text:
Hawkeye Herman explains how to play Robert Johnson's "Sweet Home Chicago."
Taught by Hawkeye Herman in Blues Guitar with Hawkeye seriesLength: 16:17Difficulty: 2.5 of 5
Great song Michael well taught, thankyou.
Bravo! Putting it all together!!
Greatest Blues teacher for me period!
Thanks Hawkeye. I have been goof 'n around with shuffles for years, but you have shone me a few new tricks. Even taught me a new way to count.
Still hanging with the hawk. The man!!! Thanks again for being such a great teacher of the Blues.
Thank YOU for the comments and for hanging with me. Much appreciated. You might be interested in a thread I started in the forum area "Help with Lessons" ... http://forums.jamplay.com/showthread.php?14559-Cherry-picking-lessons-serendipitous-study-habits-amp-the-concept-of-discipline ... check it out if you get a chance.(Just thought you might be interested.) I hope you continue to enjoy these lessons and 'hangin' with me here at JamPlay.com.
Hawkeye - Isn't this the lick from I Believe I'll Dust My Broom? Love your enthusiasm for the blues. It keeps me plowing through!
John, very close ... there is a similarity ;-). If you want to learn Elmore James' "Dust My Broom" ... go here to the free guitar lessons at my web site: http://hawkeyeherman.com/photo_gallery/MichaelHawkeyeHermanPhotoG/JessieMaeHemphill.html .... for lots of free lessons ... and specifically "Dust My Broom" in open D tuning here: http://hawkeyeherman.com/pdf/lessons/ElmoreJames1.pdf .... Thanks so much for 'traveling' with me on the 'bluues highway' at JamPlay.com, I hope you continue to enjoy and be inspired by my lessons.
Sorry, I I pasted a wrong URL for the FREE guitar lessons at my web site. Here is the correct URL (I hope;-) ... http://hawkeyeherman.com/guitar-lessons.htm ... enjoy. And if you'd like to know more about the background history and personalities who gave us this music, you can read some of my original articles here: http://hawkeyeherman.com/articles.htm ... Thanks again for sticking with my 'blues program' ... I'm glad it's 'paying off' for you. Enjoy the process of learning/practicing/playing the blues ... forever. ;-)
Hawkeye, another wonderful lesson ... it's great to see you smiling as you teach -- you do a fantastic job. I teach creative writing ... so from one teacher to another, thank you very much; it's obvious you've put a lot of thought into these lessons ... just one question re Sweet Home Chicago: do these 12 bars you've taught in this lesson continue through the entire song or is there a bridge/chorus variation anywhere in the song -- hope that makes sense. Have a great day!!!
Thanks so much for the kind words about my lessons and teaching style, Frank. Very much appreciated, especially from a fellow teacher. I love what I do, I get to teach and perform blues guitar ... why not smile, and besides, a good time is contagious ... (so is a bad time ;-) ... I always have a good time when I'm doing what I love/playing/teaching/performing blues guitar. There is no 'bridge' in this song ... it's 12 bars all the way through ... although in some versions of this song some performers/players like to play a shuffle back-up for the chorus ("c'mon, baby don't you want to go..."), and then play 'stop-time on the other verses ("One and one is two, two and two is four..." etc.) ... if you don't know what I'm referring to, please look at my lesson #31 ... http://www.jamplay.com/members/guitar/phase2/hawkeye-herman-38/lesson31.html ... for clarification. I hope this is helpful to you. Again, thanks so much for taking the time to let me know that these lessons are serving you well. I hope you continue to enjoy these lessons.
As always, a great lesson. In 1935 a great educator said learning only takes place when you build on a concept that you already know. And that's what you do.....by just adding a varation to what you already taught me I can learn to play such an incredile moving song without having to memorize it. Cheers, Rob
Thanks so much for the kind words. I'm so glad you realize that I've given a lot of thought and consideration as to he order and content of each these lessons. We keep building on what we learn ... like slowly expanding one's vocabulary when learning a foreign language. The more expansive one's vocabulary, the more options one has in self expression. Thanks so much for traveling with me on the 'blues highway' here at JamPlay.com. I hope you continue to enjoy these lessons. ;-)
Great lesson - but was I right whilst watching that you did not stick to the 12-bar format 4 of 1 - 2 of 4 etc. but in the first 4-bars you switched between the 1 and the 4th chord.
Thanks so much for the kind comment and question/observation. This is still a 12 bar blues ... just count the measures and you'll see ... it is very common to play the IV chord on the second measure of 12 bar blues ... like this: I/IV/I/I/IV/IV/I/I/V/IV/I/I. I appreciate your observation and question ... sorry I failed to mention this in the course of the lesson. Thanks for traveling with me on the 'blues highway' here at jamplay.com.
Thanks a lot for answering - your lessons are really so well done.
hello again Hawkey, this has been in my mind for while now. Well, shuffle rhythm is the on going rhythm for most of the lessons now. What are other type of rhythms in blues music and how we can make them? thank you
kasra, Thanks for the message. Have you perfected the shuffle rhythm? Please be patient. Much more will be revealed to you in time over the course of these lessons ... I truly appreciate your NOT jumping ahead or skipping around in these lessons ... your curiosity and enthusiasm will be rewarded in the lessons ahead ... please understand that I cannot be expected to also give lessons in this 'comments' area ... suffice to say that I have been playing blues guitar for 50 years and teaching for 40 years and I've given a lot of thought as to the order and content of each of these jamplay.com lessons. Please trust me and work within the lessons as they are presented here. Keep in mind that even if you get to lesson #78 ... what seems to be the 'last lesson' ... I will be filming many more hours of blues guitar lessons for jamlay.com in late October, and other rhythms will also be explored in that 'new' series of lessons. There are other blues rhythms ... they lay ahead ... but for now, can you play the shuffle rhythm with no 'dead' notes ... and can you play it smoothly from beginning to end in any key? Do you want to sing as well as play? ... If so, can you sing and play the shuffle rhythm at the same time, making all the changes smoothly with no hesitations ... in every key? Okay ... start practicing ... and get it down well. And just to peak your curiosity ... look at this Hawkeye blues guitar lesson from my current series of lessons that was posted by jamplay.com on youtube.com ... this is not a shuffle rhythm, but does demand that you play a shuffle rhythm as an aspect of this 'new' (to you) blues rhythm: http://www.youtube.com/watch?v=IVtnMeVpN1w
thank you for your prompt reply Hawkeye. ill execute ur instructions word by word and piece by piece. thank you for all this amazing lessons and effort :)
kasra, Thanks for your cooperation and understanding. You're on the right track. I hope you continue to enjoy these lessons and the growth of your abilities on the guitar.
Not sure how to phrase this, but I'll try my best! Now, you're playing and singing this in the key of E right? When Robert Johnson sings this, is he singing in a 'high' E? I mean, it sounds like he's playing in the same key as you, but singing much higher. I'm confused. Also, I've seen videos on youtube of guys playing this in the key of E, but singing like they're minus something important :D
Yeah Robert Johnson has definitely got a pretty high voice. It actually sounds a bit similar to how a slide sounds to me. I'm not sure if it's just me but every time I hear him sing, the way his voice hits a note just below pitch, and then rises up to pitch and then does a really fast vibrato really reminds me of how a slide sounds. Or maybe slide players ended up mimicking Robert Johnson?
Thanks for your comments. The concept of playing blues guitar with a slide is based on making the guitar emulate/'mimic' the human voice ... using a glissando (slide) to go from note to note without employing the use of the frets (like a human vocal glissando, 'hitting' all the notes that are in between the frets on a guitar) ... and the 'shimmer' of the slide over one sting or many emulates the vibrato. IMHO, effective and experienced slide guitar players use the slide to 'mimic'/emulate the human voice ... their own particular human voice ... IMHO, the voice is not used to emulate/'mimic' the sound of the slide ... whether it's Robert Johnson playing slide and singing, or any slide blues guitar singer/player. I hope you continue to enjoy these lessons.
Yes, I'm in the key of E. I can sing in three or four octaves in about any key ... that means in the key of E. I can sing from very low to very high and still be in the key of E. Some opera singers can sing in six octaves. I like to sing in the keys of E and G because it's most comfortable for me and I have the widest range of choice where to sing the song. Look up the word 'octave' in the dictionary, if you don't understand. Thanks for noticing. You should, perhaps, view my performance videos here: http://www.youtube.com/profile?user=HawkeyeH&view=videos
I have a question about the lick you showed on the 7th and 8th fret. If I am moving it around to other keys do I play it over the I, IV or V chord? I love this set of lessons. I have played more guitar in the last month than I have played in the last 5 years. I especially love how you teach the concept and how to apply it more generally. Thanks Andy
Andy, Thanks for enjoying these lessons and for you question. Please don't be afraid to experiment. Rather than answering your question directly, I'm going to tell you to try it and get back to me with what you think ... did it work, or not? Experimenting is good ear training ... you get to hear first-hand if it's working or not ... and you also get to find out that 'nothing bad' happens as a result of experimenting ... making 'mistakes' is a good form of learning ... we learn more from our mistakes than from doing something correctly on the first try. So, play 12 bars of blues and move the turnaround over all the changes ... and you tell me if you think it 'works,' or not. Please get back to me with your opinion, and what you learned.
Hi HawkEye! just wanted to thank you for these great lessons. You are the best instructor so far, and you make it fun to wsatch and learn. And you instruct all the tiny details as well :-) You're a great teacher and bluesplayer that gives great inspiration to a newbie guitar player from Norway as me :-) The only thing I miss by now is: In supplemental content it would be great to have text's to the songs and examples in the different lessons.
KJETILKL, Thanks so much. I'm really glad you're enjoying these lessons. You can get some free guitar lessons from me here http://www.hawkeyeherman.com/guitar-lessons.htm and you can watch me perform here http://www.youtube.com/profile?user=HawkeyeH I do not generally supply the supplemental information for jamplay.com. You can find lyrics by using www,google.com and searching, for example, "Rambling On My Mind lyrics" ... you can do this for the lyrics to almost any song, not just blues. Thanks again for enjoying the lessons. ;-)
Hawkeye, this lesson set is the best. I'm amazed that 12 bars of shuffle and a couple of turn-arounds can be such fun. My feet are permanently tapping and I can't stop humming the shuffle rhythm. Thank You
rob smith, Thanks for the kind comments. The blues is the watershed of popular music ... 12 bar blues/shuffle rhythms influenced rock, jazz, bluegrass, country, etc. "Blues is the roots, and everything else is the fruits!" - Willie Dixon ... I'm so glad you're enjoying these lessons ... and I do hope you are building a strong foundation and understanding of blues music ... so that you can apply what you learn to other genres of music. Again, thanks for your kind comments.
