first time since 1999. Florida State lost the first BCS championship during the 1998 season to an SEC opponent, Tennessee, before winning the title the next season against Virginia Tech.
BCS:Final standings
Florida State will again face an SEC opponent for the title this season, and that opponent will be trying to earn the SEC the BCS National Championship for the eighth consecutive season.
The Seminoles and Tigers were ranked 1-2 in the two human polls – the USA TODAY Sports Coaches Poll and the Harris Poll – and the Seminoles were No. 1 in four of the six computer metrics, with Auburn first in the other two. Florida State's BCS average was .9957, and Auburn's was .9638.
MATCHUPS:BCS breakdown
Defending BCS champion Alabama finished third and will face No. 11 Oklahoma in the Sugar Bowl on Jan. 2. Big Ten champion Michigan State finished fourth and will face No. 5 Stanford in the Rose Bowl on Jan. 1. Stanford's fourth consecutive BCS berth leads the nation.
In the other BCS bowls, No. 6 and Big 12 champion Baylor meets No. 15 and AAC champion Central Florida in the Fiesta Bowl on Jan. 1, and No. 12 Clemson meets No. 7 Ohio State in the Orange Bowl on Jan. 3.
BOWL SCHEDULE:Dates, times for every game
After the national championship pairing was set, the Orange Bowl began the at-large selections by picking Ohio State to replace Florida State. Then the Sugar picked Alabama (which had earned an automatic berth by virtue of its top four ranking) to replace Auburn. Next, the Orange picked Clemson, then the Sugar picked Oklahoma. Finally, the Fiesta grabbed Central Florida.
The Fiesta Bowl matches two teams playing in their first BCS bowls.
Michigan State's defeat of previously unbeaten Ohio State on Saturday night eliminated most of the opportunity for controversy in what has long been a controversial postseason setup. But that doesn't mean the final season of the BCS lacked for drama.
Alabama's two-year run as BCS champion essentially was ended in the Nov. 30 Iron Bowl against Auburn, a team that wasn't ranked in the preseason. For that matter, only two of the six teams to qualify automatically for BCS bowls this season – then-No. 12 Florida State and then-No. 4 Stanford – were in the preseason USA TODAY Sports Coaches Poll. Auburn (SEC champ), Baylor (Big 12), Central Florida (AAC) and Michigan State (Big Ten) were not.
The SEC placed seven teams in the final BCS top 25, with the Pac-12 next at five.

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January 3, 2013
Warm and cozy in the Library
As the snow piles up outside, Terri Gehr and Jack Cooley work in the Library during the Holiday Cost Savings Initiative week, which ran December 22-31. A big snowstorm closed campus on December 26, and wintery weather further reduced the number of employees working over the holiday break.
Personal Business Leave due January 7
In order to process the Personal Business Leave Pay Out of up to 16.0 hours of unused 2012 personal business leave for the January 31, 2013 pay date, all outstanding forms should be turned into the payroll department by Monday, January 7.
IRS increases mileage rate effective Jan. 1
Columbus State's travel procedure 9-06(A) ties mileage reimbursement rates to the IRS guidelines. The Internal Revenue Service recently announced that business mileage rates will be increased from 55.5 cents per mile to 56.5 cents per mile effective January 1, 2013.
Travel forms are available on the Intranet and will be updated to reflect the new rates. Reimbursement forms that are in-transit will have the mileage rate adjusted by the Travel Office for travel that occurs on or after January 1, 2013. Questions regarding the new rates should be addressed to Betty Sugar in the Travel Office at ext. 2421.
Nestor, Brennan present at Two-Year College Legal Symposium
Kelli Brennan
John Nestor
Public Safety Director John Nestor and Director of Student Life Kellie Brennan recently presented on the importance of having a campus Behavior Intervention Team (BIT) for handling classroom disruptions and mitigating perceived threats. The presentation was part of the Ohio Attorney General's Two-ear College Legal Symposium held in Columbus.
Several years ago, Columbus State became one of the first community colleges in Ohio to create a Behavior Intervention Team. Its purpose is to provide the appropriate intervention and support to students and employees while always striving to protect the wellbeing of the college.
"We know for a fact that many cases have been successfully mitigated, due to the effective and timely work of our BIT," said Nestor. "An effective and informed team strikes the right balance between overreacting and underreacting."
The Columbus State team consists of trained and experienced representatives from Student Conduct, Public Safety, Counseling and Disability Services along with the Dean of Student Life. The team approach is holistic, reviewing the circumstances, the individual, and the context of the concern. It is followed by a coordinated team response which could involve individual security precautions when needed.
For repeated student disruptions, contact Kellie Brennan at ext. 2117 for a review. In most cases, the sooner the call is made, the better it is to prevent potential escalation. For immediate threatening behavior, contact Public Safety ext. 2525, or call 911.
Departments take part in Critical Incident Exercise
The Columbus State Department of Public Safety held an Integrated Emergency Management exercise December 20 with Business and Campus Services, Marketing and Communications, Information Technology and Physical Plant. In the exercise, the departments had to "talk through" a critical incident using their Emergency Response Guidelines.
Each department involved in the exercise had previously developed their Emergency Response Guidelines and completed an introductory exercise using their guidelines. The participating departments are considered critical because they are important to everyday operations and would be involved during and after a critical incident.
Other critical areas such as Student Affairs are developing their own emergency response guidelines, and will take part in future integrated exercises. The exercise was directed by Emergency Management Coordinator Andrew Jarvi. Attending the Dec. 20 exercise were Aletha Shipley and Beth Bates, Business and Campus Services; Mark French, Physical Plant; Jim Beidler and Doug Rellick, IT; Will Kopp and David Wayne, Marketing and Communications; and John Nestor and Babette Money, Public Safety.
Advising Services publishes January newsletter Connections
Lots of good information for students can be found on the Advising Services website http://www.cscc.edu/services/advising/ in their January issue of Connections, the Advising Services newsletter.
In the January issue, you'll find articles about renewing the FAFSA, the Generation One Trailblazers (GOT) student organization, and a quiz to find out if they are "doing what it takes to succeed." There is also a farewell article to Jocelyn North and Laura Houston-Hoburg, two long-time employees who have recently retired from Advising Services!
Career Services offers new planning tool for students
The Office of Career Services has recently completed a career planning web tool for students that you should know about! The Ohio Career and Information System (OCIS) is an online planning tool free to currently enrolled Columbus State students. It can be accessed at home or on campus.
Using the OCIS, students can create their own plan and use the online tools to explore their interests. Students can also research careers and develop a plan to track their progress toward meeting their goals. OCIS provides various resources to assist students in the career planning. Students can visit the Career Services homepage at http://www.cscc.edu/services/careers/ and click on "Career Plan" to get started. Career Services also welcomes the opportunity to work with faculty to provide career workshops and classroom presentations! For more information, contact Dr. Chandra Bell at ext. 2782 or stop by Nestor Hall 108.
Spring Semester Welcome Team seeks volunteers
The Welcome Team Spring Semester 2013 will be held Monday and Tuesday, January 14 and 15, from 8:00 a.m. to 6:00 p.m. The Welcome Team counts on your support and hopes you will be able to join in the fun as they welcome new and returning students to the Columbus State campus.
Your service is vital and has a direct impact on student success at Columbus State. Your time, patience and enthusiasm create an excitement that makes Welcome Team a valuable experience for all.
For Spring Semester the Welcome Team will be offering assistance on the second floor of Madison Hall in the Student Assistance Center lobby.
Please RSVP to Barbara Allen, email@example.com, or call ext. 5297 with the times and days you are able to volunteer. She will send you a confirmation within 24 hours.


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May 6, 2000
Las Cruces, NM -
On Saturday night in Las Cruces, New Mexico, things started out poorly for the UC Santa Barbara baseball team and then they got worse.
New Mexico State took advantage of the wildness of Gaucho pitching to pile up 14 runs in the first three innings and from there the Aggies coasted to a 20-5 Big West win.
