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thecoleopterawithana · 5 years

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When you were young and your heart was an open book

Don’t Let Me Down | Paul’s Upbringing

John, because of his upbringing and his unstable family life, had to be hard, witty, always ready for the cover-up, ready for the riposte, ready with the sharp little witticism. Whereas with my rather comfortable upbringing, a lot of family, lot of people, very northern, ‘Cup of tea, love?’, my surface grew to be easy-going. Put people at their ease. Chat to people, be nice, it’s nice to be nice.

— Paul McCartney, in Barry Miles’ Many Years From Now (1997).

Paul grew up in the warm embrace of a loving family. There was hardship, certainly: they were definitely working-class, and the war had been unkind to the cotton exchange business, so it fell on mother Mary to be the main bread-winner of the family, as a domiciliary housewife. Her nursing job also made it so they were always on the move, from one new outskirt council estate to the next, “always on the edge of the world” that was the rebuilding of a war-torn Liverpool. But despite this surrounding instability, the core of the family itself was a safe harbour of reliably loving parents.

I got my compassion for people from my mother. She was a midwife. I think that would probably be the most important quality. Again, respect and caring for others.

— Paul McCartney, interview w/ Jonathan Wingate for Record Collector: Paul McCartney gets back to work (July 2007).

[My mum] was very kind, very loving. There was a lot of sitting on laps and cuddling. She was very cuddly. I think I was very close to her. My brother thinks he was a little closer, being littler. I would just be trying to be a bit more butch, being the older one. She liked to joke and had a good sense of humour and she was very warm. There was more warmth than I now realise there was in most families. [...] They aspired to a better life. That idea that we had to get out of here, we had to do better than this. This was okay for everyone else in the street but we could do better than this. She was always moving to what she saw as a better place to bring her kids up.

— Paul McCartney, in Barry Miles’ Many Years From Now (1997).

Not only had this notion of rising out of their current situation been instilled in Paul and his brother Michael from an early age by his mother – by encouraging them to speak “the Queen’s English” and insist on their education, for example – his father, Jim McCartney, also did his best to pass down his values of “Toleration and Moderation”, a good education and a special emphasis on an honest and responsible work ethic.

I think I got my respect and tolerance for people from my dad, which is a pretty cool quality to inherit. He was very big on tolerance, my dad. It was a word he used to use all the time. I think I grew up with that attitude. You know, you’d say, ‘Bloody hell, I hate that guy.’ and then you’d stop and go, ‘Alright, wait a minute, maybe he’s got a point,’ and you’d try and consider it from his or her point of view. I think that was a great lesson.

— Paul McCartney, interview w/ Jonathan Wingate for Record Collector: Paul McCartney gets back to work (July 2007).

He had us out aged about nine. I was virtually a door-to-door salesman by the time I was twelve. [...] I was certainly not shy with people, I think because of all these activities my dad encouraged us into. I think it's probably very good for your confidence with people. It was all right. That was my upbringing.

[...]

My parents aspired for us, very much indeed. That is one of the great things you can find in ordinary people. My mum wanted me to be a doctor. 'My son the doctor' - and her being a nurse, too. No problem there. And my dad, who left school at fourteen, would have loved me to be a great scientist, a great university graduate. I always feel grateful for that. I mean, God, I certainly fulfilled their aspirations, talk about overachieving! That was all bred into me, that.

We had George Newnes Encyclopedias. I can still remember the smell of them. If you didn't know what a word meant or how it was spelled, my dad would say 'Look it up.' I think that's a great attitude to take with kids. It steers you in the right direction. It was part of a game where he was improving us without having had an awful lot of experience of improvement himself. But I always liked that, and I knew I would outstrip him. By going to grammar school I knew I'd fairly soon have Latin phrases or know about Shakespeare which he wouldn't know about.

— Paul McCartney, in Barry Miles’ Many Years From Now (1997).

Just from these passages alone, we can spot the origins of Paul’s tolerant and caring nature, social skills, self-reliance, and tireless drive for self-improvement (with its nuances of social climbing and fierce competitiveness).

All in all, it was a good solid childhood: exploring the woods outside of his house – “Mother Nature’s Son” through and through – playing and running from Speke teds with his friend George Harrison, going to school and working the occasional odd job, helping his family and making them proud.

And then, Paul McCartney’s secure existence was shattered.

My head was in a whirl, only then I realized, I lost my little girl

On the 31st of October 1956, Mary McCartney abruptly dies from complications following her mastectomy. She’d been admitted at a far too advanced state of breast cancer after she’d kept working – while in pain – for several weeks, choosing not to divulge this symptom or the fact that she had a lump in her breast to her colleagues.

The whole family is caught unawares, but the boys especially are mostly kept in the dark.

I remember one horrible day me and my brother going to the hospital. They must have known she was dying. It turned out to be our last visit and it was terrible because there was blood on the sheets somewhere and seeing that, and your mother, it was like "Holy cow!' And of course she was very brave, and would cry after we'd gone, though I think she cried on that visit. But we didn't really know what was happening. We were shielded from it all by our aunties and by our dad and everything.

— Paul McCartney, in Barry Miles’ Many Years From Now (1997).

The boys are sent away to stay with relatives, noticing that something was wrong but unaware of what was going on, unable to actually say goodbye.

Two days later, it’s too late.

Paul is 14.

As Jim comes to break the news, and his brother Michael breaks down in tears, Paul has an unexpected response.

Mum was a working nurse. There wasn’t a lot of money around – and she was half the family pay packet. My reaction was: ‘How are we going to get by without her money?’ When I think back on it, I think, ‘Oh God, what? Did I really say that?’ It was a terrible logical thought which was preceded by the normal feelings of grief. It was very tough to take.

— Paul McCartney, in Ray Coleman’s McCartney: Yesterday & Today (1996).

It would not be the last time that Paul McCartney’s initial shock response to grief is considered “flippant” or “callous” by the people around him; a fact that has haunted him throughout his life.

I’m very funny when people die. I don’t handle it at all well, because I’m so brought down that I try to bring myself up. So I don’t show grief very well. It actually leads some people to think I don’t care, and I do. I’m not good at it like some people. [...] But I’ve always been kind of inward about those things. So I just deal with it myself.

— Paul McCartney, in Ray Coleman’s McCartney: Yesterday & Today (1996).

By virtue of nature or nurture, Paul exhibits from early on an extreme difficulty or unwillingness to deal with his less pleasant emotions.

His response to the alarm that is pain is to deny that it is ringing altogether.

And this manifested not only in inadequate optimism for some situations, it most often took the shape of what appeared to be too hard and cold pragmatism. Some people, unfortunately, saw his defence-mechanism of turning completely rational in the face of crisis and mistook it for him not caring; when, in fact, he cared so much that his only solution was to try and shut it off.

He carried with him a great burden of guilt and regret; not concerning his reaction to his mother’s death but also due to other misdemeanours and minor hurts he’d caused her when she was alive.

There's one moment that I've regretted all my life which is a strange little awkwardness for me. There was one time when she said 'ask' and she pronounced it posh. And I made fun of her and it slightly embarrassed her. Years later I've never forgiven myself. It's a terrible little thing. I wish I could go back and say, ‘I was only kidding, Mum.' I’m sure she knew. I'm sure she didn't take it too seriously.

— Paul McCartney, in Barry Miles’ Many Years From Now (1997).

In retrospect, he even theorized that the lyrics to his acclaimed ‘Yesterday’ were related to his mother’s sudden departure.

With ‘Yesterday’, singing it now, I think without realising it I was singing about my mum who died five or six years previously, or whatever the timing was. Because I think now, “Why she had to go, I don’t know, she wouldn’t say, I said something wrong…”

— Paul McCartney, interview w/ Pat Gilbert for MOJO: Don’t look back in anger (November 2013).

So in the aftermath of life completely pulling the rug from under his feet, Paul was not only struggling to deal with his own emotions, trying to bury them far from sight as best as he could, he was being consumed by terrible guilt for doing exactly that.

More than that, he was under the care of his uncle and aunt for several more days, trying to rally his brother so that they wouldn’t appear ‘softies’ in their cousins' eyes, while friends and family tried to hold together a shattered Jim McCartney, “whose first thought was to join his wife”.

Seeing his father break down like that had a huge impact on Paul.

My mother's death broke my dad up. That was the worst thing for me, hearing my dad cry. I'd never heard him cry before. It was a terrible blow to the family. You grow up real quick, because you never expect to hear your parents crying. You expect to see women crying, or kids in the playground, or even yourself crying – and you can explain all that. But when it's your dad, then you know something's really wrong and it shakes your faith in everything. But I was determined not to let it affect me. I carried on. I learnt to put a shell around me at that age.

— Paul McCartney, in The Anthology (1995).

This is very important.

Not only had the only reality he’d ever known been destroyed by his mother’s sudden death, his own father – who was supposed to be this strong, unshakable pillar in his life – couldn’t be relied on to hold it together.

Paul had been let down. He was on his own.

Fear steems from a feeling of powerlessness. You feel painfully vulnerable to whatever life might throw at you, at constant risk of being hurt again, and the only solution is to be on the lookout. Be prepared.

Paul was caught unawares because the people he’d counted on to always be there suddenly weren’t. And with his compassionate and reasonable nature, he probably didn't even blame them at all. But the facts were that Paul had been left hanging, not once but twice, when he needed them the most. So he kind of lost his faith in everything.

Life is chaotic and unpredictable; and people, through no fault of their own, are just as inconstant.

And so, in order not to risk being let down again, Paul took matters into his own hands. He tried to escape the pain and dread of being powerless by seizing control of whatever he could. And that was mostly himself.

And so begins Paul McCartney’s saga of isolating independence and other control-issues.

As Paul said above, he’s “always been kind of inward” about grief and other “negative” emotions. He’d rather be alone at this stage because he doesn’t want to expose his vulnerabilities. Not to others and much less to himself. So he needs a distraction. Something to devote himself to that’ll take his mind off the pain.

The saving grace, as usual, was music.

— Paul McCartney, The Q Interview (2007).

His brother Michael, probably the closest observer we could have of this period, recounts how Paul was like in the aftermath.

Paul was far more affected by Mum’s death than any of us imagined. His very character seemed to change and for a while he behaved like a hermit. He wasn’t very nice to live with at this period, I remember. He became completely wrapped up in himself and didn’t seem to care about anything or anybody outside himself.

He seemed interested only in his guitar, and his music. He would play that guitar in his bedroom, in the lavatory, even when he was taking a bath. It was never out of his hands except when he was at school or when he had to do his homework. Even in school, he and George Harrison used to seize the opportunity every break to sit and strum.

When we left our auntie’s house and returned home, it was agreed that Dad, Paul and I would take it in turns to do the housework.

“We’re a family on our own now,” Dad said. “We’ll all have to help.”

But time after time when I came home from school, I would find that Paul hadn’t done his bit. I would go looking for him and sometimes I would find him, up in his bedroom, perhaps, sitting in the dark, just strumming away on his guitar. Nothing, it seemed, mattered to him any more. He seldom went out anywhere – even with girls. He didn’t bother much with any of his friends except his schoolmate George Harrison and John Lennon, who was at the art school next door. Work and work alone – his school books and his guitar – appeared to be the only thing that could help him to forget.

— Mike McCartney, Woman: Portrait of Paul (21 August 1965).

So Paul takes to complete dedication to work and music to help him ignore his pain. And he’d rather go through this process of burying it on his own. We see him isolate himself from his family and friends, according to Mike socializing mostly with George, also in the context of playing music. John is also mentioned; this could be a smudging of the timeline in Mike’s recollections, as Paul would only meet John the following year. That or Paul’s mourning lasted until the autumn of 1957, when John was enrolled in art college.

We also have a clue about how guarded Paul was with his “negative” emotions – how resilient he always wanted to be – that no one imagined he would be so affected by his mother’s death as he was.

This will also be a repeating theme through Paul’s life: his wish to always be strong, positive and reliable will make others and himself overestimate his imperviousness to trauma. People will then feel free to burden him with their own pain or unload their frustrations on him, without feeling that there would be consequences; because Paul is so tough as to be unaffected by all that. This proved, time and again, not to be true.

His true strength arises, in my opinion, not in the fact that he is unshakable but in his determination to quietly pick himself up again and again.

Losing my mum when I was fourteen was a major tragic event in my life. But, when I think about myself, I am, overall, pretty optimistic, pretty enthusiastic, pretty much into getting on. One of the reasons being, she would want that. I know for certain she would want that. I know Linda would want that. I know John would want that, and George would want that. My dad would want that. They were very, very positive people. And the idea that their deaths would plunge me into some sort of morose depression would bother them. I know that for a fact. So that helps me to not go there.

— Paul McCartney, interviewed by John Colapinto for the New Yorker: When I’m sixty-four (4 June 2007).

But as a 14-year-old Northern lad, his tactic of picking himself up didn’t involve dressing the wounds, which would continue to bleed silently in the recesses of his mind.

I certainly didn’t grieve enough for my mother. There was no such thing as a psychiatrist when I lost her. You kidding? I was a 14-year-old Liverpool boy. I wouldn’t have had access to one and I do now.

— Paul McCartney, interviewed by Nigel Farndale for The Telegraph: Love me do (17 May 2002).

But soon, Paul would find an even greater outlet for his love of music, almost magical in its specialness:

Someone to perform with.

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chrisbitten123 · 4 years

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Electronic Music History and Today's Best Modern Proponents!

lectronic music history pre-dates the rock and roll era by decades. Most of us were not even on this planet when it began its often obscure, under-appreciated and misunderstood development. Today, this 'other worldly' body of sound which began close to a century ago, may no longer appear strange and unique as new generations have accepted much of it as mainstream, but it's had a bumpy road and, in finding mass audience acceptance, a slow one.

Many musicians - the modern proponents of electronic music - developed a passion for analogue synthesizers in the late 1970's and early 1980's with signature songs like Gary Numan's breakthrough, 'Are Friends Electric?'. It was in this era that these devices became smaller, more accessible, more user friendly and more affordable for many of us. In this article I will attempt to trace this history in easily digestible chapters and offer examples of today's best modern proponents.

To my mind, this was the beginning of a new epoch. To create electronic music, it was no longer necessary to have access to a roomful of technology in a studio or live. Hitherto, this was solely the domain of artists the likes of Kraftwerk, whose arsenal of electronic instruments and custom built gadgetry the rest of us could only have dreamed of, even if we could understand the logistics of their functioning. Having said this, at the time I was growing up in the 60's & 70's, I nevertheless had little knowledge of the complexity of work that had set a standard in previous decades to arrive at this point.

The history of electronic music owes much to Karlheinz Stockhausen (1928-2007). Stockhausen was a German Avante Garde composer and a pioneering figurehead in electronic music from the 1950's onwards, influencing a movement that would eventually have a powerful impact upon names such as Kraftwerk, Tangerine Dream, Brain Eno, Cabaret Voltaire, Depeche Mode, not to mention the experimental work of the Beatles' and others in the 1960's. His face is seen on the cover of "Sgt. Pepper's Lonely Hearts Club Band", the Beatles' 1967 master Opus. Let's start, however, by traveling a little further back in time.

The Turn of the 20th Century

Time stood still for this stargazer when I originally discovered that the first documented, exclusively electronic, concerts were not in the 1970's or 1980's but in the 1920's!

The first purely electronic instrument, the Theremin, which is played without touch, was invented by Russian scientist and cellist, Lev Termen (1896-1993), circa 1919.

In 1924, the Theremin made its concert debut with the Leningrad Philharmonic. Interest generated by the theremin drew audiences to concerts staged across Europe and Britain. In 1930, the prestigious Carnegie Hall in New York, experienced a performance of classical music using nothing but a series of ten theremins. Watching a number of skilled musicians playing this eerie sounding instrument by waving their hands around its antennae must have been so exhilarating, surreal and alien for a pre-tech audience!

For those interested, check out the recordings of Theremin virtuoso Clara Rockmore (1911-1998). Lithuanian born Rockmore (Reisenberg) worked with its inventor in New York to perfect the instrument during its early years and became its most acclaimed, brilliant and recognized performer and representative throughout her life.

In retrospect Clara, was the first celebrated 'star' of genuine electronic music. You are unlikely to find more eerie, yet beautiful performances of classical music on the Theremin. She's definitely a favorite of mine!

Electronic Music in Sci-Fi, Cinema and Television

Unfortunately, and due mainly to difficulty in skill mastering, the Theremin's future as a musical instrument was short lived. Eventually, it found a niche in 1950's Sci-Fi films. The 1951 cinema classic "The Day the Earth Stood Still", with a soundtrack by influential American film music composer Bernard Hermann (known for Alfred Hitchcock's "Psycho", etc.), is rich with an 'extraterrestrial' score using two Theremins and other electronic devices melded with acoustic instrumentation.

Using the vacuum-tube oscillator technology of the Theremin, French cellist and radio telegraphist, Maurice Martenot (1898-1980), began developing the Ondes Martenot (in French, known as the Martenot Wave) in 1928.

Employing a standard and familiar keyboard which could be more easily mastered by a musician, Martenot's instrument succeeded where the Theremin failed in being user-friendly. In fact, it became the first successful electronic instrument to be used by composers and orchestras of its period until the present day. http://www.chrisbitten.com/

It is featured on the theme to the original 1960's TV series "Star Trek", and can be heard on contemporary recordings by the likes of Radiohead and Brian Ferry.

The expressive multi-timbral Ondes Martenot, although monophonic, is the closest instrument of its generation I have heard which approaches the sound of modern synthesis.

"Forbidden Planet", released in 1956, was the first major commercial studio film to feature an exclusively electronic soundtrack... aside from introducing Robbie the Robot and the stunning Anne Francis! The ground-breaking score was produced by husband and wife team Louis and Bebe Barron who, in the late 1940's, established the first privately owned recording studio in the USA recording electronic experimental artists such as the iconic John Cage (whose own Avante Garde work challenged the definition of music itself!).

The Barrons are generally credited for having widening the application of electronic music in cinema. A soldering iron in one hand, Louis built circuitry which he manipulated to create a plethora of bizarre, 'unearthly' effects and motifs for the movie. Once performed, these sounds could not be replicated as the circuit would purposely overload, smoke and burn out to produce the desired sound result.

Consequently, they were all recorded to tape and Bebe sifted through hours of reels edited what was deemed usable, then re-manipulated these with delay and reverberation and creatively dubbed the end product using multiple tape decks.

In addition to this laborious work method, I feel compelled to include that which is, arguably, the most enduring and influential electronic Television signature ever: the theme to the long running 1963 British Sci-Fi adventure series, "Dr. Who". It was the first time a Television series featured a solely electronic theme. The theme to "Dr. Who" was created at the legendary BBC Radiophonic Workshop using tape loops and test oscillators to run through effects, record these to tape, then were re-manipulated and edited by another Electro pioneer, Delia Derbyshire, interpreting the composition of Ron Grainer.

As you can see, electronic music's prevalent usage in vintage Sci-Fi was the principle source of the general public's perception of this music as being 'other worldly' and 'alien-bizarre sounding'. This remained the case till at least 1968 with the release of the hit album "Switched-On Bach" performed entirely on a Moog modular synthesizer by Walter Carlos (who, with a few surgical nips and tucks, subsequently became Wendy Carlos).

The 1970's expanded electronic music's profile with the break through of bands like Kraftwerk and Tangerine Dream, and especially the 1980's when it found more mainstream acceptance.

