Hello and welcome to the drum history podcast. I am your host Bart van der Zee and today I'm joined by my friend Maddie Meyer and we're gonna be talking about the history of traditional country Western drummers Maddie, what's going on man? Hey Bart, how you doing? Thanks for having me. Absolutely This is this is really cool because we've we've talked for a while and have become friends through social media and all that stuff and just I'm pumped to have you on the show because like a lot of a lot of times I can say I don't know much about this But this topic I really don't know much about not growing up as a country Western guy. So really glad to have you here Yeah, well, thanks, man. Yeah, man. I love talking about it. So where would you want to start per usual? Let's just jump right in with where does country Western drumming begin and maybe explain the difference between Country and Western and all that good stuff. Sounds good. Okay, cool Well, traditional country Western drumming got it start in the dance halls of Oklahoma, Texas rural Louisiana, New Orleans, the Midwest, California and even New York City in the late 30s and 40s with Western swing Cajun music jazz and polka and Western swing is a combination of jazz traditional string band music cowboy songs and polka and one of the most famous Western swing drummers is Smokey Dackett who was the first drummer for the Texas Playboys and even a young young Joe Morello played for the Arkansas Travelers back then It's basically jazz minus the call and response a kind of swung polka like You know picture Jean Krupa wearing spurs that kind of thing Exactly. Yeah, and Cajun music is French Canadian folk music Akkadian folk music mixed with American string band music and Creole music in Louisiana And one of the most famous drummers of this age era of Cajun swing drummers was Hershey pork chop Roy who played with Harry Schott's and then of course, you know You've got jazz drumming that started in New Orleans with the second line and trap drumming at baby dots So that that's all that so when you combine this and that's all dance hall music So when you combine this dance hall music with the hillbilly string band Country blues and spears pools of the southeast like the Carter family the Johnson brothers L. Watson and so on You get what we now know as country and Western Not to mention Jimmy Rogers who recorded with Louis Armstrong and emin miller who originally recorded love sick blues in 1925 with drums So so that's that's where the term country and western comes from, you know The the yeah, like the string band music mixed with the dance hall music Man, that's to me. It's something that I never really would have put together the jazz it seems like worlds apart jazz and sort of the string band Era of music, but man It just goes to show that everything builds off of everything else and everything is influencing all the other different kinds of music So that's just fascinating Exactly like when you think of, you know, hillbilly string band and old-time music You don't necessarily think of the drums, right? But you know The the rhythms that that that music had its own progressive traditions too So like the rhythms created by the banjos And flat footing and the bones were later kind of adapted to Into country music drumming, you know, yeah So yeah, it's rich, but you know, but then when you think of western swing and jazz, you almost always You know, think of a drum kit, you know now what um, what year like what what era are we talking about right right now? Oh, you know, so like This is you know, this is we're talking this earlier part here is I guess you could clump in with the western swing era Which you know, that's the late 30s and 40s Cool Yeah But the the truth is the drums have been part of country music tradition like long before the term You know country music existed, you know during the civil war even like Fife and drum music, you know military drumming drumming was used You know to move positions on the battlefield as well as entertain troops But many of the melodies that the fives would play were adaptations of american and english and irish folk tunes That we now refer to as old-time music and the rudimentary drumming that you know went with that music Followed the melodies very tightly. They follow the rhythm of the pipes very tightly And you know that that rudimentary vocabulary became part of you know, the syncopated Brass bands and second-line drumming in the warlands, you know, which eventually led to To development of the trap kit, you know, so that so it even like the tradition of you know fife and drum music Having that old-time background, which is such a big part of country music And then all the rudiments that went with that later inspiring You know the new orlan stuff. I mean that's that's the big connection right there for the music But that goes way that goes way back. Yeah, it's it's fascinating to me about how many of these topics kind of go back to military and army uses Of the style and I think that's true with a lot of different like even technology in the world A lot of things that you like the internet everything goes back to like the military. Yeah, it's pretty fascinating. But sure. Yeah It is it is fascinating. So moving forward then. Yeah into the thirties with the western swing kind of feel Where do we go from there? Okay, so like, you know, the you know, drumming has been part of the music longer than it has not been and in the early days Uh, there was no such thing as a country drummer. Like I said before most drummers background were in jazz Show drumming and polka. So outside of western swing in the in the forties, you know Drummers had to make it up as they went along drummers like seris coursey nashville's first studio drummer He had to make it up as he went along seris recorded with red foley Hank william passy kline and even bill monroe and the bluegrass boys now This is the late forties into the early fifties From you know from the late forties and early