UCSB starting pitcher Jeremy Sugarman went only 1.1 innings and allowed eight runs, all earned, on six hits and three walks. He was relieved by Jamie Gonzales, who allowed only one hit, but walked five in 1.1 innings and he was credited with five earned runs. In all, Sugarman and Gonzales combined to pitch 2.2 innings, giving up 13 runs, all earned, seven hits and eight walks.
Aggie left fielder Casey Crume belted his 13th home run of the season and had seven RBI to lead the way. In all, NMSU collected 15 hits and they were handed 11 walks.
Offensively, the Gauchos were able to log five runs on nine hits. They were only able to muster two runs over the first six innings, however, and they entered the seventh trailing 19-2. Designated hitter Tyler Von Schell had three hits, including a double. Jeff Bannon went 2-for-5 with his ninth home run and a double. Two other Gauchos, second baseman Chad Peshke and first baseman Mike Kolbach, each had a pair of hits and each also chipped in with a double.
Sugarman was tagged with the loss and he now drops to 2-5 on the season. Overall, the Gauchos are 23-22 and they are now 13-10 in Big West play. New Mexico State improves to 18-30 on the year, 3-20 in league play.
The teams will play again Sunday at 12:00 p.m. (PDT), the finale of the three game series.


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By Matt Passantino
Better Living Through Chemistry is a wicked little movie with a sharp, sometimes dark sense of humor. It could easily go unnoticed, but the film, playing until Thursday, March 20 at The Little, is offers the chance to see one of the industry's best and most hardworking actors in top comedic form.
Sam Rockwell stars as Douglas Varney, a small town pharmacist who leads a pretty ordinary life. He is married to Kara (Michelle Monoghan), who spends the day in her personal gym as a spin instructor. Outside of the gym, she is a very competitive cyclist. Douglas and Kara's marriage seems strained. They have one son together but the family does not really spend much time together. One night, while delivering medications to patients, Douglas arrives at the home of Elizabeth Roberts (Olivia Wilde). She is a gorgeous, boozy trophy wife who seduces Douglas into an affair. The crazy chain of events that occurs after that is the reason to see Chemistry.
Rockwell is an extraordinarily gifted actor who handles drama and comedy with aplomb. In Better Living Through Chemistry he is given a chance to do both and his performance never falters. His nervous mannerisms and razor sharp comedic timing bring Douglas alive, adding another interesting performance to Rockwell's filmography. His performance is equally matched by the film's overall kinetic energy which, once it gets moving, does not take a breath until the very end. The rest of the cast is entertaining, especially Wilde, but this is a Rockwell show.
Matt Passantino is a student at SUNY Brockport.


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I am getting some funny posts that I don't play guitar and that I am in the wrong forum. When I signed up in this forum years ago, I was studying jazz guitar with Roy Patterson at York University. Today, I am taking metal guitar lessons via Skype with Scott Marano. I am an avid guitar player. I not only collect chord voicings but I also try to learn a lot of guitar pieces as possible. When it comes to guitar, I believe in learning something new every single day i.e. new lick, new solo, new riff etc. I believe that the more repertoire I learn, the easier the next song will be to master. It just so happens this post is about Perfect Pitch.
Perfect Pitch and Relative Pitch Update: April 8, 2019 - Last week I only knew 54 chord voicings, this week I it went to 63. The reason why it ballooned up so much within a one week time frame was that my jazz piano teacher taught me brand new set of voicings that I will wallow for a while. Not only that I have used the loops of my daw to create exercises of determining a key of a song and quiz myself on it. For my relative pitch, I also created brand new exercises using my daw. I was contemplating of how to make the music that I have transcribed to fortify it in my memory. The idea just lightbulbed in my head and I discovered that I can make mp3s of isolated sections where there is a phrase or a progression of real music and fortify it in my memory for good.
Perfect Pitch Update April 14, 2014 - Last Week, I only learned 63 chord voicings by absolute name. This week I unlocked 70 chord voicings. But what I like to share is that I had an epiphany with Perfect Pitch this week. Remember I told you guys that I am already dealing with semitone chord movement such as a G chord going to an Ab chord. Yes it's more difficult to distinguish...but not impossible..as I discover that each root note of the chord has its own unique color, flavor, or characteristic that separates a G chord from an Ab chord and so on. Also I was watching some Perfect Pitch Youtube videos this week and I found a kid born with Perfect Pitch. I've seen all those Dylan Beato videos and they don't intimidate me as I know that I'll rival his level of Perfect Pitch someday. Now back to this video...At the very end, the kid is being snarky and condescending by testing people like us if we have Perfect Pitch or not, which is offensive to the intellect. Anyways, in the test, I got everything right except the A augmented, which is a chord that I haven't covered yet, as I am still doing Major and Minor Triads. But that is a proof that adults can develop Perfect Pitch if they practice it.
Learning to let go is an important skill in life. Please think of this as humble advice from a much older forum member who is attempting to help your music improve.
The good thing is unlike bodybuilders who take steroids to improve beyond their genetic make up, you can't really hurt yourself with excessive pitch recognition training (other than losing lots of time).
"The instrument keeps me humble. Sometimes I pick it up and it seems to say, "No, you can't play today." I keep at it anyway, though." Jim Hall
Best of luck !-----------------------------------
"The instrument keeps me humble. Sometimes I pick it up and it seems to say, "No, you can't play today." I keep at it anyway, though." Jim Hall
Continue with your studies only if you are seeing the results in your playing.
I've committed 10+ years to relative pitch CONTEXTUAL ear training (not interval training) and the reason that I keep studying is because it continues to open new doors in my own musicality, particularly in my improvisation.
I ear train everyday, 3-4 times a day, for 10-15 minutes each session. However, all that practice is done when I am away from my instrument.
I practice hearing notes against a tonality, singing notes against a tonality, hearing dyads and triads and defining them by a reference note (C), sight singing, as well as other studies.
That said, these studies are specifically done before I touch my guitar or when I am walking, driving, or flying on a plane.
A HUGE part of ear training, that can't be over looked, is listening to as much music as possible. Immerse yourself in the language.
And, I might add, ear training should never take the place of tune learning or technical aspects of the guitar. Rather, ear training should compliment all areas of your study of music.
Like I said, I've spent more than 10 years studying the Banacos Contextual Ear Training Method. Ear training isn't a one and done process, but it's only useful if you actually use it in your playing.
Once I get to Seattle, I'll continue my Ear Training Journal. Feel free to check it out if you'd like.
All that said, your playing won't be worth dirt if you don't focus on rhythm, pulse, space, and dynamics. I practice my time with a metronome that only marks the measure, not the beat. That said, rhythm, pulse, space, and dynamics can only be really ingrained through listening to people play. That's true in all music, whether it be bluegrass, blues, funk, gospel, classical, jazz, or hip hop.
"The instrument keeps me humble. Sometimes I pick it up and it seems to say, "No, you can't play today." I keep at it anyway, though." Jim Hall
Perfect Pitch exercises created by me:
Single Notes - 5 min
Two Notes - 5 min
Three four five six seven notes etc - coming soon
Triads - 5 min
Voicing Studies 1 - 10 min
Voicing Studies 2 - 10 min (optional if I have an off day with the other categories)
Voicings 1 - 15 min (There's like 34 chords in here) (My limit is 50)
Voicings 2 - coming soon
Guess the Key - 5 min (This is my personal favorite)
Total - 50 min (sometimes it's less than that)
I don't even spend an hour with Perfect Pitch. Once I have the new set of exercises, I will just do a rotation. The relative pitch is the one where I go crazy.
Charlie Banacos - 15 min
Melody Dictation - 30 min
Transcribe Melody - 5 songs (15 min each)
Transcribe Chords - 5 songs (15 min each)
Review Transcribed Melodies Quiz - 5 min
Review Transcribed Chords Quiz - 5 min
Practice songs for the church - 1 hour (I do this every weekend)
Total - Almost 5 hours
Not to mention I practice guitar for another 3 hours. Leaving me only 15 min to compose, jam, and other minor activities, then I call it a day. So if I wake up at 5 am I'll be done around 11 at night.(FYI I don't have a part-time job and I'm done school lol)
I can't commit to those types of hours, what with a kid and a job...
But I did long hours at college.