The Mid 1900's: Musique Concrete

In its development through the 1900's, electronic music was not solely confined to electronic circuitry being manipulated to produce sound. Back in the 1940's, a relatively new German invention - the reel-to-reel tape recorder developed in the 1930's - became the subject of interest to a number of Avante Garde European composers, most notably the French radio broadcaster and composer Pierre Schaeffer (1910-1995) who developed a montage technique he called Musique Concrete.

Musique Concrete (meaning 'real world' existing sounds as opposed to artificial or acoustic ones produced by musical instruments) broadly involved the splicing together of recorded segments of tape containing 'found' sounds - natural, environmental, industrial and human - and manipulating these with effects such as delay, reverb, distortion, speeding up or slowing down of tape-speed (varispeed), reversing, etc.

Stockhausen actually held concerts utilizing his Musique Concrete works as backing tapes (by this stage electronic as well as 'real world' sounds were used on the recordings) on top of which live instruments would be performed by classical players responding to the mood and motifs they were hearing!

Musique Concrete had a wide impact not only on Avante Garde and effects libraries, but also on the contemporary music of the 1960's and 1970's. Important works to check are the Beatles' use of this method in ground-breaking tracks like 'Tomorrow Never Knows', 'Revolution No. 9' and 'Being for the Benefit of Mr. Kite', as well as Pink Floyd albums "Umma Gumma", "Dark Side of the Moon" and Frank Zappa's "Lumpy Gravy". All used tape cut-ups and home-made tape loops often fed live into the main mixdown.

Today this can be performed with simplicity using digital sampling, but yesterday's heroes labored hours, days and even weeks to perhaps complete a four minute piece! For those of us who are contemporary musicians, understanding the history of electronic music helps in appreciating the quantum leap technology has taken in the recent period. But these early innovators, these pioneers - of which there are many more down the line - and the important figures they influenced that came before us, created the revolutionary groundwork that has become our electronic musical heritage today and for this I pay them homage!

1950's: The First Computer and Synth Play Music

Moving forward a few years to 1957 and enter the first computer into the electronic mix. As you can imagine, it wasn't exactly a portable laptop device but consumed a whole room and user friendly wasn't even a concept. Nonetheless creative people kept pushing the boundaries. One of these was Max Mathews (1926 -) from Bell Telephone Laboratories, New Jersey, who developed Music 1, the original music program for computers upon which all subsequent digital synthesis has its roots based. Mathews, dubbed the 'Father of Computer Music', using a digital IBM Mainframe, was the first to synthesize music on a computer.

In the climax of Stanley Kubrik's 1968 movie '2001: A Space Odyssey', use is made of a 1961 Mathews' electronic rendition of the late 1800's song 'Daisy Bell'. Here the musical accompaniment is performed by his programmed mainframe together with a computer-synthesized human 'singing' voice technique pioneered in the early 60's. In the movie, as HAL the computer regresses, 'he' reverts to this song, an homage to 'his' own origins.

1957 also witnessed the first advanced synth, the RCA Mk II Sound Synthesizer (an improvement on the 1955 original). It also featured an electronic sequencer to program music performance playback. This massive RCA Synth was installed, and still remains, at the Columbia-Princeton Electronic Music Center, New York, where the legendary Robert Moog worked for a while. Universities and Tech laboratories were the main home for synth and computer music experimentation in that early era.

1960's: The Dawning of The Age of Moog

The logistics and complexity of composing and even having access to what were, until then, musician unfriendly synthesizers, led to a demand for more portable playable instruments. One of the first to respond, and definitely the most successful, was Robert Moog (1934-2005). His playable synth employed the familiar piano style keyboard.

Moog's bulky telephone-operators' cable plug-in type of modular synth was not one to be transported and set up with any amount of ease or speed! But it received an enormous boost in popularity with the success of Walter Carlos, as previously mentioned, in 1968. His LP (Long Player) best seller record "Switched-On Bach" was unprecedented because it was the first time an album appeared of fully synthesized music, as opposed to experimental sound pieces.

The album was a complex classical music performance with various multi-tracks and overdubs necessary, as the synthesizer was only monophonic! Carlos also created the electronic score for "A Clockwork Orange", Stanley Kubrik's disturbing 1972 futuristic film.

From this point, the Moog synth is prevalent on a number of late 1960's contemporary albums. In 1967 the Monkees' "Pisces, Aquarius, Capricorn & Jones Ltd" became the first commercial pop album release to feature the modular Moog. In fact, singer/drummer Mickey Dolenz purchased one of the very first units sold.

It wasn't until the early 1970's, however, when the first Minimoog appeared that interest seriously developed amongst musicians. This portable little unit with a fat sound had a significant impact becoming part of live music kit for many touring musicians for years to come. Other companies such as Sequential Circuits, Roland and Korg began producing their own synths, giving birth to a music subculture.

I cannot close the chapter on the 1960's, however, without reference to the Mellotron. This electronic-mechanical instrument is often viewed as the primitive precursor to the modern digital sampler.

Developed in early 1960's Britain and based on the Chamberlin (a cumbersome US-designed instrument from the previous decade), the Mellotron keyboard triggered pre-recorded tapes, each key corresponding to the equivalent note and pitch of the pre-loaded acoustic instrument.

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themusicenthusiast · 5 years

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Thursday, April 18th, 2019 - Snow Patrol Doesn’t Give In to Technical Difficulties, Overcoming to Satisfy Dallas Fans at the Kickoff Show of the North American Leg of the Wildness Tour

Photos by Jordan Buford Photography The lengthy drought was finally coming to end for the residents of North Texas who were Snow Patrol fans. The headline tour the UK-based indie-rock/alt-rock outfit is currently in the midst of was precipitated by the release of Wildness (out via Polydor Records) nearly a year ago – Snow Patrol’s first new album in nearly seven full years. There was also the tour they did supporting Ed Sheeran’s North American tour last fall, though that provided their fans with but a meager taste of what they craved after Snow Patrol’s years long absence from the Lone Star State. That was all set to change on this Thursday night, the band finally bringing the Wildness Tour to North America – about half of the twenty-one dates already sold-out – with Dallas serving as the launching point for the trek. South Side Ballroom was hosting what was poised to be a spectacular night, the band having already toured extensively around various parts of the world -- most recently South America -- ensuring they were in prime touring shape, while the break they got afforded them what was surely some much needed rest, allowing them to be in peak form for this next round of shows. While not sold-out, fans packed into the venue in droves, those lucky enough to arrive early getting treated to a delightful set from Ryan McMullan, while the trio that was We are Scientists put on an intense show, being thorough in warming up the sizable audience for whatever the band of the hour had prepared. What was interesting about the audience was how relatively diverse the makeup of it was. There were those who had likely been fans since Snow Patrol’s work became so acclaimed, circa the early to mid-2000s, while others in attendance had probably just been born around that time or shortly before. The single constant among the throng was how elated they all were to finally see Snow Patrol (again), their adoration for the group spilling over.

Several false starts excited the spectators that much more, the lights dimming a handful of times as the stage hands got everything in place, resulting in ample cheers and applause before disappointment set in as the lights illuminated everything once more. Then, at 9:38, it was officially on; a snowflake filling the screen at the back of the stage as drummer Jonny Quinn, bassist Paul Wilson, multi-instrumentalist Johnny McDaid and guitarist Nathan Connolly made their way on stage. Gary Lightbody completed things, the most boisterous fanfare having been saved for the frontman and guitarist who portrayed himself as being rather effervescent, kindly smiling and waving at everyone as he greeted them. It would have made sense that Wildness would be put on full display, allowing fans to experience much of that record in the live environment. However, after so many years away, most fans probably could have cared less about that, instead preferring to hear many of the classics they had missed so. Well aware of that, Snow Patrol opted for the more familiar for their first string of songs, beginning with “Take Back the City”. It was a striking opener on many fronts. For starters, taking the lyrics out of context, it felt like an appropriate welcome for them and to everyone. “I love this city tonight. I love this city always…” One got the sense that they had every intention of leaving their mark on the city; and it also highlighted the superb harmonies the band is capable of. On acoustic guitar duty for the moment, McDaid chimed in along with Connolly and Wilson, the three of them not only providing the backing vocals but also bolstering what Lightbody was doing as he paced around the stage, belting out a few of the lines in an incredibly impassioned manner.

Immediately electrifying, it was evident that Snow Patrol meant business. With that opening number one could feel the magic and compelling nature this music has, the past ten plus years since the release of A Hundred Million Suns having done nothing to diminish it; the intimate rapport with the audience being felt right away. Snow Patrol was there to entertain and deliver a memorable experience for all that had turned out, and they certainly got off on the right foot. That said, the first half of their set was plagued by some technical difficulties. It became more noticeable as they moved along; Lightbody spending a few moments fiddling with some of his equipment in hopes that it just required a simple fix, but to no avail. They handled it like the seasoned veterans they are, though, not even calling attention to it for a while, while the frontman never missed a beat, basically just shrugging it off and going about things as normal.

Prominent as the keys were during “Crack the Shutters”, that spellbinding love song boasted a robust rhythm section, Wilson really grooving to it as he strode around stage right, his movements seemingly calculative, as if he were waiting for the most opportune moment to strike. Indeed, he did as the track approached each crescendo. Upon finishing it Lightbody extended an official greeting to everyone, and also offered some insight to his appearance. Those closest to the stage had probably noticed he was lacking some shoes, instead just going barefoot. “…I’ve been wearing the same shoes for a year…” he remarked, adding that he wound up trashing them after they wrapped their South American tour. The lack of footwear seemed extra enjoyable to him. “Empress” was the first of a decent handful of cuts to be performed from Wildness; and given that it came after some older material, it was nice to see how it stacked up against those past works. This newest release is comprised of some of the most solid songs that Snow Patrol has produced, and even if there was a year’s long gap between albums, their signature sound wasn’t affected. “Empress” alone possesses that stellar indie-rock vibe that has proven to be a hallmark of the bands’ work, while also offering up a healthy serving of rock ‘n’ roll through the steady, pummeling percussion and the roaring guitars, both of which feel bolder than ever. That was particularly true when hearing that one live, the majestic scope of it being enthralling, while it simultaneously provided everyone with some serious rock.

If there was one positive to the trouble they were experiencing on stage, it was that it allowed Lightbody to conduct himself in a more natural manner, his affable demeanor leading one to appreciate the musician even more. He was handed a new guitar after that aforementioned song, laughing after having a quick chat with the tech that brought it to him. “So, I asked our guitar tech if this guitar was working, and he said, ‘You’ll find out in a minute’.” Even if he was dissatisfied with what was happening, he never seemed irritated by it, the quintet just going with the flow and taking things as they were. “This is a very appropriate song for this moment,” Lightbody quipped. “Don't give in. Don't you dare quit so easy…” he crooned as “Don't Give In” got underway, that more restrained number definitely taking on new meaning with the then current circumstances.

It didn’t go off without a hitch either, and again Lightbody just laughed it off. “This is the first night of the tour. Can you sense it?!” he asked afterwards, grinning and chuckling. He said it perfectly though when he stated that everybody was in it together, and that was, indeed, the shared mentality. “Open Your Eyes” capitalized on that. That cinematic masterpiece earned the strongest reaction from the spectators up to that point, especially as it hit its striking final minutes. Motioning with his hands, soon raising his arms into the air, Lightbody silently implored everyone to just let the music course through them and give themselves wholly to the song. They did, most of the crowd echoing along to that final refrain. A few minutes later Lightbody provided some backstory to this leg of the tour, noting they had been scheduled to fly into Dallas from Los Angeles the previous day, though bad weather had delayed that. “Bullshit!” one fan bellowed to that remark, referring to the severe weather that had been forecasted though never came to fruition. “There were, like, four hundred and fifty flights cancelled from LA…” the singer responded. “I was trying desperately to get here…” he added, joking that he was even considering one of Leonardo da Vinci's Flying Machines as a mode of transportation to Dallas. That daylong delay had resulted in them missing soundcheck for this show, Lightbody admitting that was the cause of so many of the problems they were having, owning that reason rather than passing things off on it.

Again, it shed light on who he really is and made him all the more likable. Pointing out a guy closer to the front, he declared it his job for the night to make the stone-faced gentleman smile. “You were dragged here?” Lightbody said as he briefly conversed with the man, realizing his job had just become that much more challenging. So, he did the only thing he could do: he dedicated the next song to the man. “I’m a time traveler from the future, and I met you and this song is about you,” he joked, using that as a segue into “Life on Earth”. Another song orchestrated on a grand scale, it allowed the spectators to fully appreciate the intricacies of Snow Patrol’s music. That was noticeable at every turn this night and it allowed the music to be so much more breathtaking, the way that Connolly, Wilson, McDaid and Quinn so artfully alternated between the more serene moments and the absolute precision they required to cutting loose and demonstrating the full extent of their musical prowess and how dynamic they can be.

That marked the end of the first half of their set, and before carrying on Lightbody swapped out some of his equipment, seeming assured that would remedy the issues and promising the next bit was “going to be great.” The difference was noticeable and immediate. The next number sounded so much clearer; every note, beat and word more pronounced, leading to an all-around lusher sound. It was Snow Patrol in all their glory; and while nothing had sounded bad up to then, it was evident that they firing on all cylinders at that point, eager and ready to make up for everything that they thought they had been lacking thus far. Seizing upon that newfound momentum, they even bridged a couple of the songs into the following one, further empowering themselves. Quinn and Wilson unleashed their full might on “Shut Your Eyes”, the rhythm section sounding surprisingly dominant on that one. Subtle as it was, one could even feel those sonorous notes shaking them; while “Heal Me” stood out as the most pleasantly surprising song of the night. It was self-described as being Lightbody’s favorite new song to perform live, he and his bandmates putting an exceptional amount of gusto into it. The recording itself is great, serving as another perfect example of how well Snow Patrol produces cinematic sounding pieces of work, but live it transcended that. That was present, though all the instruments sounded fiercer, a little rawer than what was captured in the studio, transforming “Heal Me” into a roaring beast that left everyone awed.

The best had been saved for last, those mesmerizing chords that begin “Chasing Cars” eliciting some deafening fanfare that was only outdone when the final line came around and was abruptly ceded to the crowd who didn’t miss a beat in collectively singing, “…Would you lie with me and just forget the world?” That song alone reinforced the staying power that music has, “Chasing Cars” being a song that everyone has surely heard before, even if they weren’t entirely sure who was responsible for it. It has aged exceptionally well over the last dozen plus years, still being a definitive piece of indie-rock (and a timeless one at that), the lyrics epitomizing just what an intimate and honest song should be; Lightbody’s emotional investment in his delivery of those words being unquestionable. “Take care of yourselves; we’ll see you again,” the singer stated as they moved along to the closing track of their 79-minute long set, which concluded in an exuberant fashion; the spectators getting to participate one more time as they sang and clapped along.

A few patrons took their leave at that point, no doubt wanting to beat the masses in getting out of the parking lot, which can be hectic to say the least. However, most were steadfast, certain that an encore was coming and eager to get the most out of this experience. While Snow Patrol did adhere to the routine that the encore has become, Lightbody didn’t hesitate to poke fun at it. Upon returning he joked about how typical an encore was of the arts and entertainment industry, laughing that the performers just go backstage and are like, “…Please, please like us!” he said in an exaggerated and desperate tone. Elaborating further, he even seemed keen on the idea on just playing every song in one setting, though acknowledged people would still wonder why there was no encore, so it’s better to just keep up the charade. McDaid was the only other member accompanying him for the first song of the 9-minute encore; the words “What if this is all the love you ever get?” filling the screen behind them.

The most bare-bones song of the night, it enraptured the audience in a way they hadn’t been at any other point. “What If This Is All the Love You Ever Get?” was another brilliant example of one of their songs transcending itself in the live environment, those lyrics that challenge one to reevaluate any relationship they’re in, to not take it for granted and embrace every aspect of it being exceptionally potent. A truly special moment, it was a pleasure to hear what is one of the best offerings from Wildness live; Connolly, Wilson and Quinn rounding things out for one last enchanting love song that felt like the perfect ending to their relatively brief but incredibly memorable time in Dallas. It may not have been the cleanest show of Snow Patrol’s career, but it was an awesome one nonetheless. You can’t fault a band for any technical difficulties that may occur, so all that is just beside the point. What isn’t beside the point is how resilient the five of them remained in the face of the obstacles that were suddenly thrown their way. I know I touched on that earlier, but it was still insightful to see how they handled it and wonderful that they didn’t let it affect them by getting flustered or upset. You just had to love them even more after witnessing that; and nothing ever sounded terrible out in the crowd.

The well curated set -- one comprised of some of the most stellar material they’ve churned out over their career -- they had planned helped in guaranteeing that everyone was transfixed with what they were playing, the overall structure of it having an excellent ebb and flow that took the listener on an emotional journey. It hit most if not all of the highlights and spanned a respectable amount of time, and while Snow Patrol made the wait fans had to endure well worth it, concertgoers leaving happy and content, it still seemed to pass too quickly, everyone already hungry for more. Hopefully they won’t have to wait as long between the next tour of North America. A significant voice in the indie-rock world for the better part of a couple decades now, Snow Patrol has managed to retain the high-profile spot they managed to position themselves in, and this performance just reinforced why they are still all too worthy of it. Some of the new stuff they played came across as being instant classics of theirs, while the smash hits and old favorites they had lined up were as marvelous now as they were upon first hearing them. Maybe even more so. It’s rare to find music that is capable of continuously impressing like that and that just speaks to how skilled this collective of musicians is when it comes to penning genuine, emotive music that connects with everyone. Something that resonates with the listener at their very core, and because of that, Snow Patrol evoked the quintessential concert experience this night, one where every soul in the building was unified by that music, feeling like they were part of something much bigger, even if it was for but a moment. This leg of Snow Patrol’s tour will run through May 21st, when it concludes at The Wiltern in Los Angeles, CA. Other notable stops include a performance at The Anthem in Washington, D.C. on April 26th; New York, NY’s Terminal 5 on April 30th; The Riviera Theatre in Chicago, IL on May 7th; and The Joint at Hard Rock in Las Vegas, NV on May 18th. A complete list of their tour schedule and additional info for each show can be found HERE; and be sure to check out Wildness in iTUNES or GOOGLE PLAY. Set List: 1) “Take Back the City” 2) “Chocolate” 3) “Crack the Shutters” 4) “Empress” 5) “Don't Give In” 6) “Open Your Eyes” 7) “Run” 8) “Life on Earth” 9) “Make This Go On Forever” 10) “Shut Your Eyes” 11) “Called Out in the Dark” 12) “Heal Me” 13) “Chasing Cars” 14) “You're All I Have” Encore 15) “What If This Is All the Love You Ever Get?” 16) “Just Say Yes” Note: ”The Lightning Strike (What If This Storm Ends?)” appeared on the set list though was not performed.

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livehealthynewsusa · 3 years

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How Nicholas Hoult’s Trainer Got Him into Superhero Shape

If your connection with Nicholas Hoult starts and ends on About A Boy and Skins, you’re missing out. At 31, Hoult has become one of the most interesting British actors.

In the last few years alone, he has made outstanding twists and turns at acclaimed indie shows like Yorgos Lanthimos’s The Favorite, Justin Kurzel’s True History of the Kelly Gang and Taylor Sheridan’s upcoming The Who Wish Me Dead, where he can assert himself alongside Angelina Jolie. Not to mention, he was reportedly a hair’s breadth away from snatching Robert Pattinson’s Batman role.