Best gift from my daughter was a guitar stand so that I kept my guitar out instead of in a case. I started picking it up and playing all the time.
elrohir, Yes! Your daughter came through with a great gift for you. Now you can pick up your guitar as the mood moves you, even for a few minutes ... it's true ... every time you hold and play the guitar you improve ... and an added benefit is that if you really enjoy the process of learning/practicing/playing ... it relieves stress. ;-) Thank your daughter for me, too.
Hawkeye, I would like you to know you are by far the easiest and best instructor on the Blues, I love your teaching style, the way you throw in Blues history and the way you break it down. It has really opened the door for me, and made it easier and alot funner, I look forward to waking up in the morning and learning a lesson with Hawkey Herman. thank you so much Mr. Rangel
titorangel, Thanks so much for your kind comments. I can't imagine teaching blues music without including important and interesting aspects of blues history. The present ... is built on the past. I think you can tell that I enjoy the history as much as the music. Thanks again for looking forward to each 'new' lesson. There's much more to come.
nice lesson!
Thanks! We have a long blues road to travel together ... I hope you continue to enjoy the journey.
love your lessons sooooooo much. Thanks a lot.
niandra, Thanks so much for the kind comment. I hope you continue to enjoy the lessons. There's much more to come.
Hey hey........ Dont you want to go.... back to that same ole place.....sweet home chicago. a blues brothers classic and then some. I'm lovin it
ronin808, Well, yes, the Blues Brothers did a version of the song, ;-) but please be sure to listen to older version(s) by Magic Sam and by Robert Johnson. Thanks for your comment, interest and enthusiasm.
Hawkeye, have no fears, your lessons have my guitar always out of the case when I am home :)
psarms876, Thanks for the comment ... and for keeping your guitar handy ... repetition is where it's at ... play slow in the beginning, then pick up speed. Crawl before you walk, walk before you run. Enjoy the process
thanks hawkeye keep them coming!!!!!
wthrill911, There's plenty more to come. Thanks for the comment.
The blues is a distinctly American style of music. Many popular genres such as jazz, rock, and country music draw upon basic blues concepts. Consequently, it is advantageous for any guitarist to study the blues.
Lesson 1
Hawkeye Herman introduces the blues. He explains the 12 bar blues chords and the poetic format that blues lyrics typically follow.Length: 19:25 Difficulty: 1.0 Members Only
Lesson 2
Hawkeye explains how the I, IV, and V chords are used in a 12 bar blues progression.Length: 12:12 Difficulty: 1.0 Members Only
Lesson 3
Hawkeye demonstrates common strumming patterns used in blues music. He also explains how country music evolved from the blues.Length: 19:42 Difficulty: 1.5 Members Only
Lesson 4
The shuffle is one of the most common rhythms used in blues music. Hawkeye introduces the most basic shuffle rhythm pattern.Length: 18:12 Difficulty: 1.5 Members Only
Lesson 5
Hawkeye covers the blues shuffle in greater depth.Length: 13:13 Difficulty: 1.5 Members Only
Lesson 6
Hawkeye introduces and explains a common blues turnaround.Length: 7:45 Difficulty: 2.0 Members Only
Lesson 7
Hawkeye demonstrates various ways of arpeggiating the blues turnaround from the previous lesson.Length: 8:08 Difficulty: 2.0 Members Only
Lesson 8
Hawkeye explains how the turnaround from the previous lesson can be transposed to all 12 keys.Length: 5:57 Difficulty: 2.0 Members Only
Lesson 9
Hawkeye explains how the blues turnaround can be played on the bass strings.Length: 11:12 Difficulty: 2.0 Members Only
Lesson 10
Hawkeye provides some tips regarding how to integrate turnarounds into the context of the 12 bar blues form.Length: 3:58 Difficulty: 2.0 Members Only
Lesson 11
In this lesson Hawkeye will explain how you can use turnarounds as a way to play basic lead.Length: 0:00 Difficulty: 2.0 Members Only
Lesson 12
Hawkeye demonstrates how subtle changes made to the blues shuffle can have a profound impact on the overall sound of the 12 bar form.Length: 7:12 Difficulty: 2.0 Members Only
Lesson 13
Hawkeye demonstrates more blues shuffle variations. He discusses playing individual notes and palm muting.Length: 7:23 Difficulty: 2.0 Members Only
Lesson 14
In this lesson, Hawkeye teaches a bass version of the blues shuffle that mimics a common left-hand piano pattern.Length: 10:49 Difficulty: 2.0 Members Only
Lesson 15
Hawkeye presents an exercise that will enable you to play a turnaround over the blues form in all twelve keys.Length: 10:44 Difficulty: 2.0 Members Only
Lesson 16
Hawkeye teaches a Delta blues turnaround in the key of A. This turnaround is played in the style of Robert Johnson.Length: 10:45 Difficulty: 2.0 Members Only
Lesson 17
Hawkeye Herman teaches a new Delta blues turnaround. This lick was inspired by Robert Johnson.Length: 7:12 Difficulty: 2.0 Members Only
Lesson 18
Hawkeye Herman teaches more components of Robert Johnson's signature sound.Length: 27:38 Difficulty: 2.0 Members Only
Lesson 19
Hawkeye introduces some common, movable chord shapes.Length: 17:42 Difficulty: 2.0 Members Only
Lesson 20
Hawkeye reviews movable chords in this lesson. He explains how these chord voicings can be used in a practical blues context.Length: 5:41 Difficulty: 2.0 Members Only
Lesson 21
Hawkeye Herman introduces the minor pentatonic scale in this lesson, the most commonly used scale in blues lead guitar.Length: 23:54 Difficulty: 2.0 Members Only
Lesson 22
Hawkeye builds on the pentatonic scale. He introduces "blue" notes, which transform the pentatonic scale into the minor blues scale.Length: 12:50 Difficulty: 2.0 Members Only
Lesson 23
Hawkeye explains how to transpose the minor pentatonic and minor blues scales to different keys.Length: 21:18 Difficulty: 2.0 Members Only
Lesson 24
Hawkeye Herman explains how to determine the key of a blues song. This information is essential if you wish to play lead over a song.Length: 15:31 Difficulty: 2.0 Members Only
Lesson 25
In this lesson, Hawkeye will bring together much of what he has taught in this lesson series and apply it to the style of Lightnin' Hopkins.Length: 16:36 Difficulty: 2.0 Members Only
Lesson 26
Hawkeye explains how to play the blues shuffle on the treble strings.Length: 9:22 Difficulty: 2.0 Members Only
Lesson 27
Hawkeye Herman teaches you how to play his original song, "The Great River Road," in this phenomenal lesson.Length: 16:39 Difficulty: 2.0 Members Only
Lesson 28
Hawkeye covers the guitar style of Mississippi John Hurt. This style makes heavy use of alternating bass lines.Length: 14:48 Difficulty: 2.0 Members Only
Lesson 29
Hawkeye teaches an original piece called "Piano Blues." He teaches this song to further demonstrate the alternating bass line.Length: 13:20 Difficulty: 2.5 Members Only
Lesson 30
Hawkeye Herman teaches a beautiful blues accompaniment pattern.Length: 10:11 Difficulty: 2.5 Members Only
Lesson 31
Hawkeye introduces the stop-time blues rhythm.Length: 17:21 Difficulty: 2.5 Members Only
Lesson 32
Hawkeye Herman explains how to play Robert Johnson's "Sweet Home Chicago."Length: 16:17 Difficulty: 2.5 Members Only
Lesson 33
Hawkeye introduces the eight bar blues progression.Length: 22:28 Difficulty: 2.0 Members Only
Lesson 34
Hawkeye takes the 8 bar blues material from the last lesson and explains how to transpose it to different keys.Length: 6:39 Difficulty: 0.5 Members Only
Lesson 35
Hawkeye teaches a classic 8 bar blues tune in the style of Brownie McGhee and Big Bill Broonzy.Length: 25:10 Difficulty: 2.0 Members Only
Lesson 36
In this lesson Hawkeye revisits the blues/pentatonic scale and talks about playing multiple notes at the same time.Length: 9:42 Difficulty: 1.5 Members Only
Lesson 37
Hawkeye Herman teaches a classic blues song ending. He also explains how it can be played in different keys.Length: 9:42 Difficulty: 2.0 Members Only
Lesson 38
Hawkeye Herman covers the basics of slide technique and provides exercises to demonstrate them.Length: 25:49 Difficulty: 2.5 Members Only
Lesson 39
Hawkeye Herman introduces open D tuning. He explains how to play a 12 bar blues progression with a slide in this tuning.Length: 14:56 Difficulty: 2.5 Members Only
Lesson 40
Hawkeye Herman demonstrates the classic Robert Johnson song, "Ramblin' On My Mind" in open D tuning.Length: 8:41 Difficulty: 2.5 Members Only
Lesson 41
Hawkeye explains how to play the blues shuffle in open D tuning.Length: 0:00 Difficulty: 2.0 Members Only
Lesson 42
Hawkeye teaches the "harmony" version of the shuffle in open D tuning.Length: 5:15 Difficulty: 2.0 Members Only
Lesson 43
Hawkeye teaches a simple blues turnaround in open D tuning.Length: 9:00 Difficulty: 2.5 Members Only
Lesson 44
Hawkeye Herman teaches some open D slide guitar licks. These licks are inspired by the song "Ramblin' On My Mind" by Robert Johnson.Length: 8:14 Difficulty: 3.0 Members Only
Lesson 45
Hawkeye Herman explains how to play the D minor pentatonic scale in Open D tuning.Length: 4:00 Difficulty: 2.5 Members Only
Lesson 46
Hawkeye challenges you to play "Ramblin' On My Mind" using the techniques from the past couple of lessons.Length: 4:03 Difficulty: 3.0 Members Only
Lesson 47
Hawkeye shows that open D tuning and slide guitar are not exclusive to the blues. He provides an exercise that demonstrates how this tuning can be used in rock music.Length: 15:55 Difficulty: 2.5 Members Only
Lesson 48
Hawkeye returns to the world of open D tuning. He introduces various chord voicings and explains how they can be used in the blues.Length: 10:00 Difficulty: 0.5 Members Only
Lesson 49
In this lesson, Hawkeye teaches a classic blues song by Mississippi Fred McDowell - "You Got To Move".Length: 9:03 Difficulty: 2.5 Members Only
Lesson 50
Hawkeye Herman demonstrates how to play the melody of "You Got to Move" with a slide.Length: 6:51 Difficulty: 2.5 Members Only
Lesson 51
Hawkeye Herman talks about playing and creating blues licks with the slide.Length: 9:53 Difficulty: 2.5 Members Only
Lesson 52
Hawkeye Herman breaks down important aspects of Elmore James' style.Length: 23:11 Difficulty: 2.5 Members Only
Lesson 53
Hawkeye teaches some versatile blues licks and riffs that can be used in open D tuning.Length: 11:15 Difficulty: 2.5 Members Only