Anyway, as someone who's also obsessed with ear training I'd give one piece of advice:
Practice in short intervals many times a day. 2 hours straight of ear training ain't gonna do any good.
That's why I limit myself to ten minute intervals 3-4 times a day (or more).
It sticks more. There's definitely a psychological explanation to it, but I don't have the time to search it up at this second.
For transcription, perfect pitch could be helpful.
But for composition, whether it is planned out or done in the moment (improvisation), relative pitch is way more helpful. The sounds created in music always behave within a sonic context. That context could be a chord, a progression, a rhythm, a pulse, or even an "atonal" pitch set (I'm starting to believe that atonal music is actually a myth).
Like I said before, I understand your obsession with ear training. To be honest, I've gotten a lot of shite for my own posts about ear training over here at JGF. I think my post on Giant Steps made me quite infamous around these parts . Few people place a premium on developing the ear, and that's a darn shame. So I'm glad to hear of another person on the path to better his ears.
That said, I think you should find a mentor to guide your studies. From the world of Charlie Banacos, there's Gary Dial and Bruce Arnold (that I know of). I've studied with Bruce Arnold and I still keep in touch with him to guide my studies.
Maybe developing perfect pitch is a worthwhile endeavor for you. But don't try to reinvent the wheel and don't just find courses on the internet and wish for the best. Find someone who has already tread your path.
"If you want me again look for me under your bootsoles.
You will hardly know who I am or what I mean,
But I shall be good help to you nevertheless
And filter and fiber your blood.
Failing to fetch me at first keep encouraged,
Missing me one place search another,
I stop some where waiting for you"
Last edited by Irez87; 04-14-2019 at 10:21 PM.
Musical activities always begin and end with the ear.
I notice Bruce Arnold has products that claim to teach absolute pitch.
Has anyone actually got direct experience of developing pitch in adulthood? Apparently it comes in handy for Webern....
I've never ever been after perfect pitch myself.. except a few attempts to decide if its possible to get it good enough to rely on this. Which turned out to be "hell no".
But after some years of relative pitch training, occasionally I have been nailing a note or chord on guitar by ear without any established reference. Picked it up, and felt confident that the note or chord is the right one against what was played. So the physical guitar playing has got closer to what the vocal cords are already doing by default.
So I know for my own experience that the topic is not as black&white as they tend to paint it in.
Furthermore - "don't do this, instead do that" in practice can be bad advice when the practice time is "relative" also. All it takes is to get enthused and the time magically becomes well spent anyways. Honestly, I've done some dumb routines but never ever regret any of that. And few of those even became useful much later. The point is - we got so many years with the guitar. That means a lot of hours for experimenting and side quests. That's true even when we got very limited time in each day.
Last edited by emanresu; 04-15-2019 at 09:05 AM.
Would you rather pay to see a musician who spent the last five years developing perfect pitch and solfege or one that used that time to work on their pulse, rhythm, command on harmony, improvisation devices, story telling, learning tunes, studying masters, playing with other musicians etc.
There is always opportunity cost associated with how you spend your valuable practice time.
There is valuable practice time that no one can argue against having to spend it wisely.
And then some lucky people have more. For experimentation. It boggles me how people can go on literally bashing even the idea of trying it out. This makes no sense to me.
edit: sorry for the wrong usage of the term "literally"
The more details we perceive about the music we are playing, studying or casually listening to,
the better prepared we are to make a musical contribution. The ability to hear isolated notes/chords
doesn't preclude also understanding musical context. The ability to hear notes in a context doesn't
preclude hearing individual notes/chords once the tonal area is confirmed.
There are many musical details to listen for beyond the notes. These include rhythm, form, dynamics,
tone color, phrasing/articulation, the silences, being aware of what is not there, etc.
The ability to hear, regardless of category is exceptionally important.
For me, I developed what I like to call "imperfect pitch". In my first experiences in ear training classes,
I was often guessing, there was an element of luck each time I knew a correct answer. In years that followed,
I played a dirth of gigs that required learning full song lists from cassette tapes. At first I was just another fool,
plunking notes until I established a key center or an individual note or chord. Over time I noticed while listening
to music, I could hear the chords at pitch (most of the time, I was/am capable of being wrong). In a way it was
annoying, I would find myself mentally naming chords while listening casually, thankfully I learned to turn this
on and off. I would also have blank spots particularly with altered chords and harmonies not part of my common
vocabulary at the time. I would perceive it as an F dominant chord with something crunchy or an Bb major sound
with an interesting color. Around this time, I started to do a lot of arpeggio and chord inversion and harmonized
scales practice. I found this began to unmask for me an increased collection of harmonic sounds that were
formerly vague. At this forum, I have heard people refer to something they called "pitch memory".
This makes sense to me, I spend/have spent a lot of time around music. All this said, I have much room for
growth in the perception part of my musical development, a lifetime pursuit I suspect.
Let me just remind that the purpose of posting a thread in the forum is to get a variety of opinions and points of views around on the topic. Some will disagree and state their reasons, some will suggest different alternatives, some will find what OP suggests a game changing insight. Forum is not a group therapy session where the role of the members is expected to be confined to patting the OP in the back and send words of encouragement.
Spending 5 hours a day on ear training and leaving very little time (or energy) for anything else rings false to me at a very fundamental level. Ear training should be grounded in practical situations. It should be done to address problems and short comings one experiences during performance or composition. Like technique, ear is not a goal in it's own right.
Do you want to be able to compose without your instrument but find it very hard? Are you having problems hearing chord extensions the comping instrument plays when you're soloing? etc.
When one works on ear to fix practical short comings, the process gets infinitely more productive. That's because, every activity becomes ear training. You start paying attention to that aspect when you are practising other things, learning tunes or listening to music. You are paying attention and being mindful.
Let's say you want to get better at hearing chord extensions. Then when you are learning a tune, you aren't just learning the chords, you start paying attention to how the extensions sound. You start doing activities around it. When you don't hear you sing them, try to identify them when you're listening recording or play the primary triad and sing the extension then play it etc. Then may be do 15 mins more targeted work here and there. The important thing is your'e very aware and conscious and it pops it's head all the time when you don't have it because it is a practical short coming.
Thinking about alchemy and the obsession for making gold.. Now it's actually possible to make gold.. of course it's a tad expensive but still - entirely possible. Thanks to the knowledge about how the matter is constructed at the microscopic level.
Not too long ago the brain was just a lump of fat and no one knew anything about what's really going on there. Brain science is still in its infancy or just about to grow out of it. Who knows what will happen in a few decades from now. "not possible ever to learn perfect pitch as adult" - this could very well change entirely some day. Until it does, we're all just as good as the old school alchemists
I don't know of a way to explain that this would actually be a legitimate contribution to an online forum without that coming off possibly condescending
I reworded my post above a bit. I didn't mean it in a harsh way. But considering the controversial nature of the suggestion of adults ability to acquire perfect pitch, not having a single disagreeing voice in the thread would have been very disappointing. If that doesn't bring about a lively discussion then they might as well close the site
Last edited by Tal_175; 04-15-2019 at 11:17 AM.
I liked OP's max-attitude and therefore I gladly would rather give kudos for trying. I've seen this mentality prevail quite a few times with stranger things than perfect pitch. He didn't even mention what his specific musical goals are and people assumed instantly he is doing it wrong.
edit: heh. right now after wasting so much time writing posts here while should have been practicing, I let my program play a random chord and I felt playing the root of it. Nailed that! Without any relative help. Haha
I do chordal ear training by exporting audio from Ireal pro. When I'm learning a new tune, I find it in Ireal pro, while trying not to look at the chords, I set the tempo to something slow and export it. Then loop it in transcibe or something, until I get all the chords. You also learn about comping/harmonic devices that are employed in the app. You have the exact chords to check your transcription against after. I first try to identify the chord quality and extensions used (if any) before finding the key. Of course it's better to transcribe chords directly from the records but that's after I get faster doing it this way.
I do learn heads from the records always.
That said (how many times have I said that here), I'm not going to discourage Jason's journey anymore because I know how my own excitement was received in these parts. I think this thread just brought back those frustrations for me. Everyone's journey in music is a little different. Embrace those differences because that's what makes music so interesting.