All of this means that Nicholas Hoult is a very serious actor, as his most recent Golden Globe nomination can attest. And like the best actors, he’s not afraid of physical transformation should the role require it. And nowadays most of them do.

Fortunately, Hoult has had one of the best British coaches in his corner since that day.

“I went to school with Nick. I’ve known him since I was 13, ”explains PT and co-founder of Before The Lights, George Ashwell. “He came to my school after doing About A Boy. It was common knowledge that he starred in the film. We became friends through playing basketball. “

While Hoult embarked on the aspiring actor’s path, Ashwell studied sports rehabilitation before co-founding Before The Lights, a private exercise room that combines personal training, injury rehabilitation, and nutritional counseling.

It wasn’t long before their professional paths crossed again.

“Nick did X-Men: First Class when I graduated,” explains Ashwell. “He put me in touch with one of the trainers for another performer who was looking for a therapist. I was with this guy for 8 years and also trained Nick for every other X-Men film. ”

In order to transform the relatively small Hoult into the imposing mutated scientist Hank McCoy – alias: Beast – Ashwell prescribed a regime of functional lifting with an emphasis on building muscle while maintaining mobility.

However, it would be the 2015 apocalyptic high octane road movie, Mad Max: Fury Road, that would be the couple’s biggest challenge.

Training for Mad Max

Between the X-Men films, Hoult had to take on the role of desert-living, soil-nourishing henchman and hero Nux.

“We had to really thin him to play this crazy, lawless kid,” explains Ashwell. “He had to be super slim and sinewy, like he was fighting for food. At the same time he is also a fighter. “

With the filming over an extended period of time in the Namibian desert (the film had a notoriously lengthy production), Hoult was left with no real equipment to train on, which meant he had to get creative.

“Nick always knew how to jump, but he really taught himself how to jump properly for the role,” says Ashwell. “They were filming in the desert and didn’t have a lot of access to a lot of things, so he started his day with up to 40 minute direct jumps and got really good at it.”

The length of the shoot also brought its own challenges. Namely, how do you maintain muscle mass while leaning over a period of months?

“The concern was about losing muscle mass while losing weight,” explains Ashwell. “He had to eat the right foods to make sure he was getting his protein intake. Nick had quite a lot of muscle mass before and you have to be pretty motionless to actually lose muscle mass. So his muscle base made him look sinewy. “

As with any training plan, balance was key. During the five-day week of shooting, Hoult stuck to lean food, allowed himself to regain nutrition and have a few drinks with cast colleagues on the weekends.

Switch to Beast mode

Confident that Hoult was in a good place and had the knowledge and discipline to stick to the diet and exercise plan, Ashwell left it up to him, checking in occasionally from his base in London.

Shut downGetty Images

That Hoult would deviate from the plan was never a problem.

“There are two extremes with customers,” says Ashwell. “Some are like Carl Froch; they stay in pretty good shape all year round. Some are like Ricky Hatton; They get really fit for the role, smash it, and then let them do whatever they want until the next role shows up. Nick is definitely the former. He likes to train and he likes sports, he stays in this zone. “

So ridiculously talented, nominated for a Golden Globe and constantly mentioned as a contender for the next Bond role. At least he’s not good at anything else, is he?

“Nick is one of those guys who’s good at anything. He had never played basketball before; I introduced him when we were 13 and the next year we both played for the county together, ”says Ashwell. “He’s one of those who pick up on everything. He drives car and motorcycle races, boxes and does jujitsu. He’s one of those people who love a new ability, he’s really committed to it. “

Okay, cue the workout.

Nicholas Hoult’s “Get Shredded” workout

This workout not only builds your shape, it will absolutely tear you apart at the same time. Try six to eight rounds and build resilience every week.

Philip Haynes

Battle ropes, 1 min

Hold the ends of the rope at arm’s length in front of your hips with your hands shoulder width apart. Support your core in a high squat and alternately begin explosively raising and lowering each arm. Hold alternating arms for a minute

Dumbbell bench press, 20 reps

Lie on your back on a flat bench and hold a pair of dumbbells across your chest with your arms straight and palms facing forward. Before you begin, pull your shoulder blades down and together, holding them as tightly as possible throughout the exercise. Lower the dumbbells to the sides of your chest, pause, and then slide them back to the starting position. Extend your arms fully on each rep.

Side lunges with weight, 20 reps

Stand with your legs under your hips with a kettlebell or dumbbell in your hands. Kick your right leg to the side and lower your body as you bend your knee, keeping your left leg straight. Drive yourself back to the starting position and repeat on the other side.

TRX rows, 8 wide, 8 narrow

Lie under the TRX, grab the handles and lift your body. Do 8 rows with your elbows close to your body and 8 with your elbows wide, in line with your shoulders.

Commando Plank, 10 repetitions per arm

Start in the standard plank position, resting on your hands and toes, with a neutral spine, drawn in abs, and a long neck. From there, lower yourself down to one forearm at a time and then back down onto your hands.

This content is created and maintained by a third party and imported onto this page to help users provide their email addresses. You may find more information on this and similar content at piano.io

source https://livehealthynews.com/how-nicholas-hoults-trainer-got-him-into-superhero-shape/

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dailyhealthynews · 3 years

Text

How Nicholas Hoult’s Trainer Got Him into Superhero Shape

If your connection with Nicholas Hoult starts and ends on About A Boy and Skins, you’re missing out. At 31, Hoult has become one of the most interesting British actors.

Fortunately, Hoult has had one of the best British coaches in his corner since that day.

It wasn’t long before their professional paths crossed again.

However, it would be the 2015 apocalyptic high octane road movie, Mad Max: Fury Road, that would be the couple’s biggest challenge.

Training for Mad Max

Between the X-Men films, Hoult had to take on the role of desert-living, soil-nourishing henchman and hero Nux.

“We had to really thin him to play this crazy, lawless kid,” explains Ashwell. “He had to be super slim and sinewy, like he was fighting for food. At the same time he is also a fighter. “

The length of the shoot also brought its own challenges. Namely, how do you maintain muscle mass while leaning over a period of months?

Switch to Beast mode

Confident that Hoult was in a good place and had the knowledge and discipline to stick to the diet and exercise plan, Ashwell left it up to him, checking in occasionally from his base in London.

Shut downGetty Images

That Hoult would deviate from the plan was never a problem.

So ridiculously talented, nominated for a Golden Globe and constantly mentioned as a contender for the next Bond role. At least he’s not good at anything else, is he?

Okay, cue the workout.

Nicholas Hoult’s “Get Shredded” workout

This workout not only builds your shape, it will absolutely tear you apart at the same time. Try six to eight rounds and build resilience every week.

Philip Haynes

Battle ropes, 1 min

Dumbbell bench press, 20 reps

Side lunges with weight, 20 reps

TRX rows, 8 wide, 8 narrow

Lie under the TRX, grab the handles and lift your body. Do 8 rows with your elbows close to your body and 8 with your elbows wide, in line with your shoulders.

Commando Plank, 10 repetitions per arm

This content is created and maintained by a third party and imported onto this page to help users provide their email addresses. You may find more information on this and similar content at piano.io

source https://dailyhealthynews.ca/how-nicholas-hoults-trainer-got-him-into-superhero-shape/

0 notes

kokania0 · 4 years

Text

Electronic Music History and Today's Best Modern Proponents!

Electronic music history pre-dates the rock and roll years by decades. Most of us were not even on this areas when it began its often obscure, under-appreciated and misunderstood development. Today, this 'other worldly' herdsman of sound which began close to a century ago, may no longer appear strange and unique as new appointment have accepted much of it as mainstream, but it's had a bumpy rising and, in prognosis mob designation acceptance, a slow one.

Many musicians - the modern backer of electronic singing - developed a luster for analogue synthesizers in the late 1970's and early 1980's with signature songs like Gary Numan's breakthrough, 'Are Friends Electric?'. It was in this age that these pole became smaller, more accessible, more exploiter friendly and more affordable for loads of us. In this article I will tests to phantom this history in easily digestible endings and withdrawal model of today's best modern proponents.

To my mind, this was the beginning of a new epoch. To create electronic music, it was no longer necessary to have entrees to a roomful of technology in a senate or live. Hitherto, this was solely the crew of artists the ambition of Kraftwerk, whose daybook of electronic instruments and cocaine built gadgetry the extent of us could only have dreamed of, even if we could understand the logistics of their functioning. Having said this, at the time I was maturing up in the 60's & 70's, I nevertheless had little uptake of the experience of handling that had synopsis a predecessor in previous decades to arrive at this point.

The history of electronic music owes much to Karlheinz Stockhausen (1928-2007). Stockhausen was a German Avante Garde copier and a pioneering figurehead in electronic singing from the 1950's onwards, influencing a occurrences that would eventually have a powerful look upon nickname such as Kraftwerk, Tangerine Dream, Brain Eno, Cabaret Voltaire, Depeche Mode, not to remark the experimental crannies of the Beatles' and others in the 1960's. His cover-up is seen on the lid of "Sgt. Pepper's Lonely Hearts Club Band", the Beatles' 1967 expert Opus. Let's start, however, by traveling a little further back in time.

The Turn of the 20th Century

Time stood still for this stargazer when I originally discovered that the first documented, exclusively electronic, observance were not in the 1970's or 1980's but in the 1920's!

The first purely electronic instrument, the Theremin, which is played without touch, was invented by Russian scientists and cellist, Lev Termen (1896-1993), circa 1919.

In 1924, the Theremin made its concert debut with the Leningrad Philharmonic. Interest generated by the theremin drew appointee to exactness staged across Europe and Britain. In 1930, the prestigious Carnegie Hall in New York, experienced a possession of classical singing using nothing but a plan of ten theremins. Watching a amounts of skilled musicians playing this eerie sounding medium by glimmering their hands around its feeler must have been so exhilarating, surreal and group for a pre-tech audience!

For those interested, team out the recordings of Theremin virtuoso Clara Rockmore (1911-1998). Lithuanian born Rockmore (Reisenberg) worked with its researcher in New York to perfect the hindrance during its early era and became its herdsman acclaimed, brilliant and recognized comedian and spout throughout her life.

In retrospect Clara, was the first celebrated 'star' of genuine electronic music. You are unlikely to discovery more eerie, yet beautiful aspect of classical singing on the Theremin. She's definitely a longing of mine!

Electronic Music in Sci-Fi, Cinema and Television

Unfortunately, and due mainly to problem in aptitude mastering, the Theremin's future as a musical stipulation was shot lived. Eventually, it found a nook in 1950's Sci-Fi films. The 1951 cinema classic "The Day the Earth Stood Still", with a soundtrack by influential American film music copier Bernard Hermann (known for Alfred Hitchcock's "Psycho", etc.), is rich with an 'extraterrestrial' score using two Theremins and other electronic flight melded with acoustic instrumentation.

Using the vacuum-tube oscillator technology of the Theremin, French cellist and radio telegraphist, Maurice Martenot (1898-1980), began composition the Ondes Martenot (in French, known as the Martenot Wave) in 1928.

Employing a order and familiar fingerboard which could be more easily mastered by a musician, Martenot's obstacle succeeded where the Theremin failed in beings user-friendly. In fact, it became the first successful electronic medium to be used by copier and orchestras of its energy until the gift day.

It is featured on the topic to the original 1960's TV cell "Star Trek", and can be heard on contemporary recordings by the say of Radiohead and Brian Ferry.

The expressive multi-timbral Ondes Martenot, although monophonic, is the closest medium of its legislature I have heard which approaches the sound of modern synthesis.

"Forbidden Planet", released in 1956, was the first major commercial section cinema to feature an exclusively electronic soundtrack... aside from introducing Robbie the Robot and the stunning Anne Francis! The ground-breaking score was produced by husband and spouses squad Louis and Bebe Barron who, in the late 1940's, established the first privately owned booking boldness in the USA booking electronic experimental artists such as the iconic John Cage (whose own Avante Garde boldness challenged the definition of singing itself!).

The Barrons are generally credited for owning telegram the retreat of electronic singing in cinema. A soldering iron in one hand, Louis built circuitry which he manipulated to create a excess of bizarre, 'unearthly' artfulness and motifs for the movie. Once performed, these sounds could not be replicated as the mouseover would purposely overload, smoke and burn out to exponent the desired sound result.

Consequently, they were all recorded to tape and Bebe sifted through hours of reels edited what was deemed usable, then re-manipulated these with subordination and reverberation and creatively dubbed the endings role using multiple tape decks.

In supplements to this laborious money method, I sense compelled to include that which is, arguably, the record enduring and influential electronic Television signature ever: the topic to the long jogging 1963 British Sci-Fi look series, "Dr. Who". It was the first time a Television design featured a solely electronic theme. The themes to "Dr. Who" was created at the legendary BBC Radiophonic Workshop using tape loops and tests pendulum to run through effects, entrance these to tape, then were re-manipulated and edited by another Electro pioneer, Delia Derbyshire, interpreting the order of Ron Grainer.

As you can see, electronic music's prevalent custom in vintage Sci-Fi was the odds source of the general public's opinion of this music as beings 'other worldly' and 'alien-bizarre sounding'. This remained the proceedings till at least 1968 with the sovereignty of the bins scrapbook "Switched-On Bach" performed entirely on a Moog modular synthesizer by Walter Carlos (who, with a few surgical nips and tucks, subsequently became Wendy Carlos).

The 1970's expanded electronic music's silhouette with the pause through of bands like Kraftwerk and Tangerine Dream, and especially the 1980's when it found more mainstream acceptance.

The Mid 1900's: Musique Concrete

In its segment through the 1900's, electronic music was not solely confined to electronic circuitry creature manipulated to group sound. Back in the 1940's, a relatively new German concoction - the reel-to-reel tape salesperson developed in the 1930's - became the subject of interest to a amounts of Avante Garde European composers, pack notably the French radio broadcaster and copier Pierre Schaeffer (1910-1995) who developed a montage medium he called Musique Concrete.

Musique Concrete (meaning 'real world' existing sounds as opposed to artificial or acoustic ones produced by musical instruments) broadly involved the splicing together of recorded segment of tape containing 'found' sounds - natural, environmental, industrial and human - and manipulating these with kingdom such as delay, reverb, distortion, speeding up or slowing down of tape-speed (varispeed), reversing, etc.

Stockhausen actually held symmetry convention his Musique Concrete happenings as promoting tapes (by this platform electronic as well as 'real world' sounds were used on the recordings) on apex of which live instruments would be performed by classical player responding to the understanding and motifs they were hearing!

Musique Concrete had a wide impressing not only on Avante Garde and composition libraries, but also on the contemporary music of the 1960's and 1970's. Important proceedings to summary are the Beatles' use of this senate in ground-breaking tracks like 'Tomorrow Never Knows', 'Revolution No. 9' and 'Being for the Benefit of Mr. Kite', as well as Pink Floyd albums "Umma Gumma", "Dark Side of the Moon" and Frank Zappa's "Lumpy Gravy". All used tape cut-ups and home-made tape loops often fed live into the main mixdown.

Today this can be performed with guiltlessness using digital sampling, but yesterday's heroes labored hours, age and even weeks to perhaps complete a four minute piece! For those of ourselves who are contemporary musicians, understanding the history of electronic singing helps in appreciating the portion leap technology has taken in the recent period. But these early innovators, these pioneers - of which there are many more down the queue - and the important figure they influenced that came before us, created the revolutionary foundation that has become our electronic musical legacy today and for this I pay them homage!

1950's: The First Computer and Synth Play Music

Moving striker a few years to 1957 and enter the first computer into the electronic mix. As you can imagine, it wasn't exactly a portable laptop escape but consumed a whole room and user friendly wasn't even a concept. Nonetheless creative fly kept pushing the boundaries. One of these was Max Mathews (1926 -) from Bell Telephone Laboratories, New Jersey, who developed Music 1, the original singing program for computers upon which all subsequent digital synthesis has its roots based. Mathews, dubbed the 'Father of Computer Music', using a digital IBM Mainframe, was the first to synthesize singing on a computer.

In the peak of Stanley Kubrik's 1968 cinema '2001: A Space Odyssey', utility is made of a 1961 Mathews' electronic stall of the late 1800's poetry 'Daisy Bell'. Here the musical accompaniment is performed by his programmed mainframe together with a computer-synthesized human 'singing' voice section pioneered in the early 60's. In the movie, as HAL the computer regresses, 'he' reverts to this song, an cheerfulness to 'his' own origins.

1957 also witnessed the first advanced synth, the RCA Mk II Sound Synthesizer (an enhancement on the 1955 original). It also featured an electronic sequencer to program music property playback. This massive RCA Synth was installed, and still remains, at the Columbia-Princeton Electronic Music Center, New York, where the legendary Robert Moog worked for a while. Universities and Tech laboratories were the main outcome for synth and computer singing trying in that early era.

1960's: The Dawning of The Age of Moog

The logistics and experience of composing and even owning entrees to what were, until then, comedian unfriendly synthesizers, led to a occurrences for more portable playable instruments. One of the first to respond, and definitely the prince successful, was Robert Moog (1934-2005). His playable synth employed the familiar piano loci keyboard.

Moog's bulky telephone-operators' profile plug-in makes of modular synth was not one to be transported and design up with any prince of instinct or speed! But it received an enormous boost in commonness with the fate of Walter Carlos, as previously mentioned, in 1968. His LP (Long Player) best merchant entryways "Switched-On Bach" was unprecedented because it was the first time an albums appeared of fully synthesized music, as opposed to experimental sound pieces.

The albums was a complex classical music lineup with various multi-tracks and overdubs necessary, as the synthesizer was only monophonic! Carlos also created the electronic score for "A Clockwork Orange", Stanley Kubrik's confusion 1972 futuristic film.

From this point, the Moog synth is prevalent on a sum of late 1960's contemporary albums. In 1967 the Monkees' "Pisces, Aquarius, Capricorn & Jones Ltd" became the first commercial pop scrapbook self-rule to feature the modular Moog. In fact, singer/drummer Mickey Dolenz purchased one of the very first conveyance sold.

It wasn't until the early 1970's, however, when the first Minimoog appeared that interest seriously developed amongst musicians. This portable little group with a fat sound had a significant gradations becoming fragments of live music outline for dozens touring musicians for years to come. Other firm such as Sequential Circuits, Roland and Korg began producing their own synths, assigning onset to a music subculture.

I cannot close the intensity on the 1960's, however, without caution to the Mellotron. This electronic-mechanical medium is often viewed as the primitive announcer to the modern digital sampler.

Developed in early 1960's Britain and based on the Chamberlin (a cumbersome US-designed media from the previous decade), the Mellotron keyboard triggered pre-recorded tapes, each key corresponding to the equivalent recollection and endings of the pre-loaded acoustic instrument.

The Mellotron is legendary for its use on the Beatles' 1966 ballad 'Strawberry Fields Forever'. A flute tape-bank is used on the haunting introduction played by Paul McCartney.

The instrument's popularity burgeoned and was used on dozens recordings of the age such as the immensely successful Moody Blues epic 'Nights in White Satin'. The 1970's saw it adopted more and more by progressive rock bands. Electronic pioneers Tangerine Dream featured it on their early albums.

With time and further overtures in microchip technology though, this charming medium became a relics of its period.