Lesson 54
Hawkeye Herman teaches the basics of open G tuning.Length: 7:28 Difficulty: 2.0 Members Only
Lesson 55
Hawkeye gives a brief overview of chords and how they are played in open G tuning.Length: 6:11 Difficulty: 1.5 Members Only
Lesson 56
Hawkeye gives a brief rundown of how the blues / minor pentatonic scale can be played in open G tuning.Length: 4:48 Difficulty: 1.5 Members Only
Lesson 57
Hawkeye talks about playing accompaniment using open G tuning.Length: 7:44 Difficulty: 2.5 Members Only
Lesson 58
Improvisation using the minor pentatonic / blues scale is discussed in open G tuning. Hawkeye also touches on Robert Johnson's song, "Walkin' Blues."Length: 7:26 Difficulty: 2.5 Members Only
Lesson 59
In this lesson, Hawkeye Herman talks about playing the blues shuffle in open G tuning. He also shows some basic turnarounds.Length: 10:37 Difficulty: 2.5 Members Only
Lesson 60
Hawkeye reviews the blues shuffle in open G tuning. He demonstrates shuffle variations as well as a few licks, turnarounds, and other tidbits.Length: 15:45 Difficulty: 2.5 Members Only
Lesson 61
Hawkeye teaches several Robert Johnson licks in this lesson. These licks are played with a slide in open G tuning.Length: 14:40 Difficulty: 2.5 FREE
Lesson 62
Hawkeye introduces the capo and explains how it can be used. This lesson is still in the context of G tuning.Length: 10:28 Difficulty: 2.5 Members Only
Lesson 63
Hawkeye Herman showcases the power of slide guitar by demonstrating the classic Robert Johnson song, "Come On In My Kitchen."Length: 6:33 Difficulty: 3.0 Members Only
Lesson 64
Hawkeye Herman gives a brief rundown of Skip James' blues guitar style. This lesson also focuses on playing in open tunings without a slide.Length: 19:15 Difficulty: 3.0 Members Only
Lesson 65
Hawkeye demonstrates how to take a song from open D tuning and play it in open G. He uses the song "No Expectations" by the Rolling Stones as an example.Length: 10:26 Difficulty: 0.5 Members Only
Lesson 66
Hawkeye shows you the wonders of drop D tuning and teaches his rendition of "Big Road Blues."Length: 30:30 Difficulty: 3.0 Members Only
Lesson 67
Hawkeye goes over the fantastic song "Statesboro Blues" by Blind Willie McTell in Drop D tuning.Length: 27:12 Difficulty: 2.5 Members Only
Lesson 68
Hawkeye discusses some history behind the great blues guitarist Blind Lemon Jefferson. He covers the song "Matchbox Blues" to provide an example of his style.Length: 19:40 Difficulty: 2.0 Members Only
Lesson 69
Hawkeye explains the chord changes used in a minor blues progression.Length: 12:53 Difficulty: 2.0 Members Only
Lesson 70
Hawkeye talks about the capo and its many uses.Length: 22:32 Difficulty: 2.0 Members Only
Lesson 71
By user request, Hawkeye shares ideas on how to end songs in this lesson.Length: 21:26 Difficulty: 2.0 Members Only
Lesson 72
In this lesson, Hawkeye Herman returns to the wonderful world of stop-time blues. He teaches a few more ways to play in this glorious style.Length: 17:53 Difficulty: 0.5 Members Only
Lesson 73
Hawkeye talks about the eight bar blues and uses some classic blues songs as examples.Length: 26:19 Difficulty: 3.0 Members Only
Lesson 74
Hawkeye talks all about the blues mambo in this lesson.Length: 16:09 Difficulty: 2.5 Members Only
Lesson 75
Hawkeye explains how all the endings you've learned up to this point can be transposed to any key.Length: 31:53 Difficulty: 3.0 Members Only
Lesson 76
Hawkeye talks about transposing the minor pentatonic scale to various keys.Length: 16:58 Difficulty: 3.0 Members Only
Lesson 77
Hawkeye explains how the blues scale can be used to play lead in any song.Length: 30:57 Difficulty: 3.0 Members Only
Lesson 78
Hawkeye explains how the blues scale can span the neck in any key.Length: 22:09 Difficulty: 3.5 Members Only
Lesson 79
Hawkeye talks about the background of rock 'n roll and how it is connected to blues.Length: 21:42 Difficulty: 2.0 Members Only
Lesson 80
This lesson is filled with fun licks and lick techniques.Length: 17:32 Difficulty: 3.0 Members Only
Lesson 81
Hawkeye brings more blues wisdom to you in this lesson about spanning the neck.Length: 18:18 Difficulty: 3.0 Members Only
Lesson 82
Hawkeye provides a few useful tips on playing barre chords.Length: 13:18 Difficulty: 2.0 Members Only
Lesson 83
Hawkeye discusses how the visual shapes of chords relate to one another on the fretboard.Length: 15:06 Difficulty: 3.0 Members Only
Lesson 84
Hawkeye explains how to find the I, IV, and V chords in all 12 major keys.Length: 8:43 Difficulty: 3.0 Members Only
Lesson 85
Hawkeye answers member questions on the shuffle rhythm.Length: 16:19 Difficulty: 2.0 Members Only
Lesson 86
Hawkeye shares an idea in the key of A that you can apply to your blues playing.Length: 18:15 Difficulty: 3.0 Members Only
Lesson 87
Thumbpick Vs. Flatpick: A most common question asked among guitarists is discussed in this lesson.Length: 15:13 Difficulty: 0.5 Members Only
Lesson 88
Hawkeye shares his ideas on the capo and explains why he thinks it is important for every guitarist to own one.Length: 18:34 Difficulty: 0.5 Members Only
Lesson 89
Hawkeye reiterates that everything is movable on the guitar and provides some fresh new ideas.Length: 12:27 Difficulty: 2.0 Members Only
Lesson 90
Hawkeye explains how to add variety to the shuffle pattern by transferring the bass notes to the treble register and by adding palm muting. He also explains how you can create your own shuffle variations.Length: 21:21 Difficulty: 2.0 Members Only
Lesson 91
Hawkeye provides more amazing tips and tricks on moving your shuffle rhythm to the treble for a unique sound.Length: 16:50 Difficulty: 3.0 Members Only
Lesson 92
Hawkeye revisits the techniques learned in the last few lessons and explains how to tie tie them together to create solos.Length: 9:46 Difficulty: 2.0 Members Only
Lesson 93
Hawkeye provides some great tips for transposing any song you want to learn to a different key.Length: 17:31 Difficulty: 3.0 Members Only
Lesson 94
This exciting lesson dives into some of the earliest history of blues music and how it has shaped popular music today.Length: 13:52 Difficulty: 0.5 Members Only
Lesson 95
Hawkeye Herman explains why "blues is the roots, and everything else is the fruits."Length: 8:41 Difficulty: 1.0 Members Only
Lesson 96
Hawkeye discusses the history and style of Hank Williams.Length: 17:07 Difficulty: 2.0 Members Only
Lesson 97
Hawkeye demonstrates some key aspects of Jimmie Rodgers' style.Length: 12:30 Difficulty: 2.0 Members Only
Lesson 98
Hawkeye demonstrates the "boom-chicka" strum and explains various ways you can incorporate it into your playing.Length: 22:44 Difficulty: 2.0 Members Only
Lesson 99
Hawkeye Herman explains how to spice up your rhythm playing by incorporating bass runs between chord changes.Length: 16:20 Difficulty: 2.0 Members Only
Lesson 100
Hawkeye Herman celebrates lesson 100 with a short but sweet review of what you've learned in the past couple of lessons.Length: 6:51 Difficulty: 2.0 Members Only
Lesson 101
Hawkeye Herman demonstrates rhythmic concepts from earlier lessons by playing a fun medley.Length: 13:08 Difficulty: 2.0 Members Only
Lesson 102
Hawkeye shares some of his favorite licks in this lesson.Length: 22:35 Difficulty: 3.0 Members Only
Lesson 103
Hawkeye teaches more fun licks to add to your blues bag of tricks.Length: 31:20 Difficulty: 2.5 Members Only
Lesson 104
Hawkeye Herman is back with some more classic blues licks that span the length of the fretboard.Length: 26:20 Difficulty: 2.5 Members Only
Lesson 105
Hawkeye explains the importance of playing licks over the entire neck of the guitar.Length: 21:33 Difficulty: 2.0 Members Only
Lesson 106
Hawkeye Herman shares a lick that is commonly known as the "Rock Me Baby" Lick. He explains how this lick can be incorporated into a performance of this classic B.B. King song.Length: 19:09 Difficulty: 2.0 Members Only
Lesson 107
Hawkeye discusses how ideas derived from turnarounds can be incorporated into blues solos.Length: 8:19 Difficulty: 2.0 Members Only
Lesson 108
Hawkeye Herman talks about instrumental themes and how you can add lead fills to them.Length: 18:03 Difficulty: 3.0 Members Only
Lesson 109
Hawkeye continues his discussion on instrumental themes and blues.Length: 23:42 Difficulty: 2.5 Members Only
Lesson 110
Hawkeye Herman explains how dominant 9th chords are formed and how they can be used in blues music.Length: 15:16 Difficulty: 3.0 Members Only
Lesson 111
Hawkeye Herman continues his discussion on 9th chords.Length: 26:52 Difficulty: 2.5 Members Only
Lesson 112
Hawkeye Herman shares more eight bar blues knowledge in this fun and information-packed lesson.Length: 23:57 Difficulty: 2.5 Members Only
Lesson 113
Hawkeye shares his thoughts on tuners in this lesson.Length: 6:38 Difficulty: 0.5 Members Only
Lesson 114
In the 114th installment of his Blues Series, Hawkeye introduces the capo. He demonstrates how this valuable tool allows you to transpose chord voicings to various keys.Length: 23:21 Difficulty: 2.5 Members Only
Lesson 115
Having trouble getting those fingers to form barre chords? In lesson #115 of his Blues Series, Hawkeye covers some tips and techniques to help with these problematic chord shapes. Any beginner can master...Length: 10:03 Difficulty: 2.5 Members Only
Lesson 116
Hawkeye explains why the adjacent strings on the guitar are tuned in perfect fourths and how this relates to left hand fingering.Length: 18:44 Difficulty: 3.0 Members Only
Lesson 117
Hawkeye continues where he left off in lesson 116 and explains how the tuning of the guitar relates to commonly used chord shapes.Length: 16:43 Difficulty: 2.0 Members Only
Lesson 118
Hawkeye Herman reviews important transposition concepts. Here he demonstrates how to change the key of a song so that it is appropriate for your vocal range.Length: 20:31 Difficulty: 3.0 Members Only
Lesson 119
Hawkeye takes a look at this important right hand technique.Length: 20:54 Difficulty: 3.0 Members Only
Lesson 120
Hawkeye provides a history lesson on Bo Diddley. He also demonstrates how to play the classic "Bo Diddley Beat." This rhythmic pattern appears in countless blues and rock songs.Length: 20:15 Difficulty: 2.0 Members Only
Lesson 121
Hawkeye teaches some blues bass lines that can be applied to the twelve bar blues form.Length: 19:04 Difficulty: 2.5 Members Only