Do whatever moves you. Perfect pitch, or else wise.
Perfect Pitch and Relative Pitch Update - This week April 25, 2019 I already learned 85 voicings and closing in on 100. My goal is to reach 200 this year. My piano teacher is teaching me a different set of voicings that's why I have a new set every week. So it's an attainable goal. As for the Relative Pitch, on my way to piano lessons, in the car, I was listening to an Andrew Lloyd Webber Jesus Christ Superstar song called Mary Magdalene (I believe that's the title I didn't look it up) I was able to recognize the entire opening passage - mi mi fa mi re do la sol- fa mi re do re- the notes just popped out! I checked on the keyboard and I was right! I guess the melody dictation and transcribing that I have been doing is starting to pay off. Also in my melody dictation I already completed the series of 4 note melodies starting on the scale degree 1 within the G3-C5 range. Now I'm moving on to the scale degree 2.
Perfect Pitch Update - May 4, 2019 - I finally reached the milestone of learning 100 chord voicings by absolute pitch. My goal is to reach 200 chord voicings and it seems that I am on my way of achieving that. There might be a possibility I might learn 300 chord voicings...who knows...only time will tell.
Perfect Pitch Update - May 13, 2019 - I have now unlocked 110 chord voicings exceeding the 100. Also with the Perfect Pitch Harmonic Intervals/Diads...I am still only at 10 variables and I am stuck there for a while. The single notes I am stuck with only 21 piano keys. I am progressing very well with the Charlie Banacos. I am working with the single notes with Functional Ear Trainer and the 2 and 3 note chords, I used my own tools and it's coming along nicely. What I'm hoping to do with all of these is that in the near future, I will upload it into a youtube video and change the way people think about Perfect Pitch. I also notice that the Perfect Pitch videos on Youtube are barren and stuck with the same old videos...Also most of the people demonstrating there Perfect Pitch are children...I like to change that....If the whole world sees an early 30's adult demonstrating Perfect Pitch...and the more I do it...maybe Rick Beato will delete his Adults Can't Develop Perfect Pitch Youtube videos.
Rick Beato won't do that because he's...
not a nice fellow (I caught myself)
He has some interesting stuff up on Youtube, but he's very narrow minded. It's either how he thinks of music or the highway.
Don't even get me started with his views on music education K-12th grade (US system)
I'm still hurt by those videos.
Just do your thing, and if it catches on, so be it. Don't worry about Rick Beato.
I'd be interested (sincerely) how you use perfect pitch to further your knowledge of improvisation and communication on the band stand. That's why I study relative pitch--to further my understanding of improvisation, communication, and how music works.
I also like to thank you of having the same views of Rick Beato that he is narrow minded. If you search "ear training" on Youtube, you'll find that it is infested with a lot of Rick Beato videos. In the videos, he doesn't really teach you how to develop a good ear, he just puts his son with PP and demonstrate that ear training is impossible or at least that's how I'm seeing it. And yes several of his videos have infuriated and gave me bad feelings.
When it comes to ear training found in Youtube, You should check out Jeff Schneider. He has a lot of great things to say on the Charlie Banacos Method. One of my favorite quotes from him was something he got from Charlie: People born with Perfect Pitch don't have to work acquiring it. Normal people like us who don't have Perfect Pitch have to work as twice as hard. But when a non-AP individual acquires Perfect Pitch thru practice he is at that same level of that person born with Perfect Pitch. Forgive me, I'm bad at quoting. But I believe Charlie is referring to that stage when you're already mastered identifying 7-10 note chords and you are already identifying voicings and multiple layers of orchestration by ear. That what I like to accomplish with the Charlie Banacos Method so I'm excited!!!
Yeah, I've watched a bunch of Jeff's videos.
But I think there's more than just key identification with all this ear training.
For me, it's about really communicating with others--and editing out all the bullshite from your playing. If you can really hear where the harmony is going, and you can hear a line in your head, then you won't be tempted to use musical diarrhea--the really watery kind (I change a lot of diapers).
In an interview Peter Berstein did years back, he said that he wasn't at all worried about competing with guitarists who had ten times his technique. He was searching for musical purity, and communicating an idea in its most distilled form.
George Benson does this as well, even though his lines are more dense. No bullshite.
There's plenty others. Oh, let's add Charlie Parker to the list--no bullshite. A lot of notes, yes--but each note had a purpose in the drive and story that his music told.
That's why I train my ear--to get rid of the bullshite and really communicate with others--whether it's in my accompaniment or my line playing.
That, and being able to take theory and sing it--you know what I mean. We might be skinning the jazzcat a wee bit differently, but I think we're after the same hide--no?
Don't go telling people here that I don't like Rick Beato. Half of JGF had pitchforks in hand when I started talking about my own ear training journey. That said, I am a bit obsessive about Contextual Ear Training--and that comes across and can be abrasive.
To both Irez87 and Jason Sioco,
What would make this thread interesting is if you would post your playing (including your own tunes) as you progress through ear training. That is what's relevant in my opinion and would be interesting to follow. This is a jazz guitar forum so I'm assuming that the objective of all this work is to improve your ability to play jazz.B+
Frank (aka fep)
Very interesting point was made in a recent Adam Neely Q&A video regarding bandleaders who seem to be able to sing a song in the correct key (without playing their instrument) yet do not have perfect pitch. This is becaue they are acutely aware of the timbre of their instrument after playing it for so many years. So guitar player, for example, may automatically "know" the sound of the low E without referring to the instrument and without having perfect pitch.
Discussion starts at about 4:20
I spent a lot of time on ear training. 4 semesters in college (torture and I wasn't a music major!). I'm embarassed to say I bought the Burge perfect pitch and relative pitch courses (probably 30 years ago, could have bought a nice guitar instead).
There are a group of jazz musicians that get a lot of gigs in San Diego, they all know each other, and are interchangeable parts. Say in a week where one of these guys/gals play 4 gigs, they might play 100 different tunes. They can learn tunes on the fly on the bandstand. Some have perfect pitch, some don't.
One day I was taking a guitar lesson from one of these guys. We started talking about all the ear training I was working on. Singing intervals, modes, transcribing bach chorals without an instrument. This pro said, "I can't do any of that".
Well that made me rethink the whole thing. What he could do is listen to a jazz tune that he didn't know and hear the changes, he'd say something like, that chorus is like Back Home in Indiana, and that part of the verse is the same as All of Me. That takes experience, a good memory, and yes a bit of an ear but not at the micro level like I was trying to develop. I thought that was all I needed to be able to do, that is much more practical.
This is why I question the whole micro level ear training. Just my opinion, I think the best ear training for ones advancement at playing the guitar is learning a lot of tunes and playing often a lot of tunes and having a couple 100 tunes that you know. And, you are developing your playing at the same time as developing your ear.
I'm still interested in improving/learning but no longer aspire to play at a pro level. So, for me it's just all for the fun of it. As such the only ear training I do is transcribing when I'm learning a tune off of a recording. I do enjoy that.B+
Frank (aka fep)
I have posted my playing, on the Performance Ear Training thread, quite a few posts.
I don't compose original material, I wish I did.
Transcription is HUGE--I even said that in my own thread. Contextual Ear Training won't magically teach you vocabulary. Neither will it miraculously teach you tunes.
CTE helps me access the sounds I hear in my head, on the bandstand, and off the records--in the moment.
I'll repost some of my own improvisations here (sorry to hijack your thread, Jason. I need to do this before the pitch forks come out)
Sophisticated Lady, my solo starts at 6:40
On the Street Where You Live, my solo starts at 5:02
On The Street by Irez87 | Free Listening on SoundCloud
Is it earth shattering stuff? No, but my playing is a hell of a lot closer to what I want to hear out of myself than it was before I started ear training.
Both solos were taken without fully learning the tune OR looking at the music. Therefore, I sometimes lose the form.