1970's: The Birth of Vintage Electronic Bands

The early fluid scrapbook of Tangerine Dream such as "Phaedra" from 1974 and Brian Eno's currency with his self-coined 'ambient music' and on David Bowie's "Heroes" album, further drew interest in the synthesizer from both musicians and audience.

Kraftwerk, whose 1974 seminal albums "Autobahn" achieved international commercial success, took the medium even further adding precision, pulsating electronic beats and meter and noble synth melodies. Their minimalism suggested a cold, industrial and computerized-urban world. They often utilized vocoders and conversations synthesis device such as the gorgeously robotic 'Speak and Spell' voice emulator, the latter creature a children's education aid!

While inspired by the experimental electronic subroutine of Stockhausen, as artists, Kraftwerk were the first to successfully combine all the elements of electronically generated singing and noise and group an easily recognizable ballad format. The supplements of vocals in dozens of their songs, both in their native German tongue and English, helped earn them universal acclaim getting one of the hordes influential contemporary singing pioneers and actor of the past half-century.

Kraftwerk's 1978 gem 'Das Modell' punch the UK sum one loci with a reissued English language version, 'The Model', in February 1982, structure it one of the earliest Electro sketch toppers!

Ironically, though, it took a impression that had no association with EM (Electronic Music) to facilitate its broader mainstream acceptance. The mid 1970's hoods movement, primarily in Britain, brought with it a unique new attitude: one that gave impulse to self-expression rather than performance dexterity and formal training, as embodied by contemporary progressive rock musicians. The initial offensive of metallic neighborhood transformed into a less abrasive word during the late 1970's: New Wave. This, mixed with the comparative affordability of lots small, easy to utility synthesizers, led to the commercial synth detonation of the early 1980's.

A new adeptness of cub flight began to explore the potential of these instruments and began to create soundscapes challenging the prevailing spotter of contemporary music. This didn't arrive without batalla scars though. The singing trade establishment, especially in its media, often derided this new example of word and accomplishment and was anxious to consign it to the dustbin of history.

1980's: The First Golden Era of Electronic Music for the Masses

Gary Numan became arguably the first commercial synth megastar with the 1979 "Tubeway Army" handcuffs 'Are Friends Electric?'. The Sci-Fi ingredient is not too far away once again. Some of the imagery is drawn from the Science Fiction classic, "Do Androids Dream of Electric Sheep?". The 1982 box cinema "Blade Runner" was also based on the same book.

Although 'Are Friends Electric?' featured conventional drum and bass backing, its dominant use of Polymoogs gives the songs its very distinctive sound. The booking was the first synth-based self-sufficiency to achieve quantity one unit office in the UK during the post-punk years and helped manager in a new genre. No longer was electronic and/or synthesizer singing consigned to the mainstream sidelines. Exciting!

Further development in affordable electronic technology placed electronic squarely in the fins of pups researcher and began to transform professional studios.

Designed in Australia in 1978, the Fairlight Sampler CMI became the first commercially available polyphonic digital sampling barricade but its prohibitive betrayal saw it solely in use by the fondness of Trevor Horn, Stevie Wonder and Peter Gabriel. By mid-decade, however, smaller, cheaper instruments entered the market such as the ubiquitous Akai and Emulator Samplers often used by musicians live to replicate their studio-recorded sounds. The Sampler revolutionized the stipulation of music from this sequences on.

In sum major markets, with the qualified zone of the US, the early 1980's was commercially drawn to electro-influenced artists. This was an exciting years for dozens of us, myself included. I know I wasn't alone in closeting the distorted guitar and amps and immersing myself into a new kind of musical manifestation - a sound shore of the conscription and non traditional.

At home, Australian synth based bands Real Life ('Send Me An Angel', "Heartland" album), Icehouse ('Hey Little Girl') and Pseudo Echo ('Funky Town') began to schemes internationally, and more experimental electronic design like Severed Heads and SPK also developed cult followings overseas.

But by mid-decade the first global electronic succession missing its boldness amidst appeal fomented by an unrelenting old seminary singing media. Most of the artists that began the decade as predominantly electro-based either disintegrated or heavily hybrids their sound with traditional rock instrumentation.

The USA, the largest ore market in every sense, remained in the conservative music wings for scads of the 1980's. Although synth-based records did box the American charts, the first being Human League's 1982 US design topper 'Don't You Want Me Baby?', on the whole it was to be a few more era before the American mainstream embraced electronic music, at which spunk it consolidated itself as a dominant last for musicians and officer alike, worldwide.

1988 was somewhat of a watershed year for electronic music in the US. Often maligned in the press in their early years, it was Depeche Mode that unintentionally - and mostly unaware - spearheaded this new assault. From cult period in America for much of the decade, their new high-play revolution on what was now termed Modern Rock radio resulted in mega stadium performances. An Electro accomplishment playing sold out dock was not common fare in the USA at that time!

In 1990, Quaker chaos in New York to greet the fraction at a central entrance firm made TV news, and their "Violator" albums outselling Madonna and Prince in the same year made them a US household name. Electronic music was here to stay, without a doubt!

1990's Onward: The Second Golden Era of Electronic Music for the Masses

Before our 'star music' secured its hold on the US mainstream, and while it was losing commercial lands elsewhere throughout much of the mid 1980's, Detroit and Chicago became unassuming laboratories for an outburst of Electronic Music which would see out much of the 1990's and onwards. Enter Techno and House.

Detroit in the 1980's, a post-Fordism US industrial wasteland, produced the harder European influenced Techno. In the early to mid 80's, Detroiter Juan Atkins, an obsessive Kraftwerk fan, together with Derrick May and Kevin Saunderson - using primitive, often borrowed appointments - formed the flock of what would become, together with House, the predominant singing club-culture throughout the world. Heavily referenced artists that informed early Techno clause were European pioneers such as the aforementioned Kraftwerk, as well as Yello and British Electro acts the yearning of Depeche Mode, Human League, Heaven 17, New Order and Cabaret Voltaire.

Chicago, a four-hour cultivation away, simultaneously saw the section of House. The name is generally considered to be derived from "The Warehouse" where various DJ-Producers featured this new singing amalgam. House has its roots in 1970's disco and, unlike Techno, usually has some making of vocal. I think Giorgio Moroder's undertaking in the mid 70's with Donna Summer, especially the poetry 'I Feel Love', is pivotal in appreciating the 70's disco influences upon burgeoning Chicago House.

A many of variants and sub troop have developed since - crossing the Atlantic, reworked and back again - but in many spirit the popular success of these two soul forms revitalized the entire Electronic landscapes and its associated social culture. Techno and House helped to profoundly challenge mainstream and Alternative Rock as the preferred listening variety for a new generation: a meeting who has grown up with electronic singing and accepts it as a given. For them, it is music that has always been.

The history of electronic music continues to be written as technology advances and people's anticipation of where singing can go continues to push it forward, increasing its vocabularies and lexicon. https://kokania.com/product-category/electronics/

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asfeedin · 4 years

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LSAT prep, DJ sets and virtual golf

4:30 PM IST

Ohm Youngmisuk

ESPN Staff Writer

Ohm Youngmisuk has covered the Giants, Jets and the NFL since 2006. Prior to that, he covered the Nets, Knicks and the NBA for nearly a decade. He joined ESPNNewYork.com after working at the New York Daily News for almost 12 years and is a graduate of Michigan State University. Follow him on Twitter » Ohm’s chat archive »

Malika Andrews

ESPN Staff Writer

Staff Writer

Joined ESPN in 2018

Appears regularly on ESPN Chicago 1000

ON APRIL 18, instead of concocting a game plan to possibly defend Giannis Antetokounmpo on the opening day of the NBA playoffs, Garrett Temple was locked in on antithesis passages in his online LSAT prep course.

With the 2019-20 NBA season on hold since March 11 due to the coronavirus, the Brooklyn Nets wing has been putting in the hours studying, listening to law podcasts and talking to professors as part of his weekly preparation for the Law School Admission Test.

While some players have tried to fill the basketball void with video games or training routines, others have taken on new challenges to stay sharp. From mastering a second language to becoming handy around the house to diving into a Lego world, players are finding ways to stay engaged.

And one might even be law school-bound, with sights on a perfect 180 LSAT score.

“I can’t let — what’s-her-name on ‘Legally Blonde’ got a 179 — Elle Woods [beat me],” Temple said. “I really want to do it and get a great score.”

MORE: When will the NBA return? Latest suspension updates

Garrett Temple has been spending his time away from basketball with LSAT prep. “It’s providing structure. I’m really enjoying it,” he said. Courtesy of Garrett Temple

BEFORE THE SUSPENSION, Temple had long been contemplating life after basketball. The 10-year journeyman graduated from LSU in 2009 with an undergraduate business degree and considered getting his MBA. His father, Collis Temple, told him that a law degree would be more beneficial.

Collis is an entrepreneur in Baton Rouge, Louisiana, and was the first black varsity basketball player at LSU after Temple’s grandfather, Collis Temple Sr., was not allowed to attend graduate school at LSU because of his skin color.

Temple’s interest in pursuing a law degree was further piqued after watching a TED talk by Adam Foss, a former assistant district attorney in Boston and advocate for criminal justice reform. The final push came when Temple met Bryan Stevenson, the nationally acclaimed public interest lawyer and social justice activist depicted in the 2019 film “Just Mercy.”

“I think you can create a lot of change in your own community,” Temple said. “Help change the prison industrial complex and school-to-prison pipeline in my community, the black community.”

Temple has immersed himself in science podcasts and magazines with help from his fiancée, Kára McCullough, a scientist with a concentration in radiochemistry.

She has also often forced Temple to take breaks from hours of studying. The veteran guard just can’t help himself.

“It’s providing structure. I’m really enjoying it,” Temple said.

“I mean, we ain’t got nothing else to do. So I’m studying, man. Just trying to better myself.”

CODY ZELLER KNEW next to nothing about carpentry before the season went on hiatus. But a month and a half in, the Charlotte Hornets center can now build a closet befitting a 7-footer. (It’s a skill that has been quicker to learn than playing the guitar, which others such as Antetokounmpo and Patty Mills have also picked up.)

Zeller’s brother Tyler, a free agent who most recently played with the Memphis Grizzlies in 2019, purchased a home in Indiana, and Cody has been helping with do-it-yourself home improvement projects.

“I took responsibility for [Tyler’s] master closet,” Zeller said. “I had no woodworking ability before. I’ve learned how to use a miter saw, a table saw. We put it together.”

“Everybody and their mother is gonna have a podcast when we are done with this quarantine.”

Georges Niang

Lack of experience? That was nothing a few YouTube tutorials couldn’t solve — almost.

“I will say, full disclosure, I had to [build] it twice,” Zeller said, “because the first time I messed up.”

Zeller cut, sanded and painted all the wood and built a seven-tier shelf rack. But when he went to fasten the frame to the wall, he had forgotten one tiny yet crucial detail.

“I realized I hadn’t accounted for the space between the closet rod and the shelf above it, so there was no room for the hangers to hang on the closet,” Zeller said. “So it was back to the drawing board.

“That was like three days’ worth of work down the drain. Anyway, long story short, it looks great now.”

THIS EXTRA DOWNTIME has given John Collins the chance to master a second language and get more in touch with his family heritage. Collins, whose mother is part Puerto Rican, has been taking Spanish lessons via Rosetta Stone and the Duolingo app.

The Atlanta Hawks big man took Spanish classes in high school in West Palm Beach, Florida, before continuing courses during his two years at Wake Forest.

“I never had a chance to finish — obviously I left school early,” Collins said. “But it’s always been something that I’ve wanted to finish just ’cause I have been around it so much, and I want to learn.”

Monday through Friday, host Mina Kimes brings you an inside look at the most interesting stories at ESPN, as told by the top reporters and insiders on the planet. Listen

Although he could grasp what his grandfather and other relatives were saying during conversations, Collins found writing in Spanish to be difficult. After the first few weeks of quarantine, Collins wasn’t sure how much his Spanish was improving.

“I’m better than where I was,” Collins said. “To get real growth, I got to go over to a Spanish-speaking country.

“Hopefully one day I will get the opportunity.”

USED TO MAINTAINING a strict in-season schedule, Utah Jazz forward Georges Niang found the extra free time jarring.

The team dropped off a stationary bike and weights so he could keep up with daily exercises, but video games have grown boring, Netflix has provided only so many hours of entertainment, and sleeping in has lost its appeal.

So he started the “Drive & Dish” podcast and video series with help from the Jazz.

“Everybody and their mother is gonna have a podcast when we are done with this quarantine,” he said.

After an unsuccessful foray into Instagram Live — “It was horrible content,” Niang said — “Drive & Dish” debuted on March 31 and has delved into quarantine life with Jazz All-Star Donovan Mitchell, the Olympics postponement with two-time soccer gold medalist Amy Rodriguez and the Michael Jordan Game 6 winner with former Jazz player Bryon Russell.

Niang even has his own theme song and logo.

#DriveAndDish Episode 𝟐 is LIVE!

@GeorgesNiang20 interviews @spidadmitchell about that night in OKC, what he wishes he’d known as a kid & his strangest superstitions

#NBATogether 𝘍𝘜𝘓𝘓 𝘝𝘐𝘋𝘌𝘖 » https://t.co/7uQk59B8Po pic.twitter.com/MCY4rAUsaj

— utahjazz (@utahjazz) April 3, 2020

The podcast’s name is inspired by his team nickname. In the Jazz locker room, Niang is known as “the minivan” because he likens his teammates to Ferraris while thinking of himself as a less luxurious vehicle.

“I need a couple laps around the block before I get warmed up,” Niang said. “Hop in the minivan and drive and dish.”

KENT BAZEMORE HAS been teeing it up at some of the best golf courses in the country. Virtually, that is.

The Sacramento Kings swingman has been regularly retreating to the basement of his Atlanta home, honing his skills on a golf simulator that would rival Tiger Woods’ personal setup. Video cameras and sensors track Bazemore’s every hook, slice, chip and putt.

“It is about as in-depth as I can get without being a professional golfer,” said Bazemore, who earlier this month took down former teammate Stephen Curry in a virtual match at Pebble Beach.

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Now the lefty has a chance to get serious about his golf game. On Tuesdays and Saturdays, Bazemore takes virtual golf lessons with his instructor, Jon Tattersall, the 2014 Georgia PGA Teacher of the Year.

And Bazemore still drives to a real golf course once a week — Georgia is one of a handful of states allowing courses to stay open.

“I am on a quest to become a scratch golfer,” Bazemore said. “My handicap right now is at 8 and I need it to be down to 0.”

To get over the next hump, Bazemore said he plans on working with a sports psychologist.

“There’s a lot of things that go into becoming [a scratch golfer],” Bazemore said. “I’m on the fringe. This is the closest I’ve ever been.”

THOUSANDS HAVE FLOCKED to social media over the past month to listen to DJs such as D-Nice spin sets on Instagram Live.

Now Andre Drummond has joined the wave.

On April 20, the Cleveland Cavaliers center kicked off “Drummond Quarantine Radio,” which features Drummond with DJ Drewski from the center’s Miami home.

Last week, Drummond hosted a “ladies night” set, when viewers could make song requests. And he put on “Talent Show Thursday,” which featured an appearance by actor and comedian Michael Rapaport, among other special guests.

Andre Drummond, also known as DRUMMXND, has been busy on Instagram Live during the NBA’s suspension. David Liam Kyle/NBAE via Getty Images

Drummond’s no novice. He goes by the rap name “DRUMMXND” and is planning on releasing his second album, “FYI 2,” soon.

He won’t be the only NBA player releasing new music during quarantine. Orlando Magic forward Aaron Gordon dropped his Dwyane Wade- and dunk contest loss-inspired diss track “9 out of 10” on Monday.

On Tuesday, Gordon made a guest appearance on the seventh episode of “Drummond Quarantine Radio.” Drummond pointed out that for as long as they’ve known each other, he never knew of Gordon’s desire to put out rap songs.

“I mean, we got a lot of time on our hands right now, ya hear me?” said Gordon, who started making music before this season and is working with Grammy Award winner Austin Owens, also known as Ayo The Producer.

“I get to tap into my creative side,” Gordon added. “Get in touch with emotions and express myself.”

Gordon then gave DRUMMXND his next quarantine endeavor — to deliver some new rap hooks.

“We putting together a project, [with] athletes, with Ayo,” Gordon said. “We need you on the project.

“We need a couple of verses for the project. Please.”

LOCAL GYMS SHUT down after Dallas County issued a shelter-in-place order on March 23, but Myles Turner had to find a way to get in weight training while staying in the guest house of the Texas home he built for his parents.

So the Indiana Pacers center jumped online to find the nearest squat rack — more than 100 miles away in Waco.

“In Texas, that’s nothing,” said Turner, who embarked on the four-hour round trip along Interstate 35. “That’s just an easy drive, right down the street.”

Turner then built the multipurpose squat rack and bench press in under two hours with help from friends. It’s now the centerpiece of a once near-empty garage he’s converted into his personal gym, complete with medicine balls, adjustable dumbbells and a padded floor.

“I gotta improvise,” said Turner, who last week shared his passion for yoga via a live class on the NBA’s Instagram page. “I’ve always kind of been into just putting stuff together.”

And when he didn’t have a screwdriver or wrench in his hand, Turner was still busy building. He assembled one Lego set, and his latest creation — a 2,000-piece Star Wars jigsaw puzzle — was completed in about a week.

“I am about to go to Target right now,” he said, “and get a basketball hoop for outside.”

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realtimebros · 4 years

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EXCERPT: ‘The Gene: An Intimate History’ Describes The ‘Phenomena Of The Living World’

Photo Courtesy of Simon & Schuster

“The Gene’”-—a new documentary presented by acclaimed filmmaker Ken Burns—weaves together science, history & personal stories for a historical biography of the human genome, while also exploring breakthroughs for diagnosis & treatment of genetic diseases & the complex ethical questions they raise. The two-night premiere of “The Gene” will air on April 7th and 14th at 8/7c on PBS. To learn more about the best-selling book that inspired the documentary, read this special selection from Dr. Siddhartha Mukherjee’s “The Gene: An Intimate History,” available now from CBS sister company Simon & Schuster.

[The Gene: An Intimate History] is the story of the birth, growth, and future of one of the most powerful and dangerous ideas in the history of science: the “gene,” the fundamental unit of heredity, and the basic unit of all biological information.

I use that last adjective—dangerous—with full cognizance. Three profoundly destabilizing scientific ideas ricochet through the twentieth century, trisecting it into three unequal parts: the atom, the byte, the gene. Each is foreshadowed by an earlier century, but dazzles into full prominence in the twentieth. Each begins its life as a rather abstract scientific concept, but grows to invade multiple human discourses—thereby transforming culture, society, politics, and language. But the most crucial parallel between the three ideas, by far, is conceptual: each represents the irreducible unit—the building block, the basic organizational unit—of a larger whole: the atom, of matter; the byte (or “bit”), of digitized information; the gene, of heredity and biological information.