Lesson 122
Hawkeye continues on from his 121st lesson with more examples of blues bass lines for guitar.Length: 7:14 Difficulty: 2.5 Members Only
Lesson 123
Hawkeye dives into some lead bass ideas. He demonstrates how a classic Eric Clapton riff can be used over the twelve bar blues form in any key.Length: 12:57 Difficulty: 3.0 Members Only
Lesson 124
Hawkeye teaches the bass line riff to his song "Willie's Bounce."Length: 16:31 Difficulty: 3.0 Members Only
Lesson 125
Hawkeye continues his discussion on finger picking.Length: 12:27 Difficulty: 3.0 Members Only
Lesson 126
Hawkeye Herman teaches a version of the A chord that he calls "The Texas A."Length: 13:59 Difficulty: 3.0 Members Only
Lesson 127
Hawkeye breaks down the blues scale and demonstrates how to appropriately add the major 3rd.Length: 26:16 Difficulty: 3.0 Members Only
Lesson 128
As demonstrated in previous lessons, Hawkeye opens up the world of double stops. Hawkeye teaches some classic Chuck Berry licks to demonstrate how double stops can be used effectively.Length: 11:53 Difficulty: 2.5 Members Only
Lesson 129
Hawkeye introduces the guitar stye of Scrapper Blackwell. He uses the song Scrapper called "E Blues" as a starting point.Length: 20:46 Difficulty: 2.5 Members Only
Lesson 130
History flows deep in blues music. Hawkeye discusses the influence of Blind Lemon Jefferson. This lesson is one for the history books.Length: 22:43 Difficulty: 2.0 Members Only
Lesson 131
Hawkeye opens up some ideas on how to "plan ahead" in your playing. Similar to riding a bike, you need to look forward to see where your going. Humming what you want to play allows you to anticipate the...Length: 18:49 Difficulty: 4.0 Members Only
Lesson 132
Inspired by the tragedy of Hurricane Katrina, Hawkeye was commissioned by the BBC to write a song about Katrina. Hawkeye demonstrates this song and recalls his thought process in writing this song.Length: 29:53 Difficulty: 3.0 Members Only
Lesson 133
Hawkeye demonstrates how a hammer-on can be used to open up doors in your playing. Hawkeye shows you how to achieve this technique and use it successfully in your playing.Length: 24:07 Difficulty: 3.0 Members Only
Lesson 134
Hawkeye covers the pull-off, best friend of the hammer on. This technique is used to achieve the same goal as the hammer-on, yet with a completely different finger movement.Length: 15:02 Difficulty: 3.0 Members Only
Lesson 135
Hawkeye combines lessons 133 and 134 and demonstrates some examples of how to utilize the hammer-on and pull-off techniques together to enhance your overall blues guitar skills.Length: 10:27 Difficulty: 3.5 Members Only
Lesson 136
The 12 bar form is a staple in the world of blues music. However, there are plenty of different ways to arrange it. This lesson covers what is commonly called "The Quick Change."Length: 15:15 Difficulty: 2.0 Members Only
Lesson 137
Hawkeye demonstrates how to change up a traditional 12 bar blues progression by starting on the IV chord.Length: 16:51 Difficulty: 2.5 Members Only
Lesson 138
Hawkeye demonstrates yet another form of blues known as the "Talking Blues." This style is indicative of its name. It features a talking vocal style played over a I, IV, V chord progression.Length: 24:43 Difficulty: 4.0 Members Only
Lesson 139
Need a slightly different voicing to spice up your playing? 9th chords will give your blues playing a colorful, urban sound.Length: 24:53 Difficulty: 3.5 Members Only
Lesson 140
Hawkeye breaks out his slide and demonstrates how chord progressions in major keys can be played in open minor tunings.Length: 4:43 Difficulty: 1.0 Members Only
Lesson 141
Hawkeye offers up some tricks and techniques that Elmore James utilized in his style of playing.Length: 25:52 Difficulty: 3.5 Members Only
Lesson 142
In lesson 142, Hawkeye dives into the style of Son House. House pioneered an innovative style featuring strong, repetitive rhythms often played with a slide.Length: 14:32 Difficulty: 3.5 Members Only
About Hawkeye Herman
View Full Biography
""One of America's finest acoustic guitarists and blues educators."
Cascade Blues Association
"Herman plays with a sensitive, reflective touch that continually draws attention to his vocals, which are effectively understated and free of affectation... Herman can rock with the best of them. A solid choice for fans of traditional acoustic blues."
Living Blues Magazine
" ...plays haunting music on a mournful guitar."
Los Angeles Times
"The only thing better than hearing this live album is seeing Hawkeye Herman in the flesh. Whether adding his own spin to blues classics or offering his own songs, Herman is a one-man history of blues, noteworthy guitar player and inimitable communicator. Miss him at your peril."
Blues Access
With over 40 years of performing experience, Michael "Hawkeye" Herman personifies the range of possibilities in blues and folk music. His dynamic blues guitar playing and vocal abilities have won him a faithful following and he leads a very active touring schedule of performances at festivals, concerts, school programs and educational workshops throughout the U.S., Canada, and Europe. His original music has been included in video dramas and documentaries and in four hit theatrical productions.
In 2000, Hawkeye was awarded Philadelphia's Barrymore Award for Excellence in Theatre for best original music in a theatrical production. "Everyday Living," Hawkeye's first nationally released album from 1987, now reissued on CD, features the late blues giants Charles Brown and "Cool Papa" Sadler, and established the demand for his now long-standing festival and concert touring. His latest CDs and DVD, "Blues Alive!" (CD), "It's All Blues To Me" (CD), and "Hawkeye Live In Concert" (DVD) have been greeted with rave reviews. Hawkeye's journalistic efforts have been published in numerous national and regional blues and music-related periodicals.
In 1998 he was the recipient of the Blues Foundation's "Keeping The Blues Alive" award for achievement in education. He served on the Board of Directors of the Blues Foundation for six years. Hawkeye was inducted into the Iowa Blues Hall of fame in 2004. In September of 2005, Hawkeye composed, at the request of the British Broadcasting Company (BBC), "Katrina, Oh Katrina (Hurricane Blues)," detailing the hurricane disaster on the Gulf Coast. The song was aired to over 7 million listeners on the popular "BBC Today" program. He is the cofounder of the Rogue Valley Blues Festival, Ashland, OR.
This musician has definitely carved out a spot for himself in the contemporary acoustic blues/folk field, and has earned a reputation as one of the most accomplished artists in the genre, and audiences throughout the US/Canada/Europe have come to know and appreciate Hawkeye's talent, dedication, and captivating performances.
Our acoustic guitar lessons are taught by qualified instructors with various backgrounds with the instrument.
Orville Johnson introduces turnarounds and provides great ideas and techniques.Free LessonSeries Details
Mitch teaches his interpretation of the classic "Cannonball Rag." This song provides beginning and intermediate guitarists...Free LessonSeries Details
Trace Bundy talks about the different ways you can use multiple capos to enhance your playing.Free LessonSeries Details
JamPlay welcomes David Isaacs to our teacher roster. With his first lesson Dave explains his approach to playing guitar with...Free LessonSeries Details
Eve talks about the boom-chuck strum pattern. This strum pattern will completely change the sound of your playing.Free LessonSeries Details
Lesson 7 is all about arpeggios. Danny provides discussion and exercises designed to build your right hand skills.Free LessonSeries Details
Award winning, Canadian fingerstyle guitarist Calum Graham introduces his Jamplay Artist Series, which aims to transform...Free LessonSeries Details
New fingerstyle instructor Don Ross introduces himself, his background, and what you should expect in this series.Free LessonSeries Details
Steve Eulberg does a quick review of this lesson series and talks about moving on.Free LessonSeries Details
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Lauren Passarelli offers up her wisdom on purchasing a guitar. She also includes information regarding proper setup and care....Free LessonSeries Details
Steve Stevens shows some of his go-to licks and ideas while improvising over a backing track he made.Free LessonSeries Details
Vibrato is a technique that not only gives character to your guitar playing, it conveys your personality on the guitar, giving...Free LessonSeries Details
In this lesson, Larry discusses and demonstrates how to tune your bass. He explains why tuning is critical and discusses...Free LessonSeries Details
Michael kicks off his course and explains what to expect from the course, as well as who this course is designed for.Free LessonSeries Details
Take a new look at the fretboard and learn where to find a voicing that works. There are techniques that simplify the fretboard...Free LessonSeries Details
Been playing the standard 12 bar blues and looking to add some flare? Look no further than Jeff Kollmann's series, "Blowing...Free LessonSeries Details
Emil takes you through some techniques that he uses frequently in his style of playing. Topics include neck bending, percussive...Free LessonSeries Details
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I'm a fifty eight year old newbie who owns a guitar which has been sitting untouched in a corner for about seven years now. Last weekend I got inspired to pick it up and finally learn how to play after watching an amazing Spanish guitarist on TV. So, here I am. I'm starting at the beginning with Steve Eulberg and I couldn't be happier (except for the sore fingers :) Some day I'm going to play like Steve! I'm self employed with a hectic schedule. With Jamplay I can fit in a random session when I have time and I can go at my own pace, rewinding and replaying the videos until I get it. This is a very enjoyable diversion from my work yet I still feel like I'm accomplishing something worthwhile. Thanks a lot, Greg
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text:
WASHINGTON (Reuters) - Alexza Pharmaceutical's experimental drug for calming down patients with schizophrenia or bipolar disorder can cause severe lung problems, U.S. Food and Drug Administration reviewers said.