fifties drums were kind of a dirty word in nashville And had no place outside of novelty now. Why why is that? Because you know, they were it was becoming a brand and the brand didn't include Drums, you know the the brand included string band music and that's and that's where that kind of Stayed but really people like, you know, oh, you know drums were in a big part of country music But really leading up to it and there's only like this little seven year Period where there was, you know, no drums in country music, which leads me to You know the bass brush I call this the prohibition era of country drumming In the early fifties the base the bass brush was used to reinforce the backbeat along With the soccer them guitar in place of the drums This is where a drum head was attached to the upright bass and the bass player Would simultaneously plus the bass and strike a drum a drum head with a brush with the same hand This is heard on a lot of the early hank williams hank snow and web pierce recordings of the era You know, so I don't know why they were just like they just didn't want to have I don't know. There's really no answer to that question. It's like it's almost hypocritical Like it's like, uh, we don't want drums, but we're gonna do We're gonna turn the bass player into a drummer and my immediate kind of like, uh, practical Thought of my brain goes to like, um, is it maybe one less mouth to feed? One less person to pay in the band. I mean that might be too simple Yeah, you know, I really I don't know the full history on like why they, you know, they came up with The bass brush head, but look it up online. I mean the pictures of it are super cool Um, I only know of one bass player Uh that that actually does it It's so cool to this day.  There's no kick and You know, I guess it could be the sound of the pick on on the strings But no that and then it turns out to be this and The most famous bass players to do that were Ernie Newton Uh lightening chance and uh junior husky Hmm Okay, yeah That's funny. They almost like they almost classify as like drummers as well. Like they're like 80% bassist 20% drummer Exactly and you know, and it's significant enough because that is the birth of the country sound The classic country sound So they have to be kind of clumped in with the drummers. Yeah for sure because they yeah And so you said there was about a seven-year period So then we get out of this kind of dark ages of the drums and move You know into the drum set In the mid fifties uh jazz drummer and national native buddy Harman developed the country shuffle beat recording with ray price And uh, he did this with a one stick and one brush And this became the standard practice for country drumming The classic example of this would be on ray prices My shoes keep walking back to you Um, this method would would be then applied to the the shuffle waltz and the 12-8 groove Yeah, so that's kind of so now we're moving they they're letting the snare drum into the music but uh It's still it emerges into the music but with a truly unique Style, you know one brush one stick it was almost like they were trying to take the whole drum set and put it into Just just the snare because you can get all those sounds out of the snare Yeah with the brush having a different texture and then the rim click now when I say one stick one brush I don't necessarily mean like Uh a big open backbeat on the snare drum although that did happen from time to time But mostly with your standard, you know rim click now What would that look like like a right your your left hand would be the stick doing the rim click and your right hand would Kind of do the brush kind of like a shuffle or what did that actually like physically? What were they what were they doing your left hand doing the rim click and your right hand's going So that's basically the very standard of country shuffles You know, they they were they were just kind of trying to figure it out, you know There was they they're like I said before there was no Outside of western swing there was no formula and they wanted to come up with something that was truly their own That's awesome. You know, yeah Cool. Yeah But buddy buddy also, you know recorded with many pop acts Including Roy Orbison and the ebbly brothers. He plays on Kathy's clown and pretty woman, you know So Yeah, you know and and and and then buddy went on to be the first call drummer in Nashville For as a member of the a team and and ended up playing on a you know, a great many of country's biggest hits, you know So basically he was a jazz drummer and his sensitivity to the music gave each tune its own unique drive So it may seem that a lot of the groove sounds similar The art of country drumming is in the details, you know drummers would create different combinations using You know two sticks two brushes one stick one brush Leaving the kick out of the a section the most important thing was to support the tune Without distracting the listener from the story and the song so the story came first And and the drummer just had to keep it moving Yeah, it's really cool how the I think the softer or like I should say the more nuance you have in your playing Not playing the kick on the first verse like you said It's just it's so impactful then the second that the kick comes in on the chorus or something Then you go. Oh, that's what he's doing. It wasn't there and now you can feel it. So very very smart Yeah, it's it's a really creative way to have there be a change Without there being a change. Yeah, it's subconscious almost I I I just I always remembered when I Was younger and listening to country music I could I mean it just seemed like the chorus has had so much more life And it was just as simple as putting the kick on one and three and then dropping it back out again During this, you know when the verse came back in Yeah, really. Yeah, you have to like fight the urge to not always do You know the one and three and the snare on two and four. It's like just Play it cool and sure