Why does this property—being the least divisible unit of a larger form—imbue these particular ideas with such potency and force? The simple answer is that matter, information, and biology are inherently hierarchically organized: understanding that smallest part is crucial to under- standing the whole. When the poet Wallace Stevens writes, “In the sum of the parts, there are only the parts,” he is referring to the deep structural mystery that runs through language: you can only decipher the meaning of a sentence by deciphering every individual word—yet a sentence carries more meaning than any of the individual words. And so it is with genes. An organism is much more than its genes, of course, but to under- stand an organism, you must first understand its genes. When the Dutch biologist Hugo de Vries encountered the concept of the gene in the 1890s, he quickly intuited that the idea would reorganize our understanding of the natural world. “The whole organic world is the result of innumerable different combinations and permutations of relatively few factors. . . . Just as physics and chemistry go back to molecules and atoms, the biological sciences have to penetrate these units [genes] in order to explain . . . the phenomena of the living world.”

The atom, the byte, and the gene provide fundamentally new scientific and technological understandings of their respective systems. You cannot explain the behavior of matter—why gold gleams; why hydrogen combusts with oxygen—without invoking the atomic nature of matter. Nor can you understand the complexities of computing—the nature of algorithms, or the storage or corruption of data—without comprehending the structural anatomy of digitized information. “Alchemy could not become chemistry until its fundamental units were discovered,” a nineteenth-century scientist wrote. By the same token, as I argue in this book, it is impossible to understand organismal and cellular biology or evolution—or human pathology, behavior, temperament, illness, race, and identity or fate—without first reckoning with the concept of the gene.

There is a second issue at stake here. Understanding atomic science was a necessary precursor to manipulating matter (and, via the manipulation of matter, to the invention of the atomic bomb). Our understanding of genes has allowed us to manipulate organisms with unparalleled dexterity and power. The actual nature of the genetic code, it turns out, is astoundingly simple: there’s just one molecule that carries our hereditary information and just one code. “That the fundamental aspects of heredity should have turned out to be so extraordinarily simple supports us in the hope that nature may, after all, be entirely approachable,” Thomas Morgan, the influential geneticist, wrote. “Her much-advertised inscrutability has once more been found to be an illusion.”

Our understanding of genes has reached such a level of sophistication and depth that we are no longer studying and altering genes in test tubes, but in their native context in human cells. Genes reside on chromosomes—long, filamentous structures buried within cells that contain tens of thousands of genes linked together in chains. Humans have forty-six such chromosomes in total—twenty-three from one parent and twenty-three from another. The entire set of genetic instructions carried by an organism is termed a genome (think of the genome as the encyclopedia of all genes, with footnotes, annotations, instructions, and references). The human genome contains about between twenty-one and twenty-three thousand genes that provide the master instructions to build, repair, and maintain humans. Over the last two decades, genetic technologies have advanced so rapidly that we can decipher how several of these genes op- erate in time and space to enable these complex functions. And we can, on occasion, deliberately alter some of these genes to change their functions, thereby resulting in altered human states, altered physiologies, and changed beings.

This transition—from explanation to manipulation—is precisely what makes the field of genetics resonate far beyond the realms of science. It is one thing to try to understand how genes influence human identity or sexuality or temperament. It is quite another thing to imagine altering identity or sexuality or behavior by altering genes. The former thought might preoccupy professors in departments of psychology, and their colleagues in the neighboring departments of neuroscience. The latter thought, inflected with both promise and peril, should concern us all.

#Real Time Bros HVAC contractor HVAC Heating Air-Conditioning

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mrhotmaster · 4 years

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Prime Video: Best Movie Series In India (March 2020)

Best All-Time Amazon Prime Video Movie Series In India Of March 2020

With the brand new profiles function introduced in March, Amazon Prime Video is all of sudden a far higher streaming provider for buddies and households. More so in India, wherein a Prime club runs at just Rs. 999 per yr. Unlike Netflix, Amazon additionally does not make you pay more for HD or 4K. Yes, we admit Prime Video's collection catalog isn't any match for Netflix — it's less than a third of its overall — however there is nevertheless a whole lot of proper TV to be determined right here. It would not assist that Amazon does not do an awesome activity of surfacing hidden gems, however, hello, that is in which we come in. Below, you'll discover a bunch of big names (The Big Bang Theory), Amazon originals (The Marvelous Mrs. Maisel), and stuff you've probable by no means heard of (Spaced).

To choose the satisfactory TV suggests on Amazon Prime Video, we started with Rotten Tomatoes, Metacritic, and IMDb scores to draw up a shortlist. Considering the shortcomings of review aggregators in that department, the last of them is needed for non-English programming. Also, we used or rejected our editorial judgment. This listing can be up to date once every few months if there are any worthy additions or if a few TV shows are eliminated from the service, so bookmark this web page and preserve checking in. Here is the pleasant collection currently to be had on Amazon Prime Video in India, sorted alphabetically.

➔4 Blocks (2017 – Present)

Set inside the Berlin borough of Neukölln, this German-language crime drama follows the leader of a Lebanese drug cartel who desires to leave in the back of the violent manner of life for a non-violent life along with his wife and their daughter, however, is reluctantly pulled in after a police operation threatens the entirety. Set for a third and final season in 2019.

➔The Adventures of Tintin (1991 – 1992)

A co-manufacturing between three nations — Belgium, Canada, and France — this animated variation of cartoonist Georges Prosper Remi's maximum famous work ran for 39 1/2-hour episodes across three seasons, handing over nearly dozen adventures that had been praised for his or her faithfulness, every so often lifting comic panels to the screen precisely as they seemed.

➔The Affair (2014 – Present)

A schoolteacher and budding novelist (Dominic West) begins an extramarital affair with a younger waitress (Ruth Wilson) seeking to piece collectively her life in this somber drama, which brought two robust seasons of the deep and psychological statement earlier than a slight dip added by using plot struggles in the 0.33 season.

➔The Big Bang Theory (2007 – 2019)

This long-lasting sitcom, loved and hated in the same degree, is ready for the physicists and their neighbor pretending to act and nerd friends: the aerospace engineer and the astrophysicist. It brought two women — a neuroscientist and a microbiologist — because it went on. Seasons two through six have been the best years.

➔Bosch (2014 – Present)

Adapted from the novels he wrote, writer and writer Michael Connelly offers us Los Angeles Police detective Hieronymus “Harry” Bosch (Titus Welliver), a Gulf War and Afghanistan veteran who solves inscrutable instances — the murder of a boy many years in the past to a high-quality civil rights lawyer — whilst handling non-public struggles. The slow first season, however it soon delicate itself.

➔The Boys (2019 – Present)

Far from perfect, this gory superhero-obsessed-tradition antidote, based on Garth Ennis and Darick Robertson's comedian collection, follows a bunch of nobodies (Karl Urban amongst them) seeking to take down a corrupt group of superheroes who've chosen capitalism over charity. In short, the superheroes are the supervillains.

➔Casual (2015 – 2018)

A newly-divorced female and successful therapist — and her teenage daughter — movements again in along with her more youthful brother and relationship site co-founder in this candy li'l comedy-drama. The two educate each other through the pains and tribulations of the dating global, even as together raising the girl.

➔Deutschland 86 (2018)

This sequel to the hit authentic — Deutschland 83, which is regrettably no longer on Amazon — is ready within the titular 12 months either aspect of the Iron Curtain, because it explores existence in each West and East Germany thru the standpoint of an undercover secret agent, who navigates love, own family, and secrets and techniques. Renewed for a 3rd season, titled Deutschland 89.

➔Doctor Who (2005 – Present)

David Tennant, Matt Smith, Peter Capaldi, and — the first-ever girl Doctor — Jodie Whittaker provide their take at the time-traveling, galaxy-hopping alien in the modern-day revival of the long-lasting British sci-fi show. Seasons 1 – eleven are to be had. Seasons two, three, four, and five are usually considered the high-quality of the lot, with the closing of them generally highlighted.

➔Dororo (2019)

Born without any frame components because of his strength-hungry father, a younger guy — blind, deaf, and more — made from prosthetics units out to reclaim what's his from 12 demons on this anime. Along the way, he befriends the titular orphan boy.

➔Downton Abbey (2010 – 2015)

A post-Edwardian generation period drama set within the English countryside, managing the aristocratic Crawley circle of relatives and their domestic servants, and the way the terrific activities of the 1910s and Twenties affected their lives and the British social hierarchy. I went through a dip in excellent inside the center to past due years however recovered for the final season. The follow-up 2019 movie is on iTunes.

➔The Expanse (2015 – Present)

Hundreds of years in the future, mankind that has colonized the Solar System is at the threshold of warfare and it's up to a crew of various origins — Earth, Mars, and the Asteroid Belt — to show the best conspiracy of all.

➔Fleabag (2016 – Present)

Phoebe-Waller Bridge created and starred on this comedy-drama out of her one-female play, approximately a young, sexually-liberated, dry-witted irritable woman who navigates contemporary lifestyles in London at the same time as coming to phrases with a recent tragedy.

➔Forever (2018)

Maya Rudolph and Fred Armisen megastar in and govt produced this comedy-drama approximately a married couple who've lived the identical lifestyles — the same conversations, the equal meals, and the identical lake-residence vacation — for 12 years. But after the spouse proposes to shake matters up, the two locate themselves in a whole new global.

➔Fringe (2008 – 2013)

This sci-fi collection counts J.J. Abrams as a co-creator and follows an FBI agent (Anna Torv) who is forced to paintings with an institutionalized scientist taken into consideration this era's Einstein and his estranged son to make the experience of unexplained phenomena, which ties into parallel universes and trade timelines.

➔The Good Fight (2017 – Present)

A spin-off sequel to the severely-acclaimed The Good Wife follows Diane Lockhart (Christine Baranski) after she's forced out of the law organization wherein she becomes an accomplice, and has to enroll in a high-profile regulation corporation in Chicago. The criminal/political drama has greater than held its own unlike most spin-offs and has been praised for its examination of topical social issues.

➔Good Omens (2019)

Michael Sheen and David Tennant megastar as an angel and demon with an unlikely century-spanning friendship on this Neil Gaiman-led version this is responsible for sticking too close to the book he co-wrote (among some different faults). Having grown content with existence on Earth, the two attempt to save you a drawing close Armageddon.

➔The Good Wife (2009 – 2016)

After a humiliating sex and corruption scandal puts her husband behind bars, his spouse — a former kingdom's attorney — must go back to work to offer for her own family, at the same time as battling the undesirable highlight. Known for its unique criminal cases, top-notch performances, and turning in always on all fronts at some stage in its lengthy seven-season cable run.

➔The Grand Tour (2016 – Present)

The former Top Gear trio of Jeremy Clarkson, Richard Hammond, and James May persevered to do what they did at BBC — overview supercars, excursion the arena, however mostly make amusing of every other — for three seasons, before switching to specials-only with the fourth season.

➔The Handmaid's Tale (2017 – Present)

Elisabeth Moss stars in the lead of this prescient and unflinching version of Margaret Atwood's dystopian traditional novel, set in a global where a totalitarian army dictatorship has overthrown America authorities and subjugates ladies inside the call of declining fertility quotes. Two high-quality seasons followed by using a dip in the 1/3.

➔Homecoming (2018 – Present)

In her first collection of ordinary positions, Julia Roberts performs a caseworker who enables US veterans to transition again to civilian existence, and a waitress returned in her fatherland who has trouble remembering her earlier existence throughout periods. As an auditor digs into her past, she realizes she changed into being misled. A mental thriller directed by way of Mr. Robot's Sam Esmail.

➔House (2004 – 2012)

For 8 long years, Hugh Laurie played the misanthropic and unconventional titular doctor who regardless of reliance on pain remedy and a cane — it simply introduced to his acerbic character — led a team at a fictional New Jersey health center, and made notable use of his out-of-the-field wondering and instincts to diagnose sufferers.

➔Laakhon Mein Ek (2017 – Present)

Biswa Kalyan Rath's anthology collection offers a have a look at unlucky souls — a teen caught at an engineering coaching institute, or a young health practitioner published to a rural cataract camp — preventing in opposition to prejudices, the gadget, and extra. And generally failing.

➔Lodge forty-nine (2018 – 2019)

Overlooked using most, which led to its cancellation after seasons, this splendidly weird comedy-drama follows a disarmingly optimistic former surfer who by hook or by crook arrives at a rundown fraternal hotel after the demise of his father and disintegrate of the family enterprise, hoping to find his manner again to the life he had.

➔The Looming Tower (2018)

Lawrence Wright's Pulitzer Prize-prevailing ebook of the same name is adapted into a ten-element miniseries, exploring how the clash and contention between the FBI and CIA inside the early 2000s may additionally have inadvertently brought about America's biggest tragedy, September 11. Powerfully written and strengthened through exceptional acting, which includes Jeff Daniels, with a directing tone set by way of Alex Gibney.

➔Luther (2010 – Present)

Idris Elba stars as a committed and tremendous British detective who attempts to preserve a grip on his private existence while managing the mental fallouts of the crimes he is tasked to remedy.

➔Mad Men (2007 – 2015)

Set in New York in the 1960s, a slow-burn theory that provides an insight into a fictionally produced advertising agency, specializing in one of all its exceptionally talented managers (Jon Hamm). It offered brilliantly crafted characters and a subversive, sensible have a look at the American workplace, while in no way losing in fine throughout seven seasons.

➔Made in Heaven (2019 – Present)

From the minds of Gully Boy duo Zoya Akhtar and Reema Kagti, a drama approximately the excesses, hypocrisies, and darkness hiding in the corners of huge, fat Indian weddings, instructed thru the eyes of two wedding planners looking to stability their personal and professional lives. It has many faults, no longer as excellent as others in this listing, however, it is the high-quality of what Amazon has produced in India.

➔Malgudi Days (1987 – 1988)

R.K. Narayanan's collection of quick stories approximately unique faces of existence in a fictional South India metropolis are selectively tailored for the display screen, thanks to his cartoonist brother R.K. Laxman, actor-director Shankar Nag, and manufacturer T.S. Narasimhan.

➔The Man within the High Castle (2015 – 2019)

Philip K. Dick's famous change history novel of the identical name, in which the Axis powers won World War II and divided the USA to be ruled by using Germany and Japan, opened in engrossing style and multiplied itself in powerful methods in its 2d year, however, changed into in the end permit down by using its unwieldy plot.

➔The Marvelous Mrs. Maisel (2017 – Present)

Arguably Amazon's high-quality authenticity so far, the ideal existence of a Jewish housewife (Rachel Brosnahan) in overdue 1950s New York City crumbles after her husband confesses he's having an affair, which leads her to a surprising discovery: she has a knack for stand-up comedy.

➔The Mindy Project (2012 – 2017)

Fresh off her success with The Office, Mindy Kaling created and starred in her show, a rom-com about an OB/GYN (Kaling) seeking to balance her professional and private existence. After three appreciated seasons with a few faults, it moved to stream in which it similarly delicate itself and ended with the 117th episode and six seasons.

➔The Missing (2014 – 2016) This two-season anthology thriller is about lacking youngsters — a five-yr-old boy in France, and a woman who turns up eleven years later in Germany — and the way it impacts their families as they undergo the disaster. Always uses dual timelines shifting in parallel to construct suspense. Tchéky Karyo's lead detective is the simplest common detail. ➔Mozart within the Jungle (2014 – 2018) Inspired by oboist Blair Tindall's 2005 memoir, this 4-season long comedy-drama concentrated on a formidable oboist (Lola Kirke) who develops a robust bond with the new conductor (Gael García Bernal) of a fictional New York symphony orchestra, with escapades in Mexico and Italy across seasons. ➔Mr. Bean (1990 – 1995) Rowan Atkinson's famous character, whom he defined as a toddler in a grown man's frame, has appeared anywhere from the London Olympics establishing ceremony to an interview on Japanese television, always pronouncing little. He was given his start with this iconic collection that produced a paltry 14 episodes over 5 years but gave us enough laughs to closing an entire life. ➔The Night Manager (2016) Tom Hiddleston, Hugh Laurie, and Olivia Colman lead the way with robust performances in this six-episode miniseries model of the 1993 John le Carré novel, approximately a former British soldier and luxury motel manager (Hiddleston) who turns into an undercover operative to infiltrate the internal circle of a worldwide arms supplier (Laurie). ➔The Office (2005 – 2013) This American remake of Ricky Gervais' BBC sitcom mockumentary lasted some distance longer — 201 episodes over 9 seasons — as it observed the pretty-often beside the point and awkwardly-hilarious lives of the employees of a suburban Pennsylvania paper employer. Suffered in later seasons but returned to form in the very last season after the return of creator Greg Daniels. ➔One Mississippi (2016 – 2017) In this shifting -season comedy, a girl (Tig Notaro) returns home after the sudden death of her mom and struggles to adjust to life as she battles her fitness issues, and her dysfunctional circle of relatives and discovers extra about her mom's beyond. Notaro is also a co-author. ➔Parks and Recreation (2009 – 2015) Amy Poehler starred as an always-constructive public authentic in an Indiana city's parks department for seven seasons, surrounded via an ensemble cast as eccentric as the following one. Co-created by way of Daniels (The Office) and Michael Schur, the show made adjustments after a poorly-received debut season and by no means appeared again, as it blossomed into one of the best sitcoms of this century. ➔Penny Dreadful (2014 – 2016) An explorer, a gunslinger, a scientist, an immigrant, and a mysterious and powerful girl (Eva Green) team up to combat supernatural threats that draw upon nineteenth-century Gothic fiction — assume Dracula, Frankenstein, and Dr. Jekyll — London in Victoria. Green's entity and its overall success were praised. ➔Person of Interest (2011 – 2016) Before Westworld, Jonathan Nolan explored AI as a supercomputer that profits sentience, which enables its reclusive billionaire programmer and a presumed-dead ex-CIA agent to keep lives by giving them the identities of those involved in imminent crimes. A process that became an invasive serial account and mediation of the ethics of artificial intelligence regulation. ➔Planet Earth II (2016) Yes, it's a documentary, but it is also the top of BBC's potential to craft storylines out of the lives of animals that proportion the planet with us, and the dangers we gift to them. And to top off its wonderful pics that span islands, mountains, jungles, deserts, grasslands, and towns, David Attenborough's voice courses us through all of it. ➔Preacher (2016 – 2019) After a supernatural occasion imbues him with a present, a preacher teams up with his trigger-happy ex-girlfriend and a hard-ingesting Irish vampire searching for answers and God. Based on the comedian series of the identical call, the show has gore and offensive amusing aplenty, however, it can lack in narrative recognition. Ran out of steam inside the final season. ➔Psych (2006 – 2014) After conning the law enforcement officials into believing he has psychic abilities, a hyper-observant guy with eidetic reminiscence turns into a contract consultant for the nearby police branch, launching a faux psychic enterprise with his formative years' satisfactory pal. Improved after a no longer-so-correct first 12 months and has caused TV movies because its 8-season run ended. ➔Queen Sugar (2016 – Present) Ava DuVernay and Oprah got here together to create this drama based totally on Natalie Baszile's 2014 novel, approximately the lives of the estranged Bordelon siblings who move back to Louisiana after their father's loss of life to run the family's struggling sugarcane farm. ➔Seinfeld (1989 – 1998) Scores and important success for the duration of its run, this sitcom about a stand-up comic (Jerry Seinfeld) and his neurotic New York friends (Julia Louis-Dreyfus amongst them) butting heads over trivial questions remains a hallmark in television history, albeit some episodes and characters have not aged properly in any respect. Seinfeld and David are co-creators. ➔Shameless (2011 – Present) Based on the lengthy-jogging hit UK collection also from writer Paul Abbott, the American remake — now in its 9th season itself — is about inside the south side of Chicago and centers on a perpetually-drunk single father of six with the children mastering to attend to themselves. Several stumbles in the latest seasons. ➔Shaun the Sheep (2007 – Present) Before it spawned a feature movie that earned Oscar, Golden Globe, and BAFTA nominations and where the titular clever, assured and mischievous sheep talked, this forestall-movement lively youngsters collection was recognized for its bite-sized episodes, with Shaun leading the crowd on adventures and walking jewelry across the sheepdog. Four seasons are to be had.