In review documents released late on Wednesday, FDA staff said they were unsure whether Adasuve was safe for patients, although it successfully treated their agitation.
"The division remains concerned that the true severity and extent of pulmonary toxicity in the intended treatment population is unknown," one FDA reviewer wrote.
The FDA rejected the drug in October 2010 because of breathing-related side effects.
The briefing documents suggested agency staff were skeptical the safety problems had been addressed after the company's resubmission in August.
Three injectable drugs — Bristol-Myers Squibb's Abilify, Eli Lilly's Zyprexa and Pfizer's Geodon — are already approved to calm down patients with the mental illnesses, but Alexza's drug would be the first that is inhaled.
Adasuve is vaporized and delivered through the company's Staccato inhaler, thus passing through the lungs and into the blood stream faster than a typical pill. Patients were noticeably calmer within 15 minutes, the FDA said.
But in clinical trials, Adasuve was linked to lung problems including severe constriction of the airway muscles, or bronchospasm, especially for people who had a history of asthma or lung disease.
To address the safety concerns, Alexza proposed screening patients for risks before treatment, and monitoring them in the hospital after they get the drug to make sure they do not have breathing problems.
But the FDA said many patients with schizophrenia or bipolar disorder are smokers, and it may be difficult to observe breathing problems in people who are agitated.
"Acutely agitated schizophrenic or bipolar patients presenting to an emergency room or other facility may be uncooperative, psychotic, and severely disorganized," wrote an FDA reviewer.
A panel of outside experts that will meet on Monday was asked to consider whether the company's strategy will address the safety issues, and will vote on whether to recommend approval of the drug.
Schizophrenia causes delusions and hallucinations, while bipolar disorder prompts alternating bouts of depression and mania. Most people with the mental illnesses are likely to become agitated at some point.
Acute agitation can cause patients to become uncomfortable, tense and restless and if untreated, patients can become threatening and violent as the agitation intensifies, Alexza has said.
The FDA declined to approve Adasuve in October 2010 because of severe side effects related to breathing seen in three early-stage safety studies. The agency also highlighted some manufacturing and engineering problems, which it said on Wednesday the company had resolved with its resubmission.
Adasuve would be the company's first FDA-approved product. Alexza said it expects the FDA to make a final decision about the drug in early 2012.
In October, Alexza said it would market Adasuve with medical device maker Grupo Ferrer International in several regions outside the United States, including Europe and Latin America.

subset: commoncrawl


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Science and technology became very vast these days. You may notice that here are lots of breakthroughs especially in medical world.
There are many treatments and cure discovered that actually helped man from the cruel effects of diseases and infections.
Take for example, vaccine against Cervical cancer, who would have thought that there is already a vaccine for this infection that has been one of the leading cause of death among women.
Careful and thorough analysis is needed to carry out the right treatment or vaccine for a certain disease or infection. Knowing symptoms can help you seek the right treatment.
Time and cost are also considered given that it requires respondents and the must perform the tests hundred to thousand times.
Syphilis Treatment has been a breakthrough in medical domain too given that it helped men and women suffering from sexually transmitted disease.
Today you'll get to know the common and effective treatments involved in Syphilis Treatment.
Antibiotic Therapy
Blood tests would usually show if you are suffering from Syphilis. When this happens, antibiotics are usually recommended treatment.
Antibiotics such as penicillin shall be taken by mouth in an early stage of infection. Your Doctor will suggest an increased dosage of antibiotics depending on how severe your infection is.
You can find out Syphilis causes here.
Remember that there are no over the counter (OTC) medicines that can cure Syphilis. A simple effective antibiotic from your GP can do the thing.
Antibiotics can help prevent the outbreak and spread of the infection but will never heal or repair the damage done. Some are allergic to penicillin so your Doctor might recommend azithromycin and other effective antibiotics but penicillin.
Follow Up
No matter how effective your medicine in, if you do not follow it up then the treatment will never be effective. Regular blood tests are very important to keep up with the standing of your infection.
Your Doctor will increase or decrease the dosage depending how severe or mild the disease is.
Intravenous Treatment
If your syphilis is already on stage 3 antibiotics aren't given anymore because the infection already riches your nervous system. Or there are some scenarios which require longer courses of antibiotics.
Intravenous treatment commonly administer for those who are already in stage 3 of Syphilis infection. The treatment through vein is more serious given that the disease is already on its latent stage.
Take note that this treatment cannot heal or restore the damage done by Syphilis but can only stop the spread of the infection.
Surgical Procedure
Worse comes to worst, if a certain part inside your body is already damage your Doctor might recommend removal of the damage part. But of course, it needs to be established if it would be safe and what would be the extent of its side-effects.
Usually side-effects can be dangerous so make sure to discuss it deeply with your Doctor and as much as possible ask second opinion from other trusted medical experts.
You should abstain from any form of sexual contact while performing or while undergoing treatment. Also, close physical contact with another person is highly restricted given that you have tendency to spread the infection.
Once you are sure and safe, that is the only time you can have sexual contact with. You can also worsen your situation by not abstaining from sex because the outbreak just keeps on increasing every day.
Talk To Your Partner
One helpful treatment of preventing the spread of Syphilis is to talk to your partner concerning your current status. There is no far better than having someone who can help your with your battle.
Your partner can also be tested for the possible Syphilis infection. You both can help support each other overcome your problem.
Treatments aren't just contained through physical or your biological needs. It also involves healing of your mind and soul.
There are many organization that can help your with your battle for Syphilis. Even those persons who've personally experienced Syphilis can definitely share their best defence on how they survived the infection.
You actually have great options on hand. Make sure to choose the best and the most effective one.
Go For Healthy And Best Treatment
Along the way, surely you get stressed out. Anxiety and worries will eventually breakout.
Never let stress overtake you. You can always overcome them by choosing your health.
Stress is the number one cause of disease worldwide. Make sure to manage them in one way or another.
It is very important to seek medical help whenever you feel some abnormalities in your body. Actually, your body can signal you in the first place like pain and discharge.
Annual examination is very important to keep track of your health status especially if your sexually active person.
When you engage in any sexual activity make sure it's with someone you've already established your relationship with.


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Plantar fasciitis is an inflammation of the long band of connective tissue running from the heel to the ball of the foot. The plantar fascia acts like a bowstring and supports the arch and several muscles inside the foot. When there is increased stress on the arch, microscopic tears can occur within the plantar fascia, usually at its attachment on the heel. This results in inflammation and Heel Pain with standing and walking and sometimes at rest.
Achilles tendon rupture, the tendon of the heel cord behind the ankle is torn. Bone bruise. Bone cyst, a solitary fluid-filled cyst (cavity) in a bone. Gout, levels of uric acid in the blood rise until the level becomes excessive (hyperuricemia), causing urate crystals to build up around the joints. This causes inflammation and severe pain when a gout attack happens. Neuroma (Morton's neuroma) a swollen nerve in the ball of the foot, commonly between the base of the second and third toes. Osteomyelitis , osteomyelitis means infection of the bone or bone marrow; inflammation of the bone due to infection. Osteomyelitis sometimes occurs as a complication of injury or surgery. In some cases, the infection may get into bone tissue from the bloodstream. Patients with osteomyelitis typically experience deep pain and muscle spasms in the inflammation area, as well as fever. Peripheral neuropathy, neuropathy is a collection of disorders that occurs when nerves of the peripheral nervous system (the part of the nervous system outside of the brain and spinal cord) are damaged. The condition is generally referred to as peripheral neuropathy, and it is most commonly due to damage to nerve axons. Neuropathy usually causes pain and numbness in the hands and feet. It can result from traumatic injuries, infections, metabolic disorders and exposure to toxins. One of the most common causes of neuropathy is diabetes. Problems with your gait, wrong posture when walking/running. Rheumatoid arthritis, rheumatoid arthritis, sometimes referred to as rheumatoid disease, is a chronic (long lasting), progressive and disabling auto-immune disease condition that causes inflammation and pain in the joints, the tissue around the joints, and other organs in the human body. Rheumatoid arthritis usually affects the joints in the hands and feet first, but any joint may become affected. Patients with rheumatoid arthritis commonly have stiff joints and feel generally unwell and tired.
Symptoms may also include swelling that is quite tender to the touch. Standing, walking and constrictive shoe wear typically aggravate symptoms. Many patients with this problem are middle-aged and may be slightly overweight. Another group of patients who suffer from this condition are young, active runners.
The diagnosis of plantar fasciitis is generally made during the history and physical examination. There are several conditions that can cause heel pain, and plantar fasciitis must be distinguished from these conditions. Pain can be referred to the heel and foot from other areas of the body such as the low back, hip, knee, and/or ankle. Special tests to challenge these areas are performed to help confirm the problem is truly coming from the plantar fascia. An X-ray may be ordered to rule out a stress fracture of the heel bone and to see if a bone spur is present that is large enough to cause problems. Other helpful imaging studies include bone scans, MRI, and ultrasound. Ultrasonographic exam may be favored as it is quick, less expensive, and does not expose you to radiation. Laboratory investigation may be necessary in some cases to rule out a systemic illness causing the heel pain, such as rheumatoid arthritis, Reiter's syndrome, or ankylosing spondylitis. These are diseases that affect the entire body but may show up at first as pain in the heel.
Non Surgical Treatment
If the plantar fasciitis is acute, that is, a sprain of the plantar fascia then it is basically treated as a sprain, with anti-inflammatory drugs, ice, rest, possibly physical therapy. If chronic, the poor foot mechanics need be addressed. Foot mechanics are changed by use of specially moulded shoe inserts known as orthotics. Someone with plantar fasciitis needs an orthotic designed to relieve strain on the plantar fascia. Orthotics are often confused with arch supports. Arch supports, by holding up the arch can remove some of the tension from the plantar fascia. Orthotics, on the other hand, do most of their work on the heel and ball of the foot repositioning the foot for maximized function. What can you do before you see the foot doctor? First, try doing your own version of deep tissue massage by rolling a frozen cola bottle or can from the heel forward into the arch. Do it gently. Do stretching but the key to good stretching is not to stretch too hard so generally avoid weight bearing (standing) stretches but sit on a soft surface like your bed and pull the foot backward on the leg as far as it will go, holding for 20 seconds and relaxing for 5 seconds. Each 25 second ?set? can be repeated 5 times and you have invested about 2 minutes in giving yourself a lot of help. Watch out for the shoes you wear. It is tempting to obtain shoes that are colorful and soft. Here is the proof that soft shoes are bad. Wrap a pillow around your foot with duct tape and walk for a block or two. You will come back with your foot hurting more because your foot sank down deeper into the soft surface, allowing the ligament to stretch more. The shoes should be stiff in the shank and flexible at the ball. Such shoes, to running buffs, are known as motion control shoes or stability shoes so going to one of the small specialty running shoes stores is a good place to start. If you don?t have a desk job, or have an industrial job see if light duty is available. A note from your doc may be all that is required in most cases and most doctors are happy to oblige.