you have to try it no nuts to then realize how you know Being simple is is really good. Yeah. I mean, but the cool thing about it is, you know, you get to tailor each Grooves to each song, you know, like to go with the melody or if like there's a Specific rhythm in the melody that needs to be emphasized. You can do that with a click You know or or like drop a tiny little bomb The way gene kruppel would on the bass drum just to set up like beat two. Yeah, exactly It's like it's it's like mini mini mini mini big band drumming. Yeah, kind of that's a great way to put it Yeah, which makes sense because all these guys that were doing these sessions back then were Jazz drummers so it makes complete sense. You know what you think about it It does so jumping on the side here a little bit were they This was all happening in nashville. Obviously, so Was that like the hot spot to be and everyone who wanted to be in this kind of world was moving there to be a country Drummer or was it just music in general was happening in there and they're going there to get work Well, the industry moves to nashville Uh, when they opened up all the studios in nashville like when deca came here at the qualms at hut, uh, and uh that's when nashville kind of started to take off as a The music industry capital, I guess kind of yeah, but I don't think it's I don't think it was like today Where you know people were moving here in hordes. I think there were people were coming here But I don't think it was the way it was today for sure I also I don't think that there were an abundance of drummers like You know waiting in live, you know trying to find auditions and stuff to be in bands, but but um But yes in a lot of ways this was the place but country music was popular all over the country at this time so, you know, yes nashville was made, you know, I guess Some would consider it to be the capital and it is the capital But you know it was happening everywhere for sure. Okay. Cool. That's a good good way to pick the picture Yeah Well, I guess on through the 60s, you know, uh, it wasn't until the mid 60s that drummers started becoming drummers For the sake of of country drumming For the first time there was a right and a wrong way to play country drums drummers famous drummers like drummers like mel king willy can too helen price blendavis arney adam Willie ackerman they all they all had a vocabulary to work with You know, they they this is what you do. This is how you play country drums The blueprint had basically been kind of laid out before them Which is it's just cool because it hadn't been that much earlier, you know, it wasn't that long before that it was Decided it all happened really quickly. I mean you can say this I mean think about the different kinds of music that was happening in the 50s and 60s I mean it all happened real quick. Very true.  This is how you play rock and roll This is how you play blues, you know, it all started to find its place Yeah, you're right because rock and roll has just been going on.  Like you're not having like now It's 50,000 different genres of every kind of music. So, um, but it's starting to branch out to that more And become more nuanced.  Yeah And and this this groove is is interesting because It's it's it's kind of straight. It's kind of swung But it almost sounds like a surf beat with the rim clicks instead of an open snare And this is I I don't know if they were trying to compete with rock and roll or what probably, you know Yeah, but uh, the pioneers of this groove Would be glenn davis and arnie adams who uh, we're working with uh, george jones and johnny paycheck and The best example of that groove is on the song. Uh, love bug It's just this funny like it's straight eighth, but it's it's It's swung. I love it. It's one of the one of the weirder grooves of all time, but it's so cool Yeah, it's uh, it sounds more modern from what i'm just kind of gathering from from not actually hearing that song But it's like it sounds like like you have to compete you have to Push forward and become more more relevant than you know to stay to stay hip and that's kind of what this groove is And again just kind of I think what happened was when you had a singer and he played guitar or she played guitar and They had a specific style of strumming Uh, whether it was more strong or more like open fanning of the flat top like I think the drummer Was real country drummer back then was real sensitive to that and would try to walk in with that person's right hand. So If if they if they had a more swung pattern, they played a more swung beat if they had a straighter Thing they played a straighter beat, you know, maybe if they were a bluegrass guy Um, which has its own rhythm. They'd have to kind of They have to go with him. Yeah or her. Yeah, because otherwise it would be just like a competing kind of mess of of rhythms at different times exactly Exactly exactly And then the you know, the mid 60s different influences started coming to Nashville and this is when Uh, the great drummer jerry carrigan moved to Nashville from mussel shoals, alabama And he brought a blues and r&b influence to Nashville And uh, he worked along with buddy harman and learned from him But uh, he went on to you know, kind of usher in the straight eighth era of Of country drumming and became, you know, one of nashville's first Call session drummers. Uh, he plays on uh behind closed doors by charlie rich and uh, when you're hot you're hot by jerry Reed Those are such great tunes, but this is when things start You know other influences start coming into the music that's not related to basically not related to string band music which is the The base of all of this music. This is when rock and yeah Yeah, I was gonna say like like what influences like what's what's changing? Oh, you know, like we were saying before, you know, jazz the sound of jazz is changing rock and roll Now we have the now we're throwing the Beatles into the mix Um, you know, just there was so much music coming on That