Perfect Pitch and Relative Pitch Update - May 23, 2019 - I have already unlocked 120 chord voicings by absolute pitch. There's a particular category in my AP Practice where it's currently at 48 chord voicings...Once it reaches 50, I plan to convert that into a Youtube video. This involves recording the video screen on my laptop. I still have to learn the logistics of how to do it, when that time comes. My long term goal for Perfect Pitch is to fill Youtube with my Perfect Pitch videos to show that Perfect Pitch can be developed and learned, if you have the right tools and the right approach. As for the Relative Pitch, I usually extract chords of actual songs as a daily ritual, but this song is special. I have been listening to this band since I was a teenager and this particular song I have been listening for many years. One day I listened to this song for my enjoyment, when suddenly there were a bunch of functional chords that jumped out of me, while listening that I decided to extract the chords of the entire song by ear and I accomplished it. If you're wondering what song it is, here it is...
Perfect Pitch Update - May 27, 2019 - I officially completed one deck containing 50 chord voicings. Like I said, I will convert this feat into a Youtube video. It may take a few days, because I have to still learn and understand the logistics of recording a moving video screen. But this will be one of the many Perfect Pitch Youtube videos that I will upload. I would then be an adult not born with Perfect Pitch, who is a force with absolute pitch, who will rival those who are born with it.
Long term relative pitch goals - Once I am fluent with all 12 functional tones, intervals, chords, etc and I am just toying with it. I will demonstrate my relative pitch skills with playing an instrument to Youtube. I am already doing some of that already with Relative Pitch, but I would appear like a poser and a fraud if I do it now, because I couldn't do it as fluently as I would like as of now.
Jason, I worried about posting my playing after talking everyone's ear off with Contextual Ear Training--I still do.
But, if you post some of your musical abilities--even if it isn't perfect--people will get more of an idea about what you are working on and how you are applying it to real music.
If you get attacked, I'll stand up for you.


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Today's HIV Frontlines interview is with Dr. Tony Miles, a psychologist and long-time HIV educator. Since 2000, Dr. Miles has been compiling an extraordinary digital database of first-person stories of people living with HIV. The project is called The Positive Project and Dr. Miles and his cofounder, therapist Dawn Shearer have videotaped more than 100 HIV-positive people from all walks of life. In their interviews, they cover a wide range of topics, including such subjects as stigma, coping with an HIV diagnosis, taking medications and dating. These clips have been used throughout the United States as invaluable resources for HIV education and awareness.
Welcome, Dr. Miles!
Thank you very much.
Tell me a little bit about your background in HIV and AIDS.
Tony Miles, Ph.D.
I was living in San Francisco in the 1980s and 1990s. I was involved in HIV in lots of different ways, starting as a volunteer for an AIDS service organization in San Francisco in the mid 1980s. I've been involved in one form or another ever since, from volunteering, then in a professional capacity. I went into mental health and became a psychologist specifically because of my interests in mental health and HIV. I've been involved ever since in lots of different capacities.
When did you decide that you'd like to do first-person videos?
The very first time was in graduate school. I had an assignment to do something for class related to HIV and AIDS, and as I looked up information to educate my class, it just felt really boring to me. I thought, this is going to be so limited in the impact it could have. I had a good friend named James who was living with HIV. I tried so hard to get him to come to my class because I knew the class would really be engaged. He was poised to educate them in ways that I couldn't.
He wouldn't come, he was too nervous. I was so frustrated by that and I didn't want to miss the opportunity, so he agreed to let me film him. I asked him a series of questions, I filmed him, and then I took it into my class. It was really so successful that it has stayed with me ever since.
How many videos do you have now? When did The Positive Project start? What's the history of the The Positive Project's collection?
The interview I was referring to just a moment ago and the one I had done in class planted a seed early for me about the impact and the value of first-person stories via video. Things have developed so much in the world of video with digital technology. This is where it all came together for me and one particular colleague. We started thinking about the kinds of things we were hearing in therapy. We're both mental health professionals. We were hearing behind closed doors not just the struggles people were having living and coping with HIV, but we were also hearing lots of wisdom, lots of knowledge and lots of success stories about how people were figuring out all kinds of things about it: how to adhere to medications, how to date, how to disclose status to family and friends, how to cope, all kinds of things. It felt really frustrating to us that we didn't have a forum for sharing that information. As therapists, we are obligated to keep private what we were hearing, so that's what we did.
We started the Positive Project in 2000. The intention was not to keep [what we were hearing] behind closed doors, but it was -- to the greatest degree possible -- to share with the world the kinds of things we were hearing. We took off our therapist's hats, we put on our Positive Project hats, and we started looking for volunteers who were HIV positive, out about their status, and wanting to help others, and we started filming.
Now we have 140 interviews filmed. We ask each person roughly 50 to 60 questions, depending on their situation, and then develop video clips of them responding to very specific topics. We're still in the process of editing what we have so far, but once it's edited, we will have over 5,000 video clips from all different kinds of people talking about different kinds of things.
Who was your partner in doing this?
She's still my partner. Her name is Dawn Shearer, she's a mental health professional and was the first person I really sat down with and said, "I have what I think is a really good idea. It makes a lot of sense to me, and I'm not sure what the first step is." I contracted with her initially to help me move this project forward, and then shortly into it there came a point where she said, "I don't want to contract to work for you in this project, I want to do it with you. There's nothing more important that I could imagine doing with my time." We quickly reconfigured as partners in this endeavor and have been so since the very beginning.
How did you recruit your first interview subjects?
For the very first interview, we approached people that we know in the community, in our local community here, who we had seen do public speaking about living with HIV. We recruited four people locally to do our pilot interviews and we learned so much from those. What we learned really was that the interviews needed to be really interactive and much more directed. We need to ask people very specific questions about specific topics because that would allow us greater use of the interview afterwards. Longer interviews telling somebody's life story from end to end are interesting, but there aren't so many uses for it unless it's more like a long documentary.
You said that you were listening to your patients' stories and you thought they were so valuable. Did you approach any patients?
No, I had to be really careful about that because of the ethics of my profession. That would really be a dual relationship or a conflict of interest. I wouldn't approach one of my patients directly and say, "Here's this project and I think it's a really great idea and I hope you do it because I know what you have to say rocks!" I may be thinking that inside of my head, but it would be inappropriate of me, perhaps, to pressure them or to have them somehow perceive that if they participated in this project they might do it to please me.
It's been interesting. I've had to get a bit of consultation to be really ethical about how I proceed, because the two hats I wear are very different hats.
I definitely make the opportunity known, but in a very neutral and general way. If somebody is interested and they then want to pursue that, I absolutely leave that to them. If they want to participate in a full-scale, then I'll actually let my colleague do the interview. I wouldn't do the interview myself with somebody that I have seen for individual psychotherapy.
Are you continually adding to your collection?
I think everyone's story is individual, everyone is unique, everyone has something to contribute. Our goal is as long as there are people who want to participate, we can find a way to accommodate them.
You bet! We add any time we get the opportunity. Often people ask us, "How many stories, how many interviews are you trying to collect?" We don't have a set number at which point we would want to stop, because I think everyone's story is individual, everyone is unique, everyone has something to contribute. Our goal is as long as there are people who want to participate, we can find a way to accommodate them.
We've collected interviews in lots of different settings, kind of across the country, different venues, at conferences. We've gone to a number of different gatherings of different compositions, if you will, and gotten interviews in all kinds of ways. We've had some as recently as last month. I collected one from a gentleman here in our local community who saw us on the Internet, thought that he'd thought about something like this for years and years and years. When he called he said, "I feel like my time has come. My time has come when I can speak openly about this and I'm really excited." It was a great experience for him, and he gave us a great contribution.
Is there any kind of person that you're missing for your collection? Are you finding lots of gay men but you can't find straight women? Or you can't find straight men? Or you can't find Native Americans? Is it harder finding one type of person?
That's a really great question. We've had good fortune in terms of the opportunities we've had to go to different conferences. Some conferences have a very specific focus on certain populations, and so we've actually had a really wide representation. I think what we've had the most difficulty finding in terms of representation so far are Latino participants, and particularly Latino women.
Our goal and commitment is to have the database be as diverse and large as possible, because like any database for any purpose, the larger it is, the more diverse it is, the more robust it is and the more applications it has, and this is no exception. That's definitely one population we're hopeful to bring into the collection with everybody else.
If someone reading this would like to be interviewed on video for The Positive Project, how would they contact you?