➔Sneaky Pete (2015 – 2019) Bryan Cranston co-created this crime drama wherein a con man (Giovanni Ribisi) assumes the identity of his cellmate to keep away from a dangerous gangster whom he once robbed. But residing with the fake-family — which has no motive to suspect who he is, due to the fact he changed into long lost — presents challenges of its personal. ➔Spaced (1999 – 2001) Before they gave us the Three Flavours Cornetto trilogy, Edgar Wright and Simon Pegg directed and co-created, respectively, this sitcom approximately the misadventures of twenty-something London strangers (Pegg and Jessica Stevenson, fellow co-writer) who pose as a married couple to get a flat in the English capital. ➔Star Trek: Picard (2019 – Present) Patrick Stewart returns as Jean-Luc Picard on this follow-as much as the lengthy-walking Star Trek: The Next Generation — available on Netflix — nearly a decade and a half of after he retired, after a young girl with feasible connections to his beyond seeks his assist. It is probably too sluggish for a few and it would not attempt hard enough to take on new fans. ➔Supernatural (2005 – Present) Over two and a half of many years when they lost their mother to a demonic supernatural force, two brothers — introduced up with the aid of their father as soldiers with knowledge of the mystical — roam throughout the again-alleys of the united states and hunt down each evil they stumble upon. Eric Kripke ran the show for five seasons, and the darkish myth series is about to finish with its upcoming fifteenth. ➔The Terror (2018 – Present) This supernatural horror anthology takes actual-life events — British Royal Navy Captain Sir John Franklin's lost day trip to the Arctic in the mid-nineteenth century, and the internment of Japanese-Americans during World War II — and spins terrifying tales, presenting ghosts, cannibalism, demonic polar bears, and Japanese folklore. ➔This Is Us (2016 – Present) This heartstrings-tugging circle of relatives drama jumps via time to depict the lives of three siblings (Sterling K. Brown among them) and their dad and mom, who appear to be mysteriously related to each other in methods beyond their shared birthday. ➔Transparent (2014 – 2019) A dysfunctional Los Angeles family unearths their past and destiny unraveling following an admission from the elderly father (Jeffrey Tambor) that he identifies as a girl. Winner of numerous awards which includes the Golden Globe for the first-class collection for its poignancy and empathy. Finale turned into middling though. Tambor turned into fired over sexual harassment allegations.

➔Undone (2019 – Present) From the makers of BoJack Horseman, a more lifestyles-like lively series about a 28-year-vintage woman (Rosa Salazar) who discovers she has a brand new relationship with time after moving into a vehicle coincidence, after which makes use of that to solve the mystery of her father's (Bob Odenkirk) loss of life. But her exploits positioned her relationships and fitness in critical jeopardy. ➔A Very English Scandal (2018) Hugh Grant and Ben Whishaw lead this three-component miniseries based totally on a real story and John Preston's book of the same name, following the upward thrust of British Member of Parliament Jeremy Thorpe (Grant) and the scandal that could cease his lifestyles, concerning the tried murder of his ex-homosexual lover (Whishaw). ➔Vinland Saga (2019) Set in large part in Danish-managed 11th-century England, this anime follows Thorfinn, a young man introduced up by Vikings who murdered his own family and invariably desires vengeance. They are soon stuck in a conflict of succession between Danish princes, at the same time as Thorfinn desires of a non-violent land that his father pointed out. Adapted by way of Hiroshi Seko (Ajin, Attack on Titan). ➔Yeh Jo Hai Zindagi (1984) Jaane Bhi Do Yaaro director Kundan Shah and satirist Sharad Joshi came collectively to deliver this sitcom that deftly poked fun on the Indian center magnificence, specializing in a poker-confronted husband, his vivacious office-going spouse, and her unmarried brother. It benefited from the chemistry of its 3 leads (Shafi Inamdar, Swaroop Sampat, and Rakesh Bedi) and the sheer versatility of Satish Shah. ➔Yes Minister (1980 – 1984) Together with its 1986-88 sequel — Yes, Prime Minister — the two short-lived British series are reigning kings of the political satire, following a newly-appointed branch minister suffering to carry out reforms and later, his surprising elevation to the best workplace inside the land.

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Nobel Laureates on Indian Stamps – I

We all have heard of Nobel Prizes and the Nobel Prize winners too. Winning a Nobel Prize is a life-changing honour. Whether the laureate is an internationally known figure or a scientist or an activist plucked from obscurity, the award brings with it worldwide recognition that highlights one’s life work and provides the funds to continue and further the mission. In this blog we will trace the Nobel Laureates on Indian Stamps. But before we go into it, let’s know more about Alfred Nobel and how and why he started these awards in first place.

It all started when a French newspaper printed about Nobel’s death by mistake. In April 1888, Alfred Nobel read about his own death and read a headline that made him ponder over his legacy. The newspaper read stuff like, “The merchant of death is dead,” and described him as a person who “became rich by finding ways to kill more people faster than ever before.” These words or opinions about him made Alfred ponder over the public opinion that he would be leaving behind. Alfred Nobel, the man who invented dynamites, wanted to be forever tied to humankind’s highest achievements, and not its destructive potential.

In 1895, Nobel sat down in a club in Paris and, in handwritten Swedish with no help from a lawyer, penned a four-page document that would become one of history’s most notable last will and testaments!

He left 31 million Swedish kroner (equivalent to about $250 million today), the bulk of his estate, to be invested and the interest from which given “in the form of prizes to those who, during the preceding year, shall have conferred the greatest benefit on mankind.” Four random gentlemen at the club were asked to witness the document, which now resides in a vault at the Nobel Foundation in Stockholm, and the rest is history!

The following year Alfred Nobel died for real and with his will became a man who was no longer linked to death and destruction, but would forever be associated with progress, peace and the very best in human achievements…Such an inspiring story of introspection and determination.

Since the establishment of the Nobel Trust in 1901, a total of approximately 590 prizes to 935 laureates (as of 2018) have been awarded. As the title of the blog suggests, we are going to discuss the Nobel Laureates that are depicted on Indian Stamps. We will be looking at stamps in an order as issued by the Postal Department of India and not by the year in which the Laureates received the award.

Rabindranath Tagore: Nobel Prize in Literature 1913

Rabindranath Tagore, one of the world’s most prominent poets, was the first non-European and first Indian to be bestowed the prestigious Nobel Prize in 1913! Often hailed as “The bard of Bengal” or “The poet of the poets”, Tagore was a person who has expertise in significant numbers of subject areas. He reshaped Bengali literature, music, as well as Indian art with contextual modernism in the twentieth century. He was the most admired Indian writer who introduced India’s rich cultural heritage to the West. At the age of 16, he released his first substantial poems under the pseudonym Bhanusimha. In 1882, he wrote one of his acclaimed poems, Nirjharer Swapnabhanga. His major work consists of Manasi, Galpaguchha, Naivedya, Khaya, and Gitanjali.

His novels, stories, songs, dance-dramas, and essays spoke on topics ranging from political to personal stories and opinions. His compositions were chosen by two nations as national anthems: India’s Jana Gana Mana and Bangladesh’s Amar Shonar Bangla.

Even today, decades after his death, this saint-like man, lives through his works in the hearts of the people of India who are forever indebted to him for enriching their heritage. Many stamps were issued honouring Rabindranath Tagore in India and across the world.

The first Indian one was a 12 anna stamp issued in October 1952. On 8th May 1987, a lovely 2-rupee stamp was issued featuring his self-portrait and in May 2011, a beautiful miniature sheet was issued.

Martin Luther King: Nobel Peace Prize 1964

Martin Luther King Jr. was a Baptist minister and social activist, who led the Civil Rights Movement in the United States from the mid-1950s until his assassination on 4th April in 1968. He played an important role in ending the legal segregation of African-American citizens in the South and other areas of the United States, as well as the creation of the Civil Rights Act of 1964 and the Voting Rights Act of 1965.

Among several other honours, he received the Nobel Peace Prize in 1964. Martin Luther King Jr. continues to be remembered as one of the most lauded African-American leaders in history, often remembered by his 1963 speech, “I Have a Dream.”

He was inspired by Mahatma Gandhi and his nonviolent means. Martin Luther King, Jr. Day (officially Birthday of Martin Luther King, Jr.) is an American federal holiday since 1986, marking the birthday of Martin Luther King, Jr. It is observed on the third Monday of January each year, which is around King’s birthday, January 15.

Many stamps were issued honouring Martin Luther King in India and across the world. Portrayed in the image above is a 20 paise stamp issued in 1969 which depicts a portrait of Martin Luther King.

Bertrand Russell: Nobel Prize in Literature 1950

As a philosopher, mathematician, educator, social critic and political activist, Bertrand Russell authored over 70 books and thousands of essays and letters addressing a myriad of topics. Awarded the Nobel Prize in Literature in 1950 “in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought”, Russell was a fine literary stylist, one of the foremost logicians ever, and a person known to have fought for improving the lives of men and women.

Bertrand Russell is credited with being one of the founders of what is now known as analytic philosophy. It is a view that emphasizes the importance of both empirical observation and logical analysis. Russell’s contributions to logic, epistemology, and the philosophy of mathematics established him as one of the foremost philosophers of the 20th century. His philosophical essay “On Denoting” has been considered a “paradigm of philosophy”.

To the general public, however, he was best known as a campaigner for peace and as a popular writer on social, political, and moral subjects. He was jailed twice, one in in 1918 for anti-war views and in 1961 for his anti-nuclear weapons stance. Active as a political and social critic until his end, Russell died in 1970 at the age of 97.

Many stamps were issued honouring B. Russell in India and across the world. A 1 Re. 45 Paise stamp was issued by India Post on 16th of October 1972 on the birth centenary of Bertrand Russell.

Guglielmo Marconi: Nobel Prize in Physics 1909

Guglielmo Marconi was an Italian inventor and engineer who developed, demonstrated and marketed the first successful long-distance wireless telegraph and on 12th December 1901 broadcasted the first transatlantic radio signal! He is known for his pioneering work on long-distance radio transmission, development of Marconi’s law, and a radio telegraph system. He is also credited as the inventor of radio.

In 1909 he shared the Nobel Prize in Physics for his radio work. Interestingly, in his Nobel Prize acceptance speech, Marconi freely admitted that he didn’t really understand how his invention worked! Whether he understood the enormity or the working logic of his invention or not we surely are thankful to him.

Since its invention, radio has played an integral role in mass communications and technological developments all through the centuries. Despite being over 100 years old, the radio is popular and educates people all over the world.

Did you know that the 700 survivors of Titanic were rescued because of “Marconi’s Men”!

As shipping companies realized the radio telegraph’s usefulness for passenger communication, navigation reports and distress signals, Marconi Company radios—operated by trained cadres of “Marconi Men”—became standard equipment. When RMS Titanic struck an iceberg on April 14, 1912, its Marconi operator was able to summon RMS Carpathia to the scene to pick up 700 survivors.

Many stamps were issued honouring Guglielmo Marconi in India and across the world. A Rs.2 postage stamp was issued by India Post in 1974 with Marconi’s portrait on it.

Albert Einstein: Nobel Prize in Physics 1921

How many times have we tried to understand one of the world’s greatest equations – E=mc2! They say if you’ve got Einstein’s brains then you’re out of this world. This man changed the course of science with his most popular mass-energy equation.

Rumpled hair elderly professor, Albert Einstein was not only a visionary physicist but also a pre-eminent scientist whose theories and discoveries profoundly affected the way people viewed the universe. He developed the general theory of relativity, one of the two pillars of modern physics apart from quantum physics. Einstein’s work is also known for its influence on the philosophy of science.

In 1905, in what’s been called Einstein’s ‘miracle year’, he publishes in his spare time four visionary papers. The first paper answered the age old question, ‘what is light’. In another paper the 26 year old, discovers something what now we take for granted, the existence of atoms. The third paper ascertains his most famous equation E=MC square and his last paper on special relativity certainly blows all minds.

In 1915, Einstein completed his paper on General Theory of Relativity, and brought to the world a fuller understanding of the interaction of space, time and gravity. He received the 1921 Nobel Prize in Physics for his “services to theoretical physics”, in particular his discovery of the law of the photoelectric effect, a vital step in the evolution of quantum theory.

Many stamps were issued honouring Albert Einstein in India and across the world. India Post on 14th March, 1979 issued a horizontal stamp on Einstein’s birth centenary depicting his portrait.

Mother Teresa: Nobel Peace Prize 1979

A figure wearing a blue bordered coarse cotton white sari walking on the streets of Calcutta (Kolkata) helping people, held a deep affection not only with the people of Calcutta but also with the whole nation. This person was none other than Mother Teresa.

Mother Teresa was born in Albania on 26th August 1910. At the early age, she cherished the desire to- ‘Go out and give the love of Christ’. The Irish Order of the Sister of Loreto inspired her at the age of 18. This desire brought her to India on 6th January 1989 and she began teaching geography at St Mary’s High School in Calcutta.

In 18th August 1948, Mother Teresa left the church and dedicated her life to helping the poor in the bustling streets of Calcutta. In 1950 she founded Missionaries of Charity in Calcutta. Today this charity consists of 1800 nuns, 250 brothers and thousands of lay co-workers who serve the sick and the poor in over 30 countries worldwide.

Her enormous compassionate work evoked worldwide recognition. Due to this she has received many awards like Padmashree, the Magsaysay Award, Pope John XXIII Peace Prize, John.F.Kennedy International Award, Jawaharlal Nehru Award for International Understanding, Nobel Peace Prize, etc.

Many stamps were issued honouring Mother Teresa in India and across the world. To commemorate this Nobel Laureate, India Post issued a 30 paisa postage stamp in 1980.

Robert Koch: Nobel Prize in Physiology or Medicine 1905

Heinrich Hermann Robert Koch was a German physician and microbiologist who was awarded the Nobel Prize for discovering the causative agents of infectious diseases. As one of the main founders of modern bacteriology, he identified the specific causative agents of tuberculosis, cholera, and anthrax and gave experimental support for the concept of infectious disease.

Koch created and improved laboratory technologies and techniques in the field of microbiology, and made key discoveries in public health. His research led to the creation of Koch’s postulates, a series of four generalized principles linking specific micro-organisms to specific diseases that remain today the “gold standard” in medical microbiology. Koch received the Nobel Prize in Physiology or Medicine in 1905 for his research on tuberculosis. Tuberculosis (TB) is a serious illness affecting the tissues especially in the lungs. Robert Koch, who had conducted a range of important studies on illnesses caused by microorganisms, discovered and described the TB bacterium in 1882.

Furthering his research with microbiology, in 1883, Koch travelled to Egypt and India to investigate the causes of cholera and discovered the cholera bacillus. He tracked its transmission by way of polluted water and pointed out that it could be controlled by keeping drinking water clean.

Recipient of many accolades and honours, Koch was awarded The Nobel Prize in Physiology or Medicine 1905. By his achievements in this field, Koch may be considered to be the father of the scientific study of tuberculosis. On the occasion of the centenary of Koch’s discovery of the tubercle bacillus, India Post issued a 35 Paise commemorative postage stamp in 1982.

We have so many more Nobel laureates that have been commemorated on Indian stamps. We will discuss about them in our future blogs. Stay tuned to know more about the Nobel Prizes and prize winners as well! Hope you enjoyed this blog…

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Bio-warfare experts question why Canada was sending lethal viruses to China | Canada.com

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In a table-top pandemicexerciseat Johns Hopkins University last year, a pathogen based on the emerging Nipah virus was released by fictional extremists, killing 150 million people.A less apocalyptic scenario mapped out by a blue-ribbonU.S. panelenvisioned Nipah being dispersed by terrorists and claiming over 6,000 American lives. Scientists from Canada’s National Microbiology Laboratory (NML) have also said the highly lethal bug is a potential bio-weapon. But this March that same lab shipped samples of the henipavirus family and of Ebola to China, which has long beensuspected of running a secretive biological warfare(BW) program. China strongly denies it makes germ weapons, and Canadian officials say the shipment was part of its efforts to support public-health research worldwide. Sharing of such samples internationally is relatively standard practice. But some experts are raising questions about the March transfer, which appears to be at the centre of a shadowy RCMP investigation and dismissal of a top scientist at the Winnipeg-based NML. “I would say this Canadian ‘contribution’ might likely be counterproductive,” said Dany Shoham, a biological and chemical warfare expert at Israel’s Bar-Ilan University. “I think the Chinese activities … are highly suspicious, in terms of exploring (at least) those viruses as BW agents. “ James Giordano, a neurology professor at Georgetown University and senior fellow in biowarfare at the U.S. Special Operations Command, said it’s worrisome on a few fronts. China’s growing investment in bio-science, looser ethics around gene-editing and other cutting-edge technology and integration between government and academia raise the spectre of such pathogens being weaponized, he said. That could mean an offensive agent, or a modified germ let loose by proxies, for which only China has the treatment or vaccine, said Giordano, co-head of Georgetown’s Brain Science and Global Law and Policy Program. More On This Topic “This is not warfare, per se,” he said. “But what it’s doing is leveraging the capability to act as global saviour, which then creates various levels of macro and micro economic and bio-power dependencies.” Asked if the possibility of the Canadian germs being diverted into a Chinese weapons program is connected to other upheaval at the microbiology lab, Public Health Agency of Canada spokeswoman Anna Maddison said this week the agency “continues to look into the administrative matter.” The agency divulged last week that it sent samples of Ebola and henipavirus — which includes Nipah and the related Hendra — to China in March. It was meant for virus research, part of the agency’s mission to back international public-health research, a spokesman said. Last month, an acclaimed NML scientist —Xiangguo Qiu— was reportedly escorted out of the lab along with her husband, another biologist, and members of her research team. The agency said it was investigating an “administrative issue,” and had referred a possible policy breach to the RCMP. Little more has been said about the affair. China has been a signatory to the Biological Weapons Convention since 1984, and has repeatedly insisted it is abiding by the treaty that bans developing bio-weapons. Butsuspicionshave persisted, with the U.S. State Department and other agenciesstating publiclyas recently as 2009 that they believe China has offensive biological agents.Though no details have appeared in the open literature, China is “commonly considered to have an active biological warfare program,” says the Federation of American Scientists. An official with the U.S. Army Medical Research Institute of Chemical Defencecharged last monthChina is the world leader in toxin “threats.” In a2015 academic paper, Shoham – of Bar-Ilan’s Begin-Sadat Center for Strategic Studies – asserts that more than 40 Chinese facilities are involved in bio-weapon production.China’s Academy of Military Medical Sciences actuallydeveloped an Ebola drug– called JK-05 — but little has been divulged about it or the defence facility’s possession of the virus, prompting speculation its Ebola cells are part of China’s bio-warfare arsenal, Shoham told the National Post. Ebola is classified as a “category A” bioterrorism agent by the U.S. Centers for Disease Control and Prevention, meaning it could be easily transmitted from person to person, would result in high death rates and “might cause panic.” The CDC lists Nipah as a category C substance, a deadly emerging pathogen that could be engineered for mass dissemination. Nipah,which was first seen in Malaysia in 1998, has caused a series of outbreaks across east and south Asia, with death rates mostly over 50 per cent, and as high as 100 per cent, according toWorld Health Organizationfigures. It can cause encephalitis, an often-fatal brain swelling, and has no known treatment or vaccine. The Johns Hopkins exercise — called Clade X — involved a version of Nipah modified to be more easily passed between people. America’s Blue Ribbon Study Panel on Biodefence prefaced its 2015 report with a scenario involving the intentional release of Nipah by aerosol spray. China’s extensive and controversial use of CRISPR gene-editing and related technology makes it conceivable the country could bio-engineer germs like Nipah to make them even more dangerous, Giordano said.