and people, you know, soul music like I said Jerry coming jerry carrigan coming from mussel shoals and the blues and r&b It all just started to find its way That's awesome. Um, this brings me to like the Now you have the baker's field shuffle the baker's field california The baker's field shuffle was developed by willy can too and this this shuffle pattern is a straighter tighter version of Harmon's nashville shuffle and the The quintessential example of this is on buck owens is tiger by the tail And it's it's kind of like the normal country shuffle pattern, you know, the But it's like a It's just a little straighter. Yeah, it's it's straighter and swung at the same time I love it because It wasn't a full-on. Okay. Now we're going to play straight eight. It was well The bass and the kick are kind of playing a lot straighter and the high hat From one like two beats to the next sounds a little bit Tighter and straight eightier than the last and it It's just an interesting little moment if you listen to country drumming from, you know The the 50s through the 70s you could just hear the the high hat Get straighter and straighter and straighter and straighter until it just becomes You know full-on straight eight, you know rock drumming basically Yeah, yeah, really and that's it's kind of funny though because like the high hat kind of has that Throughout its history like it starts out with Just being non-existent then it comes in a little bit more Then it becomes a timekeeping sort of element Then it becomes the main the mainstay of all music So I think yeah, it's cool how country music isn't uh, isn't exempt from that at all It's just like the high hat kind of slips in there and becomes like we all need our high hat to be uh steady The high hat was the main in the main symbol and the country drummers setup You know they for the longest time they never really crashed a symbol at or even would You know, like, you know, it's typical to go to the ride on the b-section Now maybe drummers do that today with country music, but back then You didn't even open up the snare on the b-section You played the same beat and you stopped when there was a stop on the tune and you emphasized that you needed to emphasize And you just played the high hat and you only crashed the symbol If it really called for it and if it really meant something or if it really helped Tell the story interest. So the high hat was probably the most important symbol in in country music Wow, that's cool because it's funny because I was just reading about how um Much much earlier on but about how like, uh, baby Dodds Didn't like the high hat didn't want anything to do with it couldn't play with it and it's like it's so different I guess everyone has their own different, uh It's it's so many different little variables and in the different kinds of music So what are the drum sets looking like? Um, so we go through so we're in the 60s now Is it basically turned into more of a standard kind of, uh, you know One high tom one floor tom snare high hat crash ride kind of situation or is it anything kind of unique? basically high hat snare rack tom floor tom and a ride and a bass drum no crash symbol and sometimes no floor tom. I mean I've seen I've watched so many videos of the era of a different live performances and the toms are set up But I've never really seen anyone hit them, but I always wondered what that was why those drums were there and Which brings me to this other point is that throughout the 60s country drumming's western swing roots remained a very important part of the country music formula And drummers were given a little bit more room on instrumentals or hillbilly jazz And a lot of times they would play these tunes to bring the singer on to the stage or to kill time between sets And this is where the drummer would use those toms It just so happens that a lot of these videos are of just when the lead singers out there So they're really not using them a whole bunch And that brings me to one of my favorite drummers of the era, uh jack green He was known as the singing drummer and he was the drummer for urnus tub in the texas troubadours Uh, and they were you know country music, but also very steeped in the western string western swing tradition And jack even had his own hit song as a singer and it was called there goes my everything Uh, and you can hear him singing, you know, he sings like a drummer I know you just said that was but or he was mainly doing backups in the band that he was playing in, right? No, well back then in country music It was you know, it was typical that there was you know a star in this case that star was You know one of country music's greatest musicians of all time bernice tub and his band was You know all stars of of their instruments, uh, you know one being buddy emin is the great pedal steel player um So the star would come out and sing, you know their their songs and Like I said before in between they let the band use some instrumentals. This was especially the case for The troubadours, but they've also let jack green sing a few tunes to either bring urnus on or Or you know urnus took a break or something and this was typical not just in this band, but um With george jones and and and so on. Yeah, that's neat.  Oh sure and yeah, they're obviously more rock and roll but have that kind of southern rock even though I think most of them are canadian but um It's cool though because he has that he's a singing drummer who's got a very cool feel um Obviously influenced from a lot of these country drummers and musicians and so it just Permiated the culture then sure. Yeah, and levon grew up listening to the grand old opera on the radio when he was a kid So that makes sense was a bit that was a big influence. I mean, he's from is he from arkansas He's from yeah, I think he is because I know like robbie robertson and all the other guys I think they're from canada Yes, he's the only like um, uh, yeah, yes, he's from in the in the band. He's from elaine arkansas born