They can visit the Web site, which is www.thepositiveproject.org, and on the Web site now what you can find is a wide range of collections of what we already have. People can search through the collection that's posted online and watch video clips at no charge. You can look through for different topics.
Let's say someone has an interest in learning about how to cope with a new diagnosis. You could go to the Web site, search through the video clips and find people answering that question. We ask the question, "What would you say to somebody who's positive who's trying to figure out how to cope with this? What would you say to them?" You can go to this site and find those video clips, or you can go and you can search by specific demographics. Maybe, for whatever reason, you want to hear the clips of women. It's easy to sort through by that.
If somebody wants to participate and give their story, I would suggest that they go to the site, look there, and see if it feels like a good fit. They need to be out about their status, and have a comfort level of knowing that we can't predict in advance who will see it. Truly, it could be anyone in the world could see it, now that things are posted on the Internet. We had one participant who really wanted to give her story, and she said, "You know, I'm out to everybody in my family, I'm out to all of my friends, but I have one aunt in Virginia, and I'm not out to her, and I don't want to be out to her and I don't want her to know it." We discouraged her from participating, because we could not ensure that by some chance her aunt may not see this.
It has to be for people who are out at that level. If it feels like a good fit, and they want to participate, they will find ways to contact us on the Web site. What we're working towards is we've had so many people who are interested in participating, what we'll probably do is go to different parts of the country and organize an event, go for a couple of days, collect as many interviews as is possible, and have local people in those communities help us coordinate it.
How are these videos used? Are they using it in any other way besides individuals going to the Web site and downloading specific video clips?
They've been using it in lots of ways. That's what's really exciting for us. Having built a collection of video clips, to have it in a database format you can kind of slice it and dice it in all kinds of ways to meet all kinds of end-user needs, both for prevention and care. We've been approached by lots of people. Now the ability to get the video clips offline is a newer capacity for us. That's really exciting, that just happened at the beginning of this year. That throws the doors open in a way that is bigger than had been the case before that.
Prior to that, we had been formatting CD-ROMs and DVDs by request, and they've been used in lots of different settings by ASOs [AIDS service organizations] and CBOs [community-based organizations]. Medical care providers also have used them and therapists have used them to meet their own needs because they want them for different purposes. Some therapists have wanted to use them to launch conversations in support groups that they run. Some providers have shown them because they want to encourage their patients to adhere to their medications. Other people have shown them to people who they hope will think about getting tested.
How is this funded?
Honestly, the hardest thing has been funding. We've never been fully funded. We worked the entirety of last year in 2007 without funding. It was really volunteer time for myself and my colleague. We're committed to it and we'll see it through, but we still are hungry for finding the right partners who can help underwrite the cost of bringing this into the full fruition that we're getting so close to.
We've had some funding from pharmaceutical companies, very little really. We've had some private foundation funding, and we've had very generous funding from individuals in our local communities and our networks of individuals around the country who feel strongly about what we're doing. That's been the funding thus far.
What's the best thing that's happened as a result of the project since you started it in 2000? It's been eight years that you've been working on this.
The best thing, I think, is not surprising. It's what we thought would happen, that is to see the very real impact in a personal way. Let me just think of two examples to give you. One is both for people who give their story and for people who hear it.
We interviewed a man a year ago last summer, and he really gave a great interview. He was really nervous. He had a lot to say; he felt very strongly. It was a pivotal moment for him to go public at this level. He gave his interview, and what we always do after the interviews is we send an interviewee a DVD copy of everything we just filmed, just for their own reference and really as a thank you.
We sent him a DVD, we didn't really hear from him and didn't particularly expect to. Then almost a year later this last summer, I got a really amazing letter, and he said that in 20-plus years living with HIV, participating in The Positive Project had been the singular most empowering and positive experience that he had had. He said to be asked so many questions with such sincerity and such intention, and what he had to say, he said he felt so respected and valued that he felt that he had something really valuable to contribute back from the experience that he has had, and he had not experienced that before. He said he came out of it with a sense of personal worth that he wasn't expecting, and he just was following up with a letter to thank us.
Really, that's just as good as it gets.
There are lots and lots of examples like that, of people who are personally impacted by participating, as well as people who see the materials who are also impacted. There was one man who watched some video clips -- can I tell you two really quickly?
Yes, please.
One was a while back. A gentleman was watching some video clips and he said, "Oh my goodness," (this was not a participant, this was a person viewing some video clips from others who had told their stories), and he told me, "I participate in the local research trials, I go on speakers bureaus, and I do things like that. I'm now looking at all these video clips of these people and I don't know these people. It has made me realize that I think I know everybody who's living with HIV, and I realize now that I don't! Even after all these years!"
This man had been positive maybe 12 years or so, and he said, "I realize even now when I go to the grocery store, I'm still thinking I'm the only person who's positive. Or if I'm at the post office standing in line or at the bank standing in line, I'm thinking I'm the only person who's positive. Now, as I look at all these faces of people talking, I'm thinking that I'm not the only person who's positive! How is it that I have so comfortably inside of myself accepted that I am the only person who is positive, when clearly I am not? Now when I go to the grocery store and the bank and the post office, I think I'm going to have a different experience."
Wow. That's great!
It's really great. So there are outcomes that qualitatively change the way someone can feel inside. But we couldn't have predicted an impact quite like that.
The other one was just last week. I met -- now this is where I had to be careful with wearing two hats, one as The Positive Project and one as a psychologist and a psychotherapist -- but I was working with a patient who was diagnosed about 16 months ago, and has been since that time very, very, very anxious and frightened. I just met this man, who's really terrified of lots of smaller physical things that he would discover about himself and then be really frightened that this was the beginning of something big and perhaps the beginning of the end of his life.
I asked him if he knew anyone else who was positive, and he said he knows one person, and that was the only person he had disclosed his status to. As I was talking to this man who has really been suffering, I said, "Let's keep talking and I just want to show you something." I went to the Web site, www.thepositiveproject.org, and I pulled it up, and I didn't even play a video clip. I just showed him the still pictures -- if you go to the site, what you see are icons and still images of people, and then you click on that to watch the video.
I scrolled through a couple of pages, showing him lots of pictures of people, and he said, "Oh my goodness. Who are these people?" I told him just a little bit. I said these are people who are positive and who participated in this project knowing that anybody in the world could see it, because what they all have in common is that however they have done it, they have just figured out how to do it. They have just figured out how to make sense of all this and how to keep getting through it.
He was so interested and he started asking me questions, like "Where does he live?" and "How long has he been positive?" and "Where does she live?" and "How long has she been positive?" I was answering those and trying to remember to the best of my ability because there are lots of people there. Right in front of my eyes, he calmed down. I saw his anxiety really dissipate, and he said, "Since the day I was diagnosed I've been thinking that I'm the only one. I know that I'm not, but it's been feeling like that. I'm not the only one. I think what's been going on is it's just been really hard for me to deal with, not having known how to deal with it. All these things that happened with my body, I get so frightened about, because I'm anxious and I don't know what else to do with it."
That's great, and I guess that speaks to the fact that HIV is not on TV, it's not in the newspaper, and it's nowhere out there. If you are diagnosed with HIV, you feel completely isolated. You think, "I don't see it on TV, I don't see it in the newspaper, I don't see it in magazines." Nobody talks about it.
That's right.
To see this kind of resource, it validates what you're going through, and that there's this huge community out there, it's just not visible. It's this underground community, almost. You have to find it, and it'll help you feel better.
There is an illusion that HIV is done and that it's gone, and there is an illusion that there aren't people with HIV living with us and around us and close to us all the time.
There is an illusion that HIV is done and that it's gone, and there is an illusion that there aren't people with HIV living with us and around us and close to us all the time. It really is an illusion.
Even though I think people are aware there are at least one million people living with HIV in the country, at least 300,000 people who are getting HIV treatment, those numbers don't seem like individuals. This kind of individualizes the pandemic and says, "Look, here are some faces and you're not alone." It's amazing because we have so many things on our site that say "You are not alone" because it's the big message, and yet those are just words.