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topmixtrends · 5 years

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I REMEMBER THE FRISSON of excitement that rippled through this nation two summers ago as we anticipated the Great American Eclipse. It was ours and ours alone, starting in Oregon and ending in South Carolina. For a few brief minutes we could forget about the hate exploding in Charlottesville and Donald Trump’s “blame-on-both-sides” travesty. The heavens were about to upstage the new president, turn off the lights, and cast our world into a profound, welcome stillness.

But as the skies darkened, traffic jams clogged the roads. Millions tweeted, blogged, broadcast, live-streamed. From a cruise ship, Bonnie Tyler belted out her signature song, “Total Eclipse of the Heart,” to the swaying, bespectacled crowd. Not since 1776 had America been awarded an eclipse all its own, and for one sweet day we were one nation under God, indivisible, heads tilted in awe and anticipation.

It is hard to imagine a celestial symbol better suited to a dramatic tale than a blackened sun. Shakespeare and Milton used it, and so have American writers from Mark Twain to Stephen King. Now add to that list Rachel Barenbaum, who places an eclipse squarely at the center of her ambitious, sweeping debut, A Bend in the Stars. Set in Russia at the beginning of World War I, her novel takes us on a harrowing ride in pursuit of the solar eclipse of 1914.

The significance of these celestial events radiates far beyond science. As the Earl of Gloucester warns in King Lear, “These late eclipses in the sun and moon portend no good for us.” For some, an eclipse is a sign of the devil; for others, it foreshadows the end of the world. And for one of this novel’s protagonists, Vanya Abramov — a passionate young scientist whose hazardous journey we follow over 450 pages — it holds his future. Through it he hopes to disprove Einstein’s early theories about relativity and to secure a life in the United States, where his family can live safely.

Vanya is convinced that Einstein’s original theory is doubly flawed: it failed to take into account the effects of gravity, and it was based on the assumption that objects move at constant speeds. Early on he tells his skeptical sister, Miri: “Gravity bends space and light. The eclipse will prove it. And that proof, it will change everything.”

Even though he is barely out of his teens, there is something of the mad professor in Vanya — his disheveled appearance, his obsession with equations, his distracted air. His sister points out that his scheme sounds delusional, and the reader is likely to agree. He has no way of getting to the eclipse; he doesn’t have the necessary calculations to disprove Einstein; if he actually witnesses the eclipse, he needs photographs of light bending in order to make his case. And for that last, crucial step, he has to rely on an American scientist who has never heard of him.

As if all this uncertainty weren’t deterrent enough, Vanya also faces a powerful enemy at home, a creepy character named Kir. He is the chair of Vanya’s department at the university, a brooding presence with enormous hands. Kir hovers around Vanya waiting to snatch his latest calculations. Already he has stolen a batch of Vanya’s notes and published them under his own name, to great acclaim. When Vanya protested, Kir whispered, “Remember you’re a Jew.” Antisemitism hangs over this novel as an oppressive, ever-present shadow, embodied in any number of characters eager to destroy the idealistic and daring siblings. Through graphic descriptions, Barenbaum brings into sharp focus the threats and assaults Jews endured under the tsarist regime.

At the beginning of A Bend in the Stars, Miri and Vanya are living with their grandmother, a wise, tough woman who serves as the local matchmaker to the Jewish community of Kovno (present-day Kaunas). She escaped the pogroms of Odessa and now sees signs of the same violent hatred infiltrating this town. She says to her grandchildren: “Death will come, again. They’ll blame us Jews. For war. For starvation. Cold. Haven’t I taught you? Hasn’t the past been loud enough?”

The tsar’s army is rounding up Jewish men to use as fodder in the war. Vanya signs up before they can conscript him. That way, he reasons, he can request a post near where the American scientist is expected to witness the eclipse. Miri thinks her brother has made a deadly mistake, that on the battlefield he’d be lost in his equations and wouldn’t survive. Neither, she thinks, would her handsome fiancé, Yuri, who is a surgeon and Miri’s mentor at the local Jewish hospital. She sees in him a softness that she adores, and she is stunned to learn that he, too, has signed up for the army, and that he vows to accompany her brother on his quixotic quest.

Meanwhile, Miri is reluctant to leave Kovno herself, despite her grandmother’s warnings. Recently she has been promoted from doctor to surgeon — a rare accomplishment for a woman in Russia, and unheard of in this town. Just as this most deeply held wish is realized, her family urges her to leave, and she resists. But within days of Vanya and Yuri’s departure, Miri’s life takes a dramatic turn and she has no choice but to flee and go searching for her brother and fiancé. Accompanying her is Sasha Petrov, a dashing defector from the army whom she rescues and hides in her grandmother’s cellar.

Some elements of this setup seem unnecessarily convoluted, and at times the reader’s patience is strained as Barenbaum reiterates the novel’s premise. But as Miri boards her first train with Sasha and we begin the siblings’ harrowing parallel journeys, Barenbaum tightens the pressure and pace. We are with Miri and Vanya every step of the way, racing across Russia, leaping from train to train, and hurrying through short, tense chapters. Like a constantly ticking clock, the chapters written from Vanya’s point of view begin with a reminder of how many days, how many minutes, how many hours remain until the all-important eclipse. In the chapters written from Miri’s perspective, tension comes from the grueling trials she and Sasha endure to reach her brother and fiancé, and a growing attraction that is unspoken but hard to ignore.

In many ways, A Bend in the Stars reads like a folktale: the young heroes face an arduous journey and a difficult quest; they are brilliant and good-looking and pure of spirit. The villains, of course, are odious and ugly — one is described as having a nose and cheeks “littered with broken blood vessels and pores that looked like gaping holes.” But this is not purely a good-versus-evil adventure. A third of the way through, a wily sailor named Dima appears, and with him, the story gains texture. Dima is rough but endearing, a schemer out to make as much money as he can. If that means double-crossing the “pathetic soldiers,” well, that’s just the cost of doing business. When it seems Dima has betrayed Yuri and Vanya, Yuri takes him for a Jew-hater and asks, “Why does it still have to come down to that — to being Jewish?”

Barenbaum names the five main sections of the novel after months in the Jewish calendar, which itself is based on astronomical phenomena. In so doing, she threads into the novel’s fabric two central themes — what it means to be a Jew in Russia in the early 1900s, and the power of celestial forces. “Life doesn’t travel in a straight line,” we are told early on, and Barenbaum herself bends time and space by bracketing the novel with chapters set in modern-day America, which provide a startling and rewarding denouement.

Some of the novel’s best writing is in descriptions of place, whether it be a horrific hospital scene, a train station coated in coal ash, a city’s bejeweled spires, or a river that “smelled of waste and moved so slowly sticks oozed past like slugs.” Barenbaum embeds the reader in a three-dimensional world of slums, cities, and war-ravaged countryside, far from the gauzy shtetl tableaux one remembers from Fiddler on the Roof. She is equally deft at capturing dramatic events. A tussle in an alley, a long-anticipated kiss, a woman giving birth — in simple phrases, Barenbaum builds toward these moments, lingers on them, and wrings out every particle of suspense. The eclipse itself she handles with straightforward effectiveness:

The last shadows fell over the fruit trees in the orchard. Light came through the leaves in the quarter-moon shape of the eclipse.

A black veil slid over to the house and covered the dacha.

The animals that had been so loud just seconds earlier, stilled.

Day turned to night.

Occasionally, the writing is overly intense, as when a character describes an eclipse as a passionate act, “the kind that makes a woman want to jump into the bath with a man after a sweaty day.” Conversely, at times the writing goes limp. In one instance night is simply described as being “as dark as dark can be.” As the story reaches its conclusion, Barenbaum rushes through events and I found myself wishing she’d slow down and allow the story to breathe. The narrative of Dima the sailor, in particular, gets short shrift and is wrapped up in a summary. But these are minor complaints. The novel offers an epic adventure that spins through rich terrain; several engrossing love stories, including one between remarkable siblings; and a scientific intrigue that pits dark ambition against a passionate love of science.

From my deck in Massachusetts on that August afternoon in 2017, I watched the day turn mildly sullen. Crescent-shaped shadows spilled from the colander that I held in my hands. Even though mine was the slimmest of partial eclipses, I felt its power, and my smallness. Likewise, with the eclipse of 1914 as both backdrop and main event, A Bend in the Stars reveals our collective impotence against the whims of the universe. And yet, the characters Barenbaum brings to life demonstrate resilience in the face of prejudice, steadfastness in the face of defeat, and the ability to love even when the world has cracked with hate.

Jean Hey’s essays have appeared in The New York Times Magazine, The Plain Dealer, The Chicago Tribune, and Solstice Magazine. She is currently at work on a novel set in South Africa.

The post Celestial Events: On Rachel Barenbaum’s “A Bend in the Stars” appeared first on Los Angeles Review of Books.

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best2shapewear · 6 years

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Electronic Music History and Today's Best Modern Proponents!

Electronic music history pre-dates the rock and roll era by decades. Most of us were not even on this planet when it began its often obscure, under-appreciated and misunderstood development. Today, this 'other worldly' body of sound which began close to a century ago, may no longer appear strange and unique as new generations have accepted best shapewear much of it as mainstream, but it's had a bumpy road and, in finding mass audience acceptance, a slow one.

Many musicians - the modern proponents of electronic music - developed a passion for analogue synthesizers in the late 1970's and early 1980's with signature songs like Gary Numan's breakthrough, 'Are Friends Electric?'. It was in this era that these devices became smaller, more accessible, more user friendly and more affordable for many of us. In this article I will attempt to trace this history in easily digestible Maternity Shapewear chapters and offer examples of today's best modern proponents.

The Turn of the 20th Century

Time stood still for this stargazer when I originally discovered that the first documented, exclusively electronic, concerts were not in the 1970's or 1980's but in the 1920's!

The first purely electronic instrument, the Theremin, which is played without touch, was invented by Russian scientist and cellist, Lev Termen (1896-1993), circa 1919.

In 1924, the Theremin made its appliances houston concert debut with the Leningrad Philharmonic. Interest generated by the theremin drew audiences to concerts staged across Europe and Britain. In 1930, the prestigious Carnegie Hall in New York, experienced a performance of classical music using nothing but a series of ten theremins. Watching a number of skilled musicians playing this eerie sounding instrument by waving their hands around its antennae must have been so exhilarating, surreal and alien for a pre-tech audience!

Electronic Music in Sci-Fi, Cinema and Television

Unfortunately, and due mainly to car dealerships in houston difficulty in skill mastering, the Theremin's future as a musical instrument was short lived. Eventually, it found a niche in 1950's Sci-Fi films. The 1951 cinema classic "The Day the Earth Stood Still", with a soundtrack by influential American film music composer Bernard Hermann (known for Alfred Hitchcock's "Psycho", etc.), is rich with an 'extraterrestrial' score using two Theremins and other electronic devices melded with acoustic instrumentation.

It is featured on the theme to the original 1960's TV series "Star Trek", and can be heard on contemporary recordings luxury cars houston by the likes of Radiohead and Brian Ferry.

The expressive multi-timbral Ondes Martenot, although monophonic, is the closest instrument of its generation I have heard which approaches the sound of modern synthesis.

The Barrons are generally credited for having widening the application of electronic music in cinema. A soldering iron in one hand, Louis built circuitry which he manipulated to create a plethora of bizarre, 'unearthly' effects and motifs for the movie. Once performed, Houston SEO Expert these sounds could not be replicated as the circuit would purposely overload, smoke and burn out to produce the desired sound result.

The 1970's expanded electronic music's profile with the break through of bands like Kraftwerk and Tangerine Dream, and especially the 1980's when it found more mainstream acceptance.

The Mid 1900's: Musique Concrete

Musique Concrete (meaning 'real world' existing sounds as opposed to artificial or acoustic ones produced by musical instruments) broadly involved the splicing together of recorded segments of tape containing 'found' sounds - natural, environmental, industrial and human - and manipulating these with effects such as delay, reverb, distortion, what career is right for me speeding up or slowing down of tape-speed (varispeed), reversing, etc.

Today this can be performed with simplicity using digital sampling, but yesterday's heroes labored hours, days and even weeks to perhaps complete a four minute piece! For those of us who are contemporary musicians, understanding the history of electronic music helps in appreciating the quantum leap technology has taken in the recent period. But these early innovators, these pioneers - of which there are many more down the line - and the important figures they influenced that came before us, created the revolutionary groundwork that has business analyst certification become our electronic musical heritage today and for this I pay them homage!

1950's: The First Computer and Synth Play Music

1957 also witnessed the first advanced early childhood development synth, the RCA Mk II Sound Synthesizer (an improvement on the 1955 original). It also featured an electronic sequencer to program music performance playback. This massive RCA Synth was installed, and still remains, at the Columbia-Princeton Electronic Music Center, New York, where the legendary Robert Moog worked for a while. Universities and Tech laboratories were the main home for synth and computer music experimentation in that early era.

1960's: The Dawning of The Age of Moog

Moog's bulky telephone-operators' cable plug-in type of modular synth was not one to be transported and set up with any amount of ease or speed! But it received an enormous boost in technical schools near me popularity with the success of Walter Carlos, as previously mentioned, in 1968. His LP (Long Player) best seller record "Switched-On Bach" was unprecedented because it was the first time an album appeared of fully synthesized music, as opposed to experimental sound pieces.

It wasn't until the early 1970's, however, when the first Minimoog appeared that interest seriously developed amongst musicians. This portable little unit with a fat sound had a significant impact becoming part of live music kit for many touring musicians for years to come. Other companies such as Sequential Circuits, Roland and Korg began A+ certification training producing their own synths, giving birth to a music subculture.

I cannot close the chapter on the 1960's, however, without reference to the Mellotron. This electronic-mechanical instrument is often viewed as the primitive precursor to the modern digital sampler.

The Mellotron is legendary for its use on the Beatles' 1966 song 'Strawberry Fields Forever'. A flute tape-bank is used on the haunting introduction played by Paul McCartney.

The instrument's popularity burgeoned and was used on many recordings of the era such as the immensely successful Moody Blues epic 'Nights in White Satin'. The 1970's saw it adopted more and more by progressive rock bands. Electronic pioneers Tangerine Dream featured it on their early albums.

With time and further advances in microchip technology though, this charming instrument became a relic of its period.

1970's: The Birth of Vintage plus size shapewear Electronic Bands

The early fluid albums of Tangerine Dream such as "Phaedra" from 1974 and Brian Eno's work with his self-coined 'ambient music' and on David Bowie's "Heroes" album, further drew interest in the synthesizer from both musicians and audience.

Kraftwerk, whose 1974 seminal album "Autobahn" achieved international commercial success, took the medium even further adding precision, pulsating electronic beats and rhythms and sublime synth melodies. Their minimalism suggested a cold, industrial and computerized-urban world. They often utilized vocoders and speech synthesis devices such as the gorgeously robotic 'Speak and Spell' voice emulator, the latter being a children's learning aid!

While inspired by the experimental electronic works of Stockhausen, as artists, Kraftwerk were the first to successfully combine all the elements of electronically generated music and noise and produce an easily recognizable song format. The addition of vocals in many of their songs, both in their native German tongue and English, helped earn them universal acclaim becoming one of the most influential contemporary music pioneers and performers of the past half-century.

Kraftwerk's 1978 gem 'Das Modell' hit the UK number one spot with a reissued English language version, 'The Model', in February 1982, making it one of the earliest Electro chart toppers!

Ironically, though, it took a movement that had no association with EM (Electronic Music) to facilitate its broader mainstream acceptance. The mid 1970's punk movement, primarily in Britain, brought with it a unique new attitude: one that gave priority to self-expression rather than performance dexterity and formal training, as used appliances houston embodied by contemporary progressive rock musicians. The initial aggression of metallic punk transformed into a less abrasive form during the late 1970's: New Wave. This, mixed with the comparative affordability of many small, easy to use synthesizers, led to the commercial synth explosion of the early 1980's.

A new generation of young people began to explore the potential of these instruments and began to create soundscapes challenging the prevailing perspective of contemporary music. This didn't arrive without battle scars though. The music industry establishment, especially in its media, often derided this new form of expression and presentation and was anxious to consign it to the dustbin of history.

1980's: The First Golden Era of Electronic Music for the Masses

Gary Numan became arguably the first commercial synth megastar with the 1979 "Tubeway Army" hit 'Are Friends Electric?'. The Sci-Fi element is not too far away once again. Some of the imagery is drawn from the Science Fiction classic, "Do Androids Dream of Electric Sheep?". The 1982 hit film "Blade Runner" was also based on the same book.

Although 'Are Friends Electric?' featured conventional drum and bass backing, its dominant use of Polymoogs gives the song its very distinctive sound. The recording was the first synth-based release to achieve number one chart status in the UK during the post-punk years and helped usher in a new genre. No longer was electronic and/or synthesizer music consigned to the mainstream sidelines. Exciting!

Further developments in affordable electronic technology placed electronic squarely in the hands of young creators and began to transform professional studios.

Designed in Australia in 1978, the Fairlight Sampler CMI became the first commercially available polyphonic digital sampling instrument but its prohibitive cost saw it solely in use by the likes of Trevor Horn, Stevie Wonder and Peter Gabriel. By mid-decade, however, smaller, cheaper instruments entered the market such as the ubiquitous Akai and Emulator Samplers often used by musicians live to replicate their studio-recorded sounds. The Sampler revolutionized the production of music from this point on.

In most major markets, with the qualified exception of the US, the early 1980's was commercially drawn to electro-influenced artists. This was an exciting era for many of us, myself included. I know I wasn't alone in closeting the distorted guitar and amps and immersing myself into a new universe of musical expression - a sound world of the abstract and non traditional.

At home, Australian synth based bands Real Life ('Send Me An Angel', "Heartland" album), Icehouse ('Hey Little Girl') and Pseudo Echo ('Funky Town') began to chart internationally, and more experimental electronic outfits like Severed Heads and SPK also developed cult followings overseas.

But by mid-decade the first global electronic wave lost its momentum amidst resistance fomented by an unrelenting old school music media. Most of the artists that began the decade as predominantly electro-based either disintegrated or heavily hybrid their sound with traditional rock instrumentation.

The USA, the largest world market in every sense, remained in the conservative music wings for much of the 1980's. Although synth-based records did hit the American charts, the first being Human League's 1982 US chart topper 'Don't You Want Me Baby?', on the whole it was to be a few more years before the American mainstream embraced electronic music, at which point it consolidated itself as a dominant genre for musicians and audiences alike, worldwide.