Surgical Treatment
When a diagnosis of plantar fasciitis is made early, most patients respond to conservative treatment and don?t require surgical intervention. Often, when there is a secondary diagnosis contributing to your pain, such as an entrapped nerve, and you are non-responsive to conservative care, surgery may be considered. Dr. Talarico will discuss all options and which approach would be the most beneficial for your condition.
Before you get out of bed in the morning, and then periodically throughout the day, do the following exercises to increase flexibility and ease pain. Slowly flex your foot and toes to stretch the tissue on the bottom of your sore foot. Hold the stretch for 10 counts. Relax and repeat. Do gentle ankle rolls to keep the tissues around the ankle and on the back of the heel flexible. Sit on the edge of your bed and roll your foot back and forth over a tennis ball.


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|About this Recording
8.570840 - SPOHR, L.: Concertantes Nos. 1 and 2 / Duet in G Major, Op. 3, No. 3 (Kraggerud, Bjora, Oslo Camerata, Baratt Due Chamber Orchestra, Barratt-Due)
Louis Spohr (1784–1859)
Concertos for multiple soloists were rare in the romantic era. The cult of the solo-virtuoso dominated the genre with its strong focus on the unique individuality of a specific performer's contribution to what is essentially an argumentative form. While excelling in this type of concerto as well, with four Clarinet Concertos and the eighteen solo Violin Concertos, Louis Spohr sought to place musical integrity ahead of superficial showmanship in the relationship between soloist and ensemble.
When Spohr was eighteen years old, a concert-tour took him to St Petersburg in Russia where he witnessed an Orthodox church ritual. He was fascinated by the antiphonal singing of the church choirs, and a life-long interest in the responsorial possibilities inherent in dialogue became a driving inspirational force in many of his compositions. This interest manifested itself in works such as the beautiful Mass, Op. 54, for two choirs of 1821, and the gorgeous collection of four double string-quartets. It culminated in his Seventh Symphony written for double orchestra. The two Concertanti recorded here belong in this category, where two equally important forces share the stage and enter into a civilized conversation with one another.
One can notice a nostalgic tendency in Spohr's aesthetic which coincided with the rise of "bourgeois historicism" in the other arts. It has often been called the Biedermeier style, and is characterized by elegance, sturdy workmanship, and emotional reticence; this style was to be maligned in the rise of the sensational in art. Louis Spohr opposed the superficiality of the national romantic school of composition, which he considered vulgar, repetitive, blatant and bombastic. In his Sixth Symphony, the 'Historical', of 1839, he lambasts this tendency in the symphony's last movement, with its subtitle 'From our own time'. This stand against growing commercialism in music led to many difficulties in his career. He resigned the directorship of the Frankfurt Opera when they refused to stage Beethoven's Fidelio. It was his championing of the works of Beethoven, Weber, and the young Wagner (he conducted early performances of The Flying Dutchman and Tannhäuser) that best illustrates his opposition to contemporary tendencies, which lay in his desire to promote what he considered to be the true art of composition. He demanded structural discipline and the subservience of the virtuosic to the musical utterance. This does not mean that his works do not display instrumental brilliance. The music is extremely demanding technically and the glittering solo passages overwhelm the listener with feelings of satisfaction and contentment. Spohr's style has been accused of being "feminine", but there is no tasteless excess and, at the same time, the music is harmonically advanced with a strong emphasis on chromatic invention. The forms he chooses for his concertos are classical but never routine. At the other extreme, he developed the art of through-composition and pioneered the use of the Leit-motiv in his operas (Faust 1813 and Jessonda 1822) before Wagner. The over-riding tendency, however, was his emphasis on good taste, solid craftsmanship and emotional restraint. This aesthetic has been problematic for his subsequent reputation, in that concert-goers have demanded a more extrovert sensationalised form of expression. The subtleties inherent in Spohr's style have often been regarded as his weakness. This is certainly not the case, but the listener must attune him/herself to a sonic world inhabited by a delicate sensibility, to small shifts in thematic emphasis. Spohr is a master of the developmental possibilities inherent in a clear melodic contour, which is usually presented unadorned at the beginning of each composition.
All of this is in ample evidence in his two Concertanti recorded here, which he enjoyed playing together with his best pupils. The generosity of the shaping of the individual parts does not place one soloist above the other. Rather they complement one another and contribute to one another's display. This collegiality manifested itself in his tireless promotion of his contemporaries—both performers and composers—as well as his championing of the works of J.S. Bach. Indeed, the two works have more in common with Bach's concerto for similar forces in its use of Baroque ideals inherited from the Concerto Grosso.
Spohr uses the term concertante to describe these two works for two violins and orchestra. Each Concertante is in the traditional three movements. The first, the Concertante in A major, Op. 48, was composed in 1808. The introduction is in a mellow A minor, containing wisps of the main contour appearing before the Allegro begins in earnest presented by the two violinists playing in octaves. The second, the Concertante in B minor, Op. 88, written in 1833, is a mature work that predates many of the stylistic traits copied later by Berlioz, Tchaikovsky and Mahler. The orchestral introduction sets the stage for the two soloists who present the two themes of this sonata movement. The second movement begins with the soloists playing double-stops, the result sounding like a string quartet. The last movement is again in Rondo form with a theme of darker hue, perhaps reflecting the fatal illness of his wife Dorette.
Louis Spohr's Violinschule, published in 1833, was one of the founding pillars of the German violin tradition. The work consists of violin duets for teacher and pupil. The Violin Duet in G major, Op. 3, No. 3 included here is, in contrast, written for two equal partners, enjoying a lively dialogue.
Olav Anton Thommessen
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Yup, this has happened and although I'm not excusing it, it's the main cause for my online presence being so quiet for the past two months.
I promised myself I'd be more consistent but unfortunately life had other ideas, however (*breathes in*) we are still just going to roll with this (*breathes out*) – "go with the flow" – "pebble in a stream" – okay I'll stop now.
First difference you'll see for obvious reasons is my backgrounds – gone are the days of countryside 'house I've grown up in for my entire life' backgrounds. Instead they've been replaced by the infamous concrete jungle, along with cramped, teeny tiny living spaces and more minimalism than I've ever incorporated into my life – EVER!
So the reason that sparked this move, and set me off at full speed ahead into the busiest most fast paced life I'd ever imagined possible, is a career move. I've been treading water for some time now – waiting my turn for opportunities that were promised but never seemed to come and feeling very stuck and uninspired.
Cue that sparkly hopeful job advert into my inbox and hey presto your looking at the latest Londoner.
To say the process over the past month has been an adjustment would be a tad bit of an understatement. It would probably be more accurate to say that its been like when you get on that roller coaster that looks terrifying but your friends have forced you on and before you know it you're hurtling round it and its just as terrifying as you imagined and to top it all off you get a nice helping of whiplash to remind you of it for the next few weeks. (I withheld comma's for a reason people – read it that way and you'll feel it).
It's been insane.
Firstly – I have never walked so much in my life.
I am a die hard car fan through and through, and there is just no place for that kind of attitude here, unless you have a time allowance and bank balance to match. Now for those of you that are new to my page / life / channel, last year I had a hip replacement, and now because of this move I would not be surprised if in a couple of years I am looking at knee replacements. There is that much walking involved – I wish I was kidding.
Secondly – When people say life here is expensive, what they mean is compared to everywhere else on the planet.
Everywhere else has more space and less entertainment availability and because of this yes you will feel like you're haemorrhaging money faster, purely because there are more options available to you here. I honestly think the 'more expensive' statement is proportionate, and needs some context to it before you go running scared.
Not that I've found a balance yet, and as I'm typing this I'm relying on getting thought the next week on my last £20 and the single piece of bread I have for toast has a patch on it that is looking slightly fluffy.
The good news is on the expenses front is that even if I could afford new clothes and really just all the nice things, where the fudge would I put them? In the video above I give you an overview of my current new living space and lets just say I'm having to be seriously inventive. I've had to throw away at least 2/3d's of my wardrobe on account of the postage stamp sized cupboard I now have to hang stuff in. I've also had to put stuff in storage that I hope to one day have in an actual place of my own. But then I would need to win the lottery right now so we won't go there.
On a more positive note, I'm out here! I'm living! I'm stepping out of my comfort zone and with that can only come growth. I'm finally affecting change and learning and although there are times where I feel like I could get mugged, its worth it to have this opportunity.


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Degrees and Certifications:
Shirelle Huff
Welcome to my page! My name is Shirelle Huff, I am entering my 14th year into the teaching profession. I have worn many hats through out my career; all-level life skills, resource, inclusion, ESL coordinator, High School English, and Lead Special Education teacher are just to name a few! This is my second year with Tyler ISD as an ELAR co-teacher. I graduated with a Bachelor's degree in Interdisciplinary Studies from the University of Texas at Tyler with honors and my certifications include: EC-12 Special Education, EC-6 Generalist, and EC-12 ESL.
I believe that all students can succeed, we just need to supply them with a loving, nurturing, and trusting environment where these little seeds can blossom into beautiful flowers!


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It's Sunday, which means it's time for the horror haul, our weekly round-up and one-stop-shop for all things horror. This week in horror, the legal rights battle over Friday the 13th is poised to cause some complicated franchise fall out according to an in-depth new report, The Strangers 2 is taking cues from some 1970s classics, and An American Werewolf in London director John Landis has some thoughts on why Universal's Dark Universe is off to a rocky start.
Elsewhere, American Horror Story: Roanoke is set to scare up a maze at Universal Studios Halloween Horror Nights and Spike's new The Mist series may not be the B-movie monster drama folks are expecting. Plus, new trailers for L.A. Film Festival selections Midnighters and Serpent, and more.
For all the horror news we've already covered on the site this week, you can click through the links below. Then, check out other genre highlights from the week and finish it all up with a rundown of the week in horror movie trailers. For more, be sure to hit up Collider Nightmares or our round-up of the best horror movies on Netflix. Thanks for tuning in, and sound off in the comments with your thoughts, questions, and other horror musings.