It amazes me, but it's fairly consistent when I have the opportunity to share some video clips with people. Often people will say, "I would never have guessed that any of those people were positive. They all look healthy."
Right, they look normal. They think there's a particular look or something and that they fit that look somehow. There's no look. It's a human disease, and so people look like humans.
You never know how it is that certain interviewees really connect with an appeal to certain viewers. You just never know. I showed some video clips to a graduate psychology class, and was showing them some clips about prevention. One of the questions we ask to the participants is a great prevention question. We say to them, "What would you say to other people who are taking risks? What would you say to them?" I love to show their answers, because their answers are interesting and they mean it. They're compelling. They don't want other people to be taking risks, people who are negative. They have lots of things that they say about it. I was showing these to this class and then asking for some feedback after the class and one woman said, "You know, I was taking everything in and then this one interviewee," her name is Shannon, and she said, "I just cannot believe how impacted I was."
I asked, "What impacted you about her?" and she said, "She looks just like my sister, and I thought, my sister could have HIV. Any of us could have HIV. What made me think this couldn't happen to us? Of course it could."
We have Magic Johnson and then who else? He's the only person who everybody knows is positive. I can't think of anybody on a national level, if you ask, "Who is HIV positive?" He's the only person who would pop up. But there are no women. There are no young women; there are no 70-year-old women in retirement homes or 20-year-olds in college. There's just none of the other people. We have one man.
Hopefully, we'll take part in promoting this project, since we're going to be starting to show a few videos a month on our site. I hope that the project gets a lot of publicity from this, and you get a lot more interviews!
I appreciate that. It's really exciting. We're thrilled that you're going to be showing them, and the interviewees of course are thrilled as well. That's why they give them, that's why we collect them. I'm thrilled that you find them a good fit and you're going to show them. That's terrific.
Thank you so much, Dr. Miles, for taking the time to talk to me and for this great project.
My pleasure, Bonnie. Thank you.
To e-mail The Positive Project, click here. To visit The Positive Project on The Body, click here.


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By Ellen Bennett . 1 Jun. .
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Abuse isn't just about bruises. Not all forms of abuse leave bruises where we can see them,The National Coalition Against Domestic Violence in South Africa . Although physical abuse is terrifying and needs to be addressed immediately there are other forms of abuse that can cause significant damage. One type of abuse that is very difficult for outsiders to detect is financial abuse. Marriage should be a partnership but when one spouse completely dominates the finances to the point that the other spouse has no control and no options financial abuse may be occurring.
What Are Signs of Potential Financial Abuse?
Every married couple handles their finances differently. In some cases one spouse handles the majority of the finances. They manage the accounts, pay the bills and deal with creditors. That does not by itself equal financial abuse.
Financial abuse occurs when one spouse is treated like an irresponsible child and Domestic Violence News Story . They are cut off from funds and their knowledge about the couple's finances is severely limited. Some signs of financial abuse include:
•Strict Allowances. This isn't an amount that the spouses have agreed to limit themselves to but is instead a set amount that is grudgingly handed out from one spouse to the other and is all that will be given.
Documents, documents, documents. Written evidence is incredibly strong and can range from credit card bills showing that there is a credit card but that you aren't named on it to emails from your spouse that show the financial abuse.
Other witnesses can be incredibly powerful on your behalf. Financial abuse is hard for people outside the relationship to detect. So when someone credible comes in and tells the judge that it is happening and they can see it the judge will listen and How To Prevent Domestic Violence .
The National Coalition Against Domestic Violence in South Africa ?
1. Sticks and stones won't break my bones" - and words won't leave any measurable physical damage, but they will cause progressive, long-term harm. Never underestimate the power of words: words are used to brainwash.
Being told you are "stupid", "ugly", "lazy" or "worthless" is never acceptable. The first times you hear it, it will hurt, naturally. In time you "may get used to" hearing it from a partner. That's when you start to internalise and believe it. When that happens you are doing the other person's work of putting you down for them. This is why your feelings of self-worth suffer increasingly over time.
The good news is that just as words have been used to bring you down, you can learn to harness the power of words to build you up and restore your confidence and belief in yourself.
2. You are always told that it's your fault. Somehow, whatever happens, however it starts, the ultimate blame is always yours. Notice that we are talking ultimate blame here. The blaming partner will always tell you that their behaviour was caused by what you said or did. In fact, their argument runs along the lines that you can't possibly blame them for anything, because if you hadn't said what you said, or done what you did it would never have happened.
3. You're more inclined to believe your partner than you are to believe yourself. Have you ever reeled with a sense of hurt and injustice, or seethed with anger at the way you've been treated? Have you found yourself asking: "Is it reasonable to feel like this?" "Am I misinterpreting things?" "Have I got it wrong?"
If this is you, what it means is that you have become so brainwashed you've stopped trusting in your own judgement. Your mind keeps throwing up the observations and questions because, deep down, you know that what is happening is utterly wrong. But right now you can't feel the strength of your own convictions.
4. You need your partner to acknowledge your feelings. Have you ever felt desperate to make your partner hear what you are saying and apologise for the hurtful things they've said? Have you ever felt that only they can heal the pain they've caused?
Does your need for them to validate your feelings keep you hooked into the relationship?
When a partner constantly denies or refuses to listen to your feelings, that is, unquestionably, mental abuse.
5. Your partner blows hot and cold. He can be very loving but is often highly critical of you. He may tell you how much he loves you, yet he is short on care or consideration towards you. In fact, some of the time, maybe even a lot of the time, he treats you as if you were someone he truly dislikes.
You do everything you can to make him happy, but it's never good enough. You're more like the pet dog in the relationship than you are the equal partner. Your constant efforts to get his attention and please him meet with limited success. Sometimes he'll be charmed, often he's dismissive.
If you find yourself puzzling about how your partner can treat you that way, it is because you are trying to live in a love-based relationship, when in reality you are living in a control-based relationship. The mental abuser struggles with his own feelings of worthlessness and uses his relationship to create a feeling of personal power, at his partner's expense.
6. You feel as if you are constantly walking on eggshells. There is a real degree of fear in the relationship. You have come to dread his outbursts, the hurtful things that he will find to say to you. (Maybe the same anxiety and need to please spill over into your other relationships also.)
Fear is not part of a loving relationship, but it is a vital part of a mentally abusive relationship. It enables the abuser to maintain control over you.
7. You can heal. Mentally abusive relationships cause enormous emotional damage to the loving partner who tries, against all odds, to hold the relationship together and, ultimately, can't do it, because her partner is working against her.
Whether you are currently in a mentally abusive relationship, have left one recently, or years later are still struggling with the anxieties and low self-worth and lack of confidence caused by mental abuse, it is never too late to heal.
But you do need to work with a person or a programme specifically geared to mental abuse recovery.
Women who have suffered mental abuse expect radical change of themselves, and they expect it right away. This is why they often struggle and, not uncommonly, take up with another abusive partner.
Mental abuse recovery is a gradual process. Low self-worth and limiting beliefs about what kind of future the abuse sufferer can ever hope for are the blocks that can stop women from moving on. But they are blocks that you can clear very effectively. Just as language was once used to harm you, you can now learn how language can heal you. You can overcome past mental abuse and keep yourself safe from it in the future. You can also learn to feel strong, believe in yourself and create the life and the relationships you truly want.
"The Woman You Want To Be" is a unique workbook designed to accompany you on a year long journey into emotional health and happiness.
(C) 2005 Annie Kaszina
What Is Real Reasons For Domestic Violence?
Good self-esteem or positive identity is an asset to any person. It helps improve relationships, confidence, job performance and makes it easier to enjoy and embrace life to the fullest. When a person has been abused, their good self-esteem is threatened and often lost. Understanding how this happens and knowing practical ways to deal with it can be valuable tools in our self-help toolbox!
Each of us is born with the gift of individual person-hood. Our unique genetic make-up and DNA set us apart from all others. We have boundaries that help us to know where we stop and where others start. Inside of these boundaries and within the context of our individual person-hood, we are free to grow, to question, to risk, to explore and to experience life in our own unique way! If allowed to continue and encouraged from those closest to us, we become comfortable in our own skin (within our own boundaries) and a positive identity develops.