1988 was somewhat of a watershed year for electronic music in the US. Often maligned in the press in their early years, it was Depeche Mode that unintentionally - and mostly unaware - spearheaded this new assault. From cult status in America for much of the decade, their new high-play rotation on what was now termed Modern Rock radio resulted in mega stadium performances. An Electro act playing sold out arenas was not common fare in the USA at that time!

In 1990, fan pandemonium in New York to greet the members at a central record shop made TV news, and their "Violator" album outselling Madonna and Prince in the same year made them a US household name. Electronic music was here to stay, without a doubt!

1990's Onward: The Second Golden Era of Electronic Music for the Masses

Before our 'star music' secured its hold on the US mainstream, and while it was losing commercial ground elsewhere throughout much of the mid 1980's, Detroit and Chicago became unassuming laboratories for an explosion of Electronic Music which would see out much of the 1990's and onwards. Enter Techno and House.

Detroit in the 1980's, a post-Fordism US industrial wasteland, produced the harder European influenced Techno. In the early to mid 80's, Detroiter Juan Atkins, an obsessive Kraftwerk fan, together with Derrick May and Kevin Saunderson - using primitive, often borrowed equipment - formed the backbone of what would become, together with House, the predominant music club-culture throughout the world. Heavily referenced artists that informed early Techno development were European pioneers such as the aforementioned Kraftwerk, as well as Yello and British Electro acts the likes of Depeche Mode, Human League, Heaven 17, New Order and Cabaret Voltaire.

Chicago, a four-hour drive away, simultaneously saw the development of House. The name is generally considered to be derived from "The Warehouse" where various DJ-Producers featured this new music amalgam. House has its roots in 1970's disco and, unlike Techno, usually has some form of vocal. I think Giorgio Moroder's work in the mid 70's with Donna Summer, especially the song 'I Feel Love', is pivotal in appreciating the 70's disco influences upon burgeoning Chicago House.

A myriad of variants and sub genres have developed since - crossing the Atlantic, reworked and back again - but in many ways the popular success of these two core forms revitalized the entire Electronic landscape and its associated social culture. Techno and House helped to profoundly challenge mainstream and Alternative Rock as the preferred listening choice for a new generation: a generation who has grown up with electronic music and accepts it as a given. For them, it is music that has always been.

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tortuga-aak · 7 years

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Edison, Zuckerberg, and Bezos follow the '10,000 experiment rule' — and its secret to success comes down to math

AP Photo/Ted S. Warren

Thomas Edison — and modern day business leaders like Jeff Bezos and Mark Zuckerberg — use deliberate experimentation as their main strategy for success.

One of the most popular formulas for mastering anything says you need to spend 10,000 hours of deliberate practice to become an expert.

But deliberate practice isn't helpful in every field.

In technology and business, the key to success is in the scientific process.

The more experiments you do, the more likely you are to find a formula for success.

Deliberate experimentation is more important than deliberate practice in a rapidly changing world.

Most people think that Edison invented the first light bulb.

They're wrong.

In fact, Edison was spectacularly late to the game.

In 1878, when the 36-year-old inventor decided to focus on building a light bulb, 23 others had already invented early versions called arc lamps, some of which were being used commercially to light streets and large buildings.

So how did Edison win in such a crowded field when he was so far behind?

He and his team spent a year working day and night doing thousands of experiments.

On October 21, 1879, they succeeded, creating a light bulb for everyday use in the home.

Edison would go on to pioneer five different multibillion-dollar fields with his invention factory: electricity, motion pictures, telecommunications, batteries, and sound recording. In today's terms, you can think of Edison as Elon Musk, Jeff Bezos, and Mark Zuckerberg all rolled into one.

What was the key to Edison's incredible success? In two words — deliberate experimentation.

For Edison, building a company was synonymous with building an invention factory.

The technique is just as powerful today. "Our success at Amazon is a function of how many experiments we do per year, per month, per week, per day," Jeff Bezos has claimed. In a recent interview, Mark Zuckerberg explained, "One of the things I'm most proud of that is really key to our success is this testing framework … At any given point in time, there isn't just one version of Facebook running. There are probably 10,000."

Bezos and Zuckerberg aren't saying that experimentation is one of many strategies. They are saying it is THE strategy.

Why 10,000 experiments beat 10,000 hours

Perhaps the most popular current success formula is the 10,000-hour rule popularized by Malcolm Gladwell. The idea is that you need 10,000 hours of deliberate practice to become a world-class performer in any field.

Research now tells us, however, that this formula is woefully inadequate to explain success, especially in the professional realm. A 2014 review of 88 previous studies found that "deliberate practice explained 26% of the variance in performance for games, 21% for music, 18% for sports, 4% for education, and less than 1% for professions. We conclude that deliberate practice is important, but not as important as has been argued."

This means that deliberate practice may help you in fields that change slowly or not at all, such as music and sports. It helps you succeed when the future looks like the past, but it's next to useless in areas that change rapidly, such as technology and business.

Wikimedia Commons/Library of Congress

What Edison and others (see more examples below) teach us is that we should maximize the number of experiments, not hours.

Instead of the 10,000-hour rule, we need what I call the 10,000-experiment rule.

Throughout history, the scientific method has arguably produced more human progress than any other philosophy. At the heart of the scientific method is experimentation: develop a hypothesis, perform a test to prove the hypothesis right or wrong, analyze the results, and create a new hypothesis based on what you learned. The 10,000-experiment rule takes this proven power of experimentation out of the lab and into day-to-day life.

Following the 10,000-experiment rule means starting your day with not just a to-do list but a "to-test" list like Leonardo Da Vinci. According to Walter Isaacson, one of Da Vinci's biographers, "Every morning his life hack was: make a list of what he wants to know. Why do people yawn? What does the tongue of a woodpecker look like?"

As you go through your day, following the 10,000-experiment rule means constantly looking for opportunities to collect data rather than just doing what you need to do. It means adding a deliberate reflection process based on reviewing data before the day ends.

For example, do you want to improve your sales results by asking a new question at the end of sales calls? Now every sales call becomes an opportunity to ask that question and collect data so that you can learn how to make better sales calls in the future. Do you want to sleep better so that you can have more energy during the day? You can research all the best practices for falling asleep, turn the most compelling ones into a routine, use a sleep tracker to get objective data on the quantity and quality of your sleep, and then make adjustments to your routine to improve the results.

To achieve 10,000 hours of deliberate practice requires three hours of deliberate practice per day for 10 years. I argue that the 10,000-experiment rule is just as difficult, yet doable, requiring three experiments per day.

Why 10,000 experiments yield success, according to decades of academic research

If Edison's approach is universal, you would expect it show up repeatedly among top performers. As it turns out, the academic world has been studying the phenomenon for decades, and that's exactly what they've found.

Researcher Dean Keith Simonton has spent his career studying the world's preeminent creative achievers and painstakingly dissecting their careers to find patterns. To share his findings, he has published more than 340 academic articles and 13 books, including "Greatness: Who Makes History And Why" and “Origins of Genius: Darwinian Perspectives on Creativity."

Two fascinating insights have emerged from Simonton's (and others') research. The first is that most innovative ideas are generated by a small number of superstars. In any given field, the top 10% of performers produce more than 50% of breakthroughs.

Why are these superstars so much more successful? Is it because their ideas are just superior from the get go? Here's what is really fascinating: The answer is no. The second lesson to learn from Simonton's research is that superstars produce just as many bad ideas as everyone else — they just produce more ideas overall. Having many more ideas means they have more failures but also more hits.

"What is especially fascinating is that creative individuals are not apparently capable of improving their success rate with experience or enhanced expertise," Simonton has written. "Creative persons, even the so-called geniuses, cannot ever foresee which of their intellectual or aesthetic creations will win acclaim."

In other words, the key to maximizing creative success, according to the theory, is producing more experiments.

Editorial Note: For a more nuanced understanding of the Blind Variation And Selective Retention, you can read Simonton's 2011 Academic Paper, Creativity and Discovery as Blind Variation: Campbell's (1960) BVSR Model After the Half-Century Mark.

From health to stand-up comedy: The 10,000-experiment rule applies across fields

When you consider many of the most important achievements across different fields, you often see this theory at play.

A Fast Company article written by advertising legends Ben Clarke and Jon Bond points out that thanks to a combination of new technologies and lean business approaches, the world's most innovative businesses are running thousands of experiments more annually:

Courtesy of Michael Simmons

In academia, Einstein is best known for his paper on relativity, but he published 248 other papers. Paul Erdos coauthored more than 1,500 mathematical research articles during his career. 1,500! As you might expect, Erdos made significant contributions, and although most of his papers have been forgotten, a handful of them made him one of the most influential mathematicians of the 20th century! Now consider that fewer than 1% of scientists publish a paper every year.

In the world of entertainment, SNL, one of the longest-running TV shows in history, has a grueling weekly experimentation process of brainstorming, researching, and rewriting scripts. Only a tiny percentage of sketch ideas ever air. The iconic cartoons published by The New Yorker are the result of a process in which 50+ freelancers submit up to 10 sketches each for consideration per week:

Courtesy of Michael Simmons

Pixar, one of the most successful movie studios in history, developed 100,000+ storyboards (i.e., step-by-step plot sequences) for the film Wall-E's ultimate plot. 100,000!

Those who enthusiastically embrace experimentation in their personal lives tend to reap significant benefits as well. Take, for example, Shonda Rhimes, producer and writer of Grey's Anatomy, Scandal, and other hit shows. She set up an experiment she called "The Year of Yes" to confront her debilitating social anxiety, limit her workaholism, and accept herself. Instead of continually saying no to social experiences, she committed to saying yes for an entire year. Among the many lessons she learned from the experience was that to know what to focus on you first need to try many things.

Entrepreneur Jia Jang took something most of us fear — rejection — and made it into an experiment with his 100 Days of Rejection project. Every day for 100 days he forced himself to do something socially awkward, where the result was likely to be rejection (i.e., asking to play soccer in someone's backyard), all while video-recording himself. Journalist Elizabeth Gilbert quit her job and marriage and then spent a year traveling the world to discover herself. She divided the year into three experiments: eat, pray, and love. Her experience turned into a best-selling book and movie. Young entrepreneur Ari Meisel used data and experimentation to cure his Crohn's disease, which his doctors said could not be cured.

Understanding the math: If you can do enough experiments, success is virtually guaranteed

If experimentation is so powerful, why don't more people do it?

I say that there are a few reasons…

First, we live in a culture that is obsessed with productivity: getting more done and less time, systematizing, automating, and even outsourcing. If one has a frame of short-term productivity, then taking time out of your day to nurture a creative process with unpredictable results that don't pay off immediately is extremely hard. What is productive in the long-term often feels not productive in the short-term.

Also, performing experiments is time intensive. To squeeze out some deliberate learning every day requires at least 15 minutes, but even more challenging is that most experiments fail. While failure is increasingly celebrated in our society, most people still have a visceral feeling of shame and disappointment that comes from it.

It wasn't until I understood the math behind experimentation that I was able to get past my fear of failure.

1. If you do enough experiments, the odds are in your favor. The quality of each subsequent experiment increases because you will tend to apply the lessons learned from previous experiments. Those lessons make your success curve exponential rather than linear.

Courtesy of Michael Simmons

2. One big winner pays more than enough for all the losing experiments, as Jeff Bezos explained in a recent SEC filing:

Given a ten percent chance of a 100 times payoff, you should take that bet every time. But you're still going to be wrong nine times out of ten. We all know that if you swing for the fences, you're going to strike out a lot, but you're also going to hit some home runs. The difference between baseball and business, however, is that baseball has a truncated outcome distribution. When you swing, no matter how well you connect with the ball, the most runs you can get is four. In business, every once in awhile, when you step up to the plate, you can score 1,000 runs.

3. Today's tools allow anyone to increase their quantity of experimentation by an order of magnitude. A new breed of affordable apps, services, and trackers help us learn about what works for other people, collect data on ourselves, interpret it, stay accountable, and track our progress in real time. In the health space, for example, these new tools have led to the biohacking and quantified self-movements where people use blood glucose levels, sleep, activity, heart rate, gut biome, and genetics to facilitate their experimentation. Similar experimentation explosions are happening in the world of relationships, sexuality, intelligence, happiness, productivity, and personal finances.

If so many people across so many fields can incorporate deliberate experimentation, so can you!

Edison didn't intend to just be more inventive. He created an experimentation factory to guarantee that he and his team consistently released new inventions. Edison's goal, for example, was one minor invention every 10 days and one major invention every six months. When he was on the edge of a major breakthrough, such as the light bulb, he had a unique process called drag hunts in which he would generate and test hundreds, even thousands of possibilities.

So what could the 10,000-experiment lifestyle look like for you?

I recommend taking two steps now that could change everything for you.

First, identify at least one jackpot experiment that could change your life. The road to deliberate experimentation starts with one experiment, but not all experiments are created equal. Some experiments are extremely time and money intensive. Some create incremental changes, while others could be life changing. Some have a 1% chance of success. Others are a sure bet. When picking a first jackpot experiment to pursue, you want to pursue an experiment that is easy to do monetarily and timewise, has the potential to be life changing, and carries a reasonable probability of paying off. I call these Jackpot experiments.

Second, I recommend running three experiment tests each day.When you start the day, identify three tests you want to perform. Collect data throughout the day, and before the day ends, analyze the results.

Try this for one month, or 30 tests, and see the difference it makes!

Thank you to Ian Chew and Shizuka Ebata for reviewing the article. Special thanks to Eben Pagan for reviewing the article and coining the phase ‘10,000-experiment rule.'

If you're interested in really taking action to become a deliberate experimenter, we spent dozens of hours creating a free mini-course that includes several email lessons and a webinar to help you be successful with the 10,000-experiment rule.

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Golf equipment are seeking for acclaim for digital gaming

ALBANY — Facing declining club in lots of regions of upstate The big apple, veterans and fraternal Clubs are pushing state leaders for help in retaining the doorways open via allowing them to accumulate revenue-boosting video gaming machines.

The present day “primitive” type of bell jar pull tabs legal in Ny, advocates for the proposal say, have not been up to date in at least two many years whilst nation-licensed casinos, racetracks and the lottery all get to use reducing aspect era.

Leaders of veterans corporations these days informed kingdom officials that obtaining new era at their Clubs will assist appeal to younger participants and try to opposite what has been a fifteen-12 months slide in charitable gaming income across the kingdom.

“We must appeal to younger veterans to be able to preserve our applications going,” Dennis Sullivan, state VFW commander, informed members of the kingdom Gaming Commission this month.

The money from charitable video games enables maintain the lighting fixtures on and will pay the heating bills for the Oneonta Veterans Membership, said Len Carson, the meantime president of the umbrella company for an array of army veterans Golf equipment. The sales also helps the Membership provide citizenship awards to neighborhood excessive faculty college students, he stated.

Tom McGowan, the commander of the Thomas J. Duffy Veterans of Foreign Wars post in Plattsburgh, agreed that recruiting younger veterans for the agency has turn out to be an increasing number of difficult. The charitable games, along side renting out the corridor for such events as a latest dart tournament, assist pay the bills, because the Club is unable to put in Short Draw, a kingdom-run Lottery recreation, due to the fact its hours are limited, McGowan stated.

“Our revenue sources are restrained, and so we ought to use a few help,” stated McGowan, noting the model of pull tabs used now could be cumbersome to run. In line with the Council of personal corporations (CONPOR), a set formed 35 years ago to help fraternal corporations inclusive of the Elks and the Moose, sales from charitable gaming fell by using $49 million throughout Ny from 2001 to 2015.

Hand held digital games Handheld electronic video games are an economical answer for lots of existence’s “down instances”. even as you can usually move the costly course by means of buying one of the steeply-priced gaming systems, only a few of those video games can compete with a number of the old standbys. video games like solitaire, chess, crossword puzzles, word search and Suduko are only a few of the reasonably priced digital Hand-held video games that you should buy at game materials and electronic boutiques, department and discount stores or even in some grocery stores.

Now not best are Hand held video games a top notch desire for the kids (it almost removes the whining from the back seat), but adults as properly. go everywhere wherein there is lots of ready going on – the medical doctor’s workplace or any motor motors – and you’ll likely see some of adults engrossed in a rousing sport of Spider Solitaire or Blip Soccer. I understand numerous boyfriends and husbands who experience going purchasing with their sweetie, but who just cannot “grasp” as long as they can. I’ve visible many a person sitting out of doors a changing room door with a handbag and purchasing baggage at their toes and a Hand-held digital sport in their hands.

The digital Handheld recreation itself has come an extended way because the originals. Now you could get games that provide history lighting fixtures. Best for playing at 3:00 AM whilst you cannot sleep. some have forgone buttons altogether and offer a hint display or a stylus. And yet most control to stay beneath $25. I endorse which you take lots with you on any circle of relatives holiday. No longer simplest will they help pass journey time, but almost each vacation has at least one day in which travelers discover themselves caught in the lodge room due to awful climate, illness or just undeniable vintage leisure park exhaustion.

most of modern board games now come in a Handheld digital shape. Many families have forgone the large game field with all of the messy pieces, cards and pretend cash and transformed to electronic versions in their favorite video games for circle of relatives night. The guideline in maximum households is that the loser has to choose up and put the game away. Switching to an digital Hand-held version will make that dishonorable project a whole lot simpler to bear!

A fantastic added advantage to gambling digital Hand-held video games is its ability to work wonders for your strain degrees. People who can get engrossed in a mind puzzle as opposed to get irritated at an unavoidable scenario have tons lower blood strain and might go beyond maximum of something life throws at them.

Famous electronic games – They’re Not Only for children Anymore Superheroes war monsters and area invaders in speedy action video games. Players take on the position of those superheroes in epic battles. In different video games Gamers race automobiles, boats, motorcycles, helicopters and planes towards villains and even much less evil warring parties to win high stakes races.

game titles including Burnout3: Takedown, ESPN, NHL – 2K5, Silent Hill 4: The Room, Terminator three: The Redemption, Donkey Kong 3, and, Pokemon have joined the country wide lexicon as youngsters have flocked to the entice of electronic games.

Parents, instructors, preachers and politicians, have criticized and in some instances even banned electronic video games. digital video games had been blamed for poor grades, negative conduct and even terrible health. If you concentrate lengthy sufficient, digital games are responsible for all of the issues our young humans experience today.

One element is certain. youngsters love them. They purchase and play them in ever increasing numbers. electronic video games are here to stay.

people have been trying to play video games on computer systems almost for the reason that days of the very first pc. As early as 1950, Claude Shannon, a mathematician and engineer, believed that computers might be programmed to play chess in opposition with human beings. He became intrigued with the idea of artificial intelligence. In pursuit of this idea researchers and scientists designed crude games that would be played at the massive and clumsy computers of the 1950s and Nineteen Sixties.

The very first digital video games as a patron product had been built as coin operated arcade video games inside the early 1970s. In 1971 Nolan Bushnell, Ted Dabney and Al Alcorn fashioned the primary recreation employer, Atari. Soon once they produced the first game console and their first digital recreation, Pong, as an arcade sport. Pong changed into right now a hit.

This achievement led Atari and other firms to begin paintings on domestic recreation consoles that might be hooked to Television units. Atari launched its first home console in 1977. Quickly video games have been placed on cartridges that would be modified at the whim of the player.

by using 1979, the enterprise, Activision, turned into shaped through former Atari sport designers. The purpose of this new enterprise become to focus strictly on sport software. They decided to go away the development of system to play digital games to other humans. This changed into the primary agency to build a business of growing and promoting electronic games software.

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