- Watch Neill Blomkamp's Apocalyptic Sci-Fi Short Film 'Rakka' Starring Sigourney Weaver
- Watch Our 30-Minute Q&A with 'The Mummy' Cast and Director Alex Kurtzman
- 'Happy Death Day' Trailer Reveals 'Groundhog Day'-Esque Slasher Movie
- 'The Conjuring' Universe Grows with 'The Crooked Man' Spinoff'
- Mindhunter' Release Date Reveals Exactly When You Can Watch David Fincher's New Netflix Series
- First 'Flatliners' Trailer Opens a Portal Between Life and Death
- 'Little Nightmares' TV Series in the Works with the Russo Brothers and Henry Selick'
- The Mummy': What the Ending Signals for the 'Dark Universe'


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Communication problems can lead to a major crisis for companies small and large. Upon analysing the situation it often becomes clear that a misunderstanding between sender and receiver has occured: the message sent by the sender with his views of the world has been received in a different way than intended by the receiver who brings along a different perception of the world as well as possibly a different set of values.
That may sound banal but actually according to current communication theory only 10% of our communication happens consciously whilst 90% happens subconsciously. It is therefore not surprising that true treasures can be discovered upon looking at working relationships within a company. Trying to do so on your own can be difficult though especially if you are part of the system and emotionally involved.
I can help you answer key questions which can help you develop your own leadership and conflict solving strategies:
Do you feel comfortable delegating or are you the do-it-yourself-type?
Are you a risk-taker or do you prefer being on the safe side?
Is harmony important to you or do you enjoy a good fight here and there?
As a business mediator with lots of experience in the fields of communication, NLP and psychology I look forward to going on a treasure hunt with you. Be it to assist in preparing for challenging situations, to avoid breakdowns in communication or to help undo conflicts which have gotten out of hand.


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Jo Parfitt, expat entrepreneur
December 29, 2008
I never tire of being interviewed by journalists. Of course, being in the media is a great way to get publicity for my books and so, publication permitting, I usually agree to an interview. With my global network, most requests come in by email and interviews take place by phone, email or Skype, but, back in May, to coincide with the launch of the third edition of Career in Your Suitcase, Amanda van Mulligen of The Writing Well came to my home for ours.
Being able to see your interviewee face to face has many bonuses. It can allow you to get more of the personality of your subject, not only from their body language but also from the place in which they live.
Amanda has worked hard to find an outlet for her super article, and today I received the link to her piece on the home page of Women Unlimited. Take a look for yourself. She did an amazing job.
The article is here.
Just the site for expat entrepreneurs
October 17, 2008
I was delighted to hear from Karen Armstrong this week because she is a woman after my own heart. Passionate about expat women and their careers she is busy building a forum and portal to help people like us to connect and grow and learn together.
Karen says:
If you're a woman living abroad who has her own business – or want to be one – and would like to be part of an online community of women who share your entrepreneurial spirit, please contact email@example.com
Through Expat Women Entrepreneurs, you'll be able to connect with women like you who share your desire for self-actualization through entrepreneurship — combining passion, purpose and profit. You'll also be able to learn from highly successful women entrepreneurs who'll share their expertise and insight on what it takes to create a thriving business.
Expat Women Entrepreneurs will inspire, educate and empower you so you THRIVE in your BUSINESS and your LIFE!
More than 100 great workshops in the Hague
September 3, 2008
In need of an inspiration injection? Then check out the American School Fall brochure. Workshops range from learning to massage, do Reiki or become more spiritual, to golf, bellydance, language, cookery, arts and crafts and even day trips of Dutch cities.
Download the brochure, here. You'll find it just below the PTA Services headline. Oh, and by the way, deadline for registrations is 10th September – so hurry.
YOu will also find details of my workshops there too:
Break into Writing 23rd SEpt
Write from Life 30th Sept
Release the book within 7th Oct
Definite Articles 28th Oct
Career in Your Suitcase 6th Nov
How to get your book published 13 Nov
How to make the perfect pitch 20th Nov
Growing Global Networks 27th Nov
Powertools for Publicity 4th Dec
Lose your fear of networking
June 19, 2008
Ljiljana came to my party last week and has agree to let me post her comment here. I think it has some useful lessons for those of us who fear networking ..
I was about to give up. I was thinking about writing an email saying that I was sorry but I couldn't make it and then invent some reason. But I had already arranged everything: my mother-in-law had come to look after her grandson and my husband came home on time from his work and then the mother of our son's friend came on time to fetch her child… so that I had no excuses left and could be on time for Jo's Celebration in the centre of The Hague after all. I'm not very new in the city but it was my first expatriate party! And if I do not count family members' birthdays it was my first party in the Netherlands ever. Before this party, I met Jo few times at Connecting Women. My first workshop at Connecting Woman was actually Jo's lecture about networking, in February this year. What shall I say? I could hardly wait for the next meeting. At the third I decided to become a member and at the fourth I became the proud owner of Jo Parfitt's book Career in your Suitcase (third edition!).
Still I was a bit nervous about going to the launch of her two lates books. Maybe it was just an accident, but at about that time I was on the page 112 of Career in your Suitcase and there is a part about Fear of Networking. It is strange to have that fear after many years in journalism, but new country, new language, losing a job… changes everything. I was also very curious. The fact that she is a journalist herself helped me be brave enough to go along. And than I said to myself: You are going to that party and everything will be alright and it will be special because it's about Jo. And it was. I was at a place with a lot of other people who came from somewhere, who are trying to find a home far away from home and who know that nothing is going to be the some once they are back home. It's SO good to know that your are not alone. And there is a comfort: it is not bad at all as long as people like Jo Parfitt are around. I've read somewhere that "the good book to read is not the one which thinks for you, but the one which makes you think". Mind you, her books and speeches made me move!
Ljiljana Lelieveld Gogic
40 minute interview with Jo Parfitt
June 9, 2008
Jeff Porter of Trailing Spouse and Ausmerica interviewed me last week and we recorded our 40 minute chat about Career in Your Suitcase. Listen here to find out more. Jeff is passionate about helping expatriate professional accompanying partners, a bit like me, and so you can imagine we had tons to talk about.


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It's been 2 months since my trip to Europe, but I wanted to review one of my most memorable hotel experiences. I booked the Gorki Apartments in Berlin last minute (as in same day last minute) as I was having trouble with my AirBnB while… [read more]
8 Unique Things To Do in Berlin
I recently spent 5 days in Berlin and wanted to share some of the best hidden gems in the city! There is definitely no shortage of unique things to do in Berlin as the city is super edgy and cool. Hopefully you will add some… [read more]


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The Prime Minister David Cameron has insisted that 550 jobs will not be cut from the Environment Agency as the UK continues to face severe storms and floods.
The most recent announcement comes after the Conservative Party Leader refused to rule out the job losses.
But he told BBC News Breakfast that "those have never been announced plans and those aren't plans that are going to be put in place".
Cameron also insisted that whatever the agency needed to cope with the devastating storms the government would provide it.
The news comes as the UK continues to face floods due to adverse weather conditions.
The Environment Agency warned communities in southern, south west and central England remain at risk of flooding, with further heavy rain expected to affect the country.
Continued heavy rainfall means that flooding will remain for several days and although water levels may fall, they are expected to rise again on the Thames and Severn, affecting places already experiencing flooding.
The Environment Agency also said there is a continued high flood risk on the Somerset Levels and Moors where a major operation to pump away floodwater is taking place, and a high risk of coastal flooding for Dorset.
"We are continuing to see the very real and devastating impacts that flooding can have on communities and business. We know the distress that flooding can cause and are doing everything we can to reduce the impacts," said Paul Leinster, chief executive of the Environment Agency.
He added: "Some communities will see a brief respite, but unfortunately the risk of flooding will continue.
"We ask people to remain vigilant and take action were necessary.
"We expect to see river levels rising again with more rain forecast for Friday 14 February and Saturday 15 February.
"Environment Agency teams are working round the clock to help protect homes, businesses and communities. By clearing blockages from rivers, and deploying temporary defences we have helped to protect homes which may otherwise have seen flooding."


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One of the most popular questions I get at the conclusion of each Training Series is how a new Member should attack the Market. Some want to start off with multiple strategies in their toolbox. Others like to have one or two to focus on and master before moving forward.
So, what do I suggest is the best way to approach this? Well, as always I am not here to give specific investment advice, and I always encourage Traders to do their own due diligence. With that said, while I certainly believe that everyone is different, I have always been a proponent of mastering one strategy at a time. I guess the old adage "Jack of all trades, master of none" comes to mind here. Knowing a little bit about everything is certainly the best way to begin your trading career. However, once that foundation is laid, I believe it is time to build and the most effective way of doing this is one piece at a time.
The Training is designed to help us focus on all aspects of the Options World, and give a proper foundation for success moving forward. Once we have a foundation, it is much like building a house. What do you think would be the best way to construct a house: One wall at a time or work on all the walls and roof at the same time? Well, I am not contractor, but I think that mastering one thing at a time is probably the best and most efficient route. The same applies here.
For the beginning trader, mastering Calls and Puts is certainly the first step. Once we have those in our toolbox, Credit and Debit Spreads are the logical next step, then Calendars and Straddle/ Strangles, and then the advanced strategies. They typically build on one another anyways, so mastering the basic trades will make your efforts much easier when you are ready to tackle the advanced ones.
Now that we have that clear, the next question is which one is the "best strategy" to use? Well, that depends. I know, easy answer right? Well, when you think of all the different market conditions, all of the different types of Traders, etc. it is actually the only true answer. Rules based trading simply does not work. A one strategy approach to trading will never last over time. We have to think on our toes, be willing to mold with the market, change our approach when necessary, and only then will we realize true success. And this is all I want for ALL ETNtraders. No matter what your definition is, I wish you nothing but pure SUCCESS!
Happy Trading,


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Broker Forex
Andrey & Julia Dashin's Foundation is happy to announce its collaboration with the Cyprus Red Cross Society Youth Section for the second year held under the auspices of the Cyprus Red Cross Society President, Mrs.
FXTM has added a new prestigious trophy to its 2017 mantelpiece when it was named 'Forex Broker of the Year' at the Global Investor MENA Awards 2017. This award highlights our global reputation for integrity, transparency, and dedicated customer service.
On the 11th of November, Andrey & Julia Dashin's Foundation, with the support of the First Lady of Cyprus, Mrs. Andri Anastasiadi, sponsored a trip to Galactica Entertainment Park for children living in shelters across the island.
October is known globally as Breast Cancer Awareness Month and this year, Andrey & Julia Dashin's Foundation collaborated with Europa Donna Cyprus in efforts to support patients dealing with breast cancer and their families.