Abuse is an invasion of those boundaries; an attack on our individual person-hood. Abuse happens when someone stronger than ourselves overpowers us, either emotionally, physically, verbally or sexually. Even if the abuse is not "severe" in comparison to what others have experienced, the impact on our self-esteem can be severe. The boundaries between us and the perpetrator are blurred. We tend to own some or all of the blame for the abuse and thus take on what rightfully belongs to the invader. With our boundaries destroyed and our person-hood invaded, we are left vulnerable to the world around us and confused about who we really are.
A common reaction to the invasion of abuse is withdrawal. Sometimes the victim will withdraw so far that they actually dissociate from the event completely. This may be good in the long run except for the fact that the dissociation almost always involves other emotions, longings, fears and identity markers that can no longer be accessed. People who are extremely shy and introverted, people who are emotionally shut down and people who lack in social graces are often (not always) reacting to some kind of abuse. The invasion has left them afraid to feel, afraid to connect and afraid to make a mistake.
Another reaction to the invasion of abuse is an attempt to build a wall of defense. The feeling of vulnerability is countered by erecting some kind of wall that we believe will protect us. We can become very angry and keep others at arms length by our temper. We can become very controlling and thus minimize the possibility of future hurt. We can become very sarcastic or funny to deflect our real feelings. We can become an overachiever so that others will identify us by our accomplishments and not by our fears. These walls feel protective but are actually putting us in bondage. We cannot do life without our anger, control, sarcasm, humor or achievements so we are not free to be who we really are... we are forced to keep up the act... and that is exhausting.
This second reaction was my own way of dealing with childhood sexual abuse. I kept the walls firmly in place from age 11 until age 35. At that point, exhausted from trying to keep myself safe, I attempted suicide, not out of despair as much as out of exhaustion!
When we react in either of these ways to abuse, we end up losing ourselves, our true identity, our positive identity or self-esteem. There is another way. From my own experience I have learned the power of these positive and practical steps that can lead us out of brokenness and into confidence in who we really are. Consider the following:
1) Be honest about our abuse.
We cannot properly deal with all of the feelings and reactions associated with our abuse if we refuse to face what actually happened. As with any recovery program, admitting the problem is the beginning of healing.
2) Forgive those who hurt us.
Holding on to the anger, hatred, malice or even ambivalence toward our abuser only keeps us tied to them and to the abuse and its consequences. Forgiveness does not mean that you are saying it was no big deal. It is not saying that you would let them hurt you again. It is not saying that it did not happen. Forgiveness is simply a choice to release them after coming to the conclusion that there is nothing they could do that would take away what happened to us.
3) Surrender our coping mechanisms.
Just as we have to be honest about our abuse, we have to be honest about all of the ways that we have developed to try to help ourselves cope with the abuse. What walls have we erected? What masks have we put on to hide from others? What self-medicating habits have we picked up? Name these coping mechanisms and then willingly lay them down. We may need to invite a few people who are close to us into this process since we often have blind spots related to coping.
4) Embrace the truth about who we really are.
Learn to look beyond what happened to us to the person we really are on the inside. At this point, having a relationship with God is a key factor. If we have become connected with our Creator through the sacrifice of His Son Christ Jesus, we get our true identity from Him. We are His sons and daughter, regardless of our abuse, achievements, failures or coping mechanisms.
5) Join a safe community.
At this point, with walls torn down and feelings exposed, belonging to a community where we feel safe is vital. A support group, home group, counselor or accountability group can provide a place for us to grow in our new positive identity. People who know our need for healing and encouragement will be a great help in this process of rebuilding.
Commit with me not to allow past abuse in our lives to rob us of our positive identity. Choose life!


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At 35, Aisha Moodie-Mills was a long way from arriving on the scene when the March on Washington for Jobs and Freedom took place. But she carries on the legacy of activism today, fully present in her position as a senior fellow at the Center for American Progress, founded in 2003 by Bill Clinton's White House Chief of Staff John Podesta. At CAP, Moodie-Mills heads up the FIRE (Fighting Injustice to Reach Equality) Initiative, "at the intersections of race, sexual orientation, and gender, as well as environmental and economic justice."
That is, however, hardly the end of this dynamo's résumé. You might catch her and her wife, Danielle Moodie-Mills, on their fun and informed weekly Politini podcast. Speaking of her wife, this couple's D.C. marriage was made possible, in part, by work they did securing marriage equality for the District. And maybe you caught the couple's Aug. 16 piece for The Washington Post? Or Aisha Moodie-Mills's column in The Atlantic assessing the Supreme Court's rulings on marriage equality and voting rights?
Aisha Moodie-Mills
(Photo by Todd Franson)
From Capitol Hill to popular culture, Moodie-Mills is seizing the stage with her brand of progressive politics and activism. Inarguably, she is carrying forward the torch that shined brightly Aug. 28, 1963.
METRO WEEKLY: While you weren't even born when the March on Washington happened, your work – and your life – have you ideally positioned to assess how far we've come in these decades since. What's your take?
MOODIE-MILLS: We've made tremendous progress, and that has to continue to be underscored. I know that we're commemorating this march so that we can talk about what's next, how we can take the lessons we've learned and move toward the future, but it's really important that we stand still, pause and reflect on the fact that in 50 years we've come a long way. Not only are African-Americans not being hosed down in the streets today, but from an economic standpoint if you look at cities in the South like Atlanta or Charlotte and see the sort of African-American flight that's moving back from the North, there has been tremendous gain in terms of people's quality of life. We have an African-American in the White House. I don't think Dr. King ever anticipated in 50 years, in a generation, that would be the outcome we see from this march.
MW: In his speech that day, Dr. King mentioned the portion of the crowd, that 20 percent or so, of white people. He said they "have come to realize … their freedom is inextricably bound to our freedom." Are we getting closer, in a progressive sense, to a united front? Of people seeing their freedoms interconnected?
MOODIE-MILLS: This march reminds us that actually all of these different people came together around equality. And that is the lesson we take into the future as we continue the next 50 years of working toward justice. [But] there are always going to be competing interests.
In 1963, the entire black church was not aligned with the Civil Rights Movement. In fact, Dr. King and his sect of the black church were ostracized. A lot of black clergy did not support them, thought they were rabble-rousers, running around making a whole lot of noise when they should've just been quiet. You're never going to have everyone on the same team.
MW: What about within the LGBT community? While you've got a coalition of LGBT groups "calling for justice" for Trayvon Martin, or decrying the Supreme Court's ruling on the Voting Rights Act, there are also some in the community saying these are not LGBT issues.
MOODIE-MILLS: The LGBT community is a microcosm of society at large. Because LGBT people have been fighting for rights we kind of make an assumption that they're all in solidarity with other people fighting for rights, that there aren't racist people within the movement, for example. But there are people who are completely ignorant to racial disparities and just don't understand oppression.
That said – maybe I'm just an optimist – but I really do believe that there are so many more people now who see the connections among struggles, that are in solidarity because they get that any group being oppressed is a threat to anyone else who is a minority group, because those same arguments – we see this historically – those same arguments made against African-Americans having full rights are being made against gay people. This is all cyclical. I think that most people get that.
But I get concerned when these LGBT groups say, "We're in solidarity with all these racial minorities who are being affected," and don't see that if the groups of people being targeted with voter-suppression tactics don't go to the polls because they're unable to exercise their full right to vote, that directly thwarts and stalls LGBT progress. The people in these regions — in the South particularly, be it Texas, Florida, North Carolina, Virginia, wherever – the people in these regions most likely to go to the polls and elect likeminded progressive members to their local legislatures are going to be people of color, are going to be youth. They're going to be the people who are the targets of all these crazy measures.
It's really not about, "Oh, we're so sorry that black people had to wait in line two hours longer than anybody else in Florida in order to vote in November." It actually should be a cognition of, "Wait a minute. These are our voters too. These are our constituents." As LGBT advocates, these folks standing in line are our constituents. College kids are our constituents because they are the new American majority. And the new American majority believes that we should be treated equally. And if we are standing idly by and just patting them on the head and saying, "We're so sorry," as their democracy is being stripped away, that's going to directly affect our ability to move forward.


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