This is the way we celebrated the birthday of my youngest daughter, Anfisa. She turned 6 on the 1st of November. It was a lot of fun for everyone.
A gala reception was held on 27 October, 2017, in Ebene – the business capital of Mauritius. It marked the 4th anniversary of Alpari's presence in the region. The gala was attended by the Prime Minister of Mauritius, the Honorary Pravind Kumar Jugnauth, and other top government officials.
On 24 October, the Financial and Capital Market Commission of Latvia granted an investment broker's licence to Alpari Europe IBS AS, which is part of the Alpari international financial brand. This approval was granted after careful consideration of the application, which was submitted by the company at the end of 2016.
On a mid-October weekend, ForexTime management brought their families together and we all went out for a fishing trip. Some time ago, the company developed a tradition of sorts; we organized a fishing contest with our families to see who catches the most fish.
On the 15nth of October, I attended the Cyprus-Russia Charity Gala at the Presidential Palace in Nicosia together with my wife Julia.


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In late 2015 Ali Stroker became the first Broadway actor to play a wheelchair user who actually uses a chair in real life. In 1947 Jackie Robinson became the first African-American to play major league baseball when he signed with the old Brooklyn Dodgers. After that historic season, baseball began integrating. Will Stroker's breakthrough in the musical, Spring Awakening, do for wheelchair users in show business what Robinson did for African-Americans in baseball?
"I hope so," she says. "I hope people with disabilities get opportunities on stage, on film and on screens. I hope that this is the beginning. We're still putting nondisabled actors in wheelchairs, and we're still having them play blind or play deaf characters," she adds. "It's a shame because when you live with a disability, you have all this information and this experience that will only heighten and make the role more authentic."
By that standard, Spring Awakening could not have been more authentic. In addition to Stroker's disability, about half the rest of the cast in the Deaf West Theater production was non-hearing. Stroker had to learn American Sign Language for her role. When she sang, she also signed the lyrics with her hands. Try doing that in a manual wheelchair. "Signing and singing is one of the hardest things in the world," she says. "But it's so expressive and so theatrical."
No one should confuse Spring Awakening with happy musicals like Mary Poppins and The Sound of Music. This one is about teenagers figuring out their sexuality and boundaries. It is raw and dark. If it were a movie, they would give it an R, or maybe even an X rating.
Thanks to the ADA, Broadway's theaters now all have spaces for wheelchair-using customers and their companions. Backstage it's a different story. None are wheelchair friendly. Before Spring Awakening opened at the Brooks Atkinson, its producers added a stage door ramp and an accessible dressing room for Stroker. She didn't have to ask. They just did it. Those improvements remain in the theater. "It's exciting to think," she says, "that now there is an accessible dressing room backstage on Broadway."
Her role wasn't written for a wheelchair-using actor. In fact, her understudy was a walkie. Stroker didn't want her to fake using a chair. "I don't think she could have learned to do what I did with speed and precision," she says.
There is nothing unplanned in a Broadway musical. The director and choreographer got this one running like a Swiss watch, a Swiss watch on steroids. They had the 28-year-old Stroker starting, stopping, turning, singing and signing. "The whole show was like a machine," she recalls. "All the pieces had to work together." She fit in so seamlessly that The New York Times reviewer almost overlooked her. "Incidentally," he wrote, "the cast also includes an actor in a wheelchair — a detail I so easily assimilated that I almost forgot to mention it."
Only a very athletic para could have handled the part the way Stroker, a C7-T2 incomplete, did. To stop her from rolling off of the stage as she raced around, they put a little lip across its front. The floor of the stage in the 1926 theater had its own problems. "It's warped wood, which created little hills," Stroker says. "I could feel them as I rolled over them. It was really funny when I realized that when I stopped to sign something, I was rolling away."
Performing in a Broadway show can be a grind. The curtain goes up six nights a week, plus matinees on Wednesdays and Saturdays. "It is exhausting," admits Stroker, "and definitely intense, but I found that if I got plenty of sleep, I can do anything. Sleep for me is the key. I made it a priority."
Finding Her Passion
She began using a chair after being injured in an automobile accident. She was just 2 years old. "A life-altering experience when you're young doesn't feel life-altering," she points out. She grew up with an older brother and a younger sister in Ridgewood, N.J., a pleasant New York City suburb. Her father is a teacher and coach there. He told her every day that she was a superstar. He encouraged her to compete. "I used to wheelchair race as a kid," she recalls, "and I have this national record for my age, my injury, and a specific race. Yeah, I did really well. My dad always reminds me about it. It was fun, but I wasn't motivated or driven to win."
She was just 7 when she found her true calling, playing the title role in a backyard production of the musical, Annie. "We sang along with the tape, and we painted the sheet that was the backdrop," she recalls. "It was really cute. It made me feel alive. That's when I got the acting bug. After that summer my life opened up. I looked for opportunities to perform. I just wanted to be on the stage, to tell stories and play characters." She started dreaming of being on Broadway.
Next she was Dorothy in a grade school production of The Wiz. Its musical director, Susan McBrayer, and her assistant, Catherine McCourt, still talk about Stroker's audition: "She sang 'Over the Rainbow,'" remembers McBrayer. "She was this tiny fourth grader with perfect pitch, rhythm and feeling. Our jaws dropped. I'm a voice teacher. I thought, 'how does she do this?' We looked at each other. Oh my God — she's incredible. No way you can't cast that child — she's so gifted!" McBrayer started working with her. "I couldn't let go of her! Such drive in her!"
That show changed the way people in her hometown viewed Stroker. "I was suddenly seen in this other light," she says — "like, 'Oh, she's a talented little girl.' It wasn't just about, 'Oh, this is a little girl who's gone through a trauma. For me it was like, I've found my purpose! I have something to live for and something I love and am so passionate about and that makes me so happy."
She wasn't just talented. She was also popular enough to be elected class president in her senior year of high school. In the school's production of Les Miserables she starred as Cosette, and then as Maria, the Puerto Rican heroine of West Side Story. "I know," she laughs, "a blond, blue-eyed Maria."
She went to college at New York University's prestigious Tisch School of the Arts, becoming its first wheelchair-using student. "Everyone was a little nervous at first about how I was going to do the dance program. I became really good at translating movement for myself," she says. "I learned that I had to be my own advocate, and that I had to really get good at having conversations with people that would ease their nerves about what would happen." She played Berthe in the school's production of Pippin and the grandmother in Into the Woods. Both shows are musicals. By graduation everybody knew her. She was a Tisch spokesperson and shared a dais with Hillary Clinton.
After graduation, her career stalled before it began. "I remember it being very hard when I graduated from college, not even getting very many auditions," she recalls. "I was like, gosh, they won't even see me? They won't even let me in the room!"
But she landed the part of Olive Ostrovsky in The 25th Annual Putnam County Spelling Bee at the Paper Mill Playhouse, a highly regarded regional theater in New Jersey. Like all her earlier musical roles, it wasn't written for an actor with a disability.
The show was directed by Marc Bruni. He had known Stroker since she was 13 and took classes at the Paper Mill's Summer Musical Theatre Conservatory. Patrick Parker, its associate artistic director, was one of her teachers and mentors. "She's totally fearless," he says. "She doesn't see herself as someone with a disability. She happens to be someone who can sing and dance who is in a wheelchair."
She broke into television on the reality series, The Glee Project. It was a talent contest. The winner got a part on Glee. Ali ended up in second place. The show's creator, Ryan Murphy, said that it was "impossible to root against her." She later did appear in the series, playing the mean-girl love interest of Artie Abrams, a wheelchair-using character who was played by nondisabled actor Kevin McHale.
Earning Respect
Once you have been on television, fans aren't inhibited about approaching you. Stroker recalls one who suddenly realized that she actually needs to use a wheelchair to get around. "Wait, that's permanent?" he asked, shocked. Or others who told her, "You're too pretty to be in a wheelchair" or "You're the hottest girl I've ever seen in a wheelchair."
"If somebody thinks I'm too pretty to be in a wheelchair, well, maybe that changes their mind about what is possible," she says. "There's no reason why somebody can't be beautiful and in a wheelchair, and why wheelchairs can't be beautiful and cool! I don't have to walk. I get to roll around. That's cool! That's different. Why not?"
At her first Spring Awakening audition, they just asked her to sing. They called her back again to see if she could dance. "I just went in and adapted it the way that I do," she says. "I've gotten good at translating movement that somebody who's standing does — to someone who's sitting. When I'm in a dance call I usually do my own thing, and then if there's a moment, I'll say to the choreographer, 'If you have any ideas, please let me know, but I'm going to translate it the way I do,' and I actually enjoy that more because I understand my vocabulary better than somebody who's not in a chair, because this is how I roll — literally."
She wowed them. "Ali dove into the audition with such rigor," recalls director Michael Arden. He had seen her work on TV and at the Paper Mill Playhouse. "I remember one moment when everyone had to jump up in the air, and Ali popped a wheelie. I was just so moved by her fearlessness. It was a natural choice for her to be in this show. I can't imagine it without her."
She has also earned respect and standing ovations from her fellow actors. "She is so delicious," says Camryn Manheim, one of the show's stars. "She picks up chairs and brings them off stage. When I saw that, I was like, 'You're my hero.' It is incredibly inspiring."
When she has the time, Stroker is a teaching artist with Arts InsideOut. She has traveled to South Africa for them twice, working with children and mothers affected by HIV/AIDS. That's where she learned that she had achieved her childhood ambition: Spring Awakening was Broadway bound! "I saw the email and my jaw dropped, and my whole body went hot, and then I didn't say anything. When we broke from the class, I went and found my friend, and we hugged and cried, and I was like, 'I'm going to be on Broadway!' It was so cool."
McBrayer, who was Stroker's voice coach in New Jersey, remembers that her daughter, Amy, told her the news. "She called me screaming, 'Ali's going to Broadway! Ali's going to Broadway!'"
Spring Awakening closed in January after 859 performances. Stroker isn't sure what she'll do next. "I do miss performing every single night, and the people I got to meet and the people I got to perform with," she says. "They'll forever be like family to me because of what we have done together."


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Some of my distraction from creativity lately has been a pain in my foot. Apparently either my feet have expanded a whole lot or all my shoes shrunk. None of my shoes fit anymore, and I'm sadly giving them away to a lucky sister.
Although I'd heard of Birkenstock before, now they are the only shoes I seem to be able to wear. I'm trying to treat my toes more kindly, because they have to last me a lot more years. Getting back into my yoga routine (daily now) helps also. Now I know why my yoga teacher was always encouraging us to stretch and have "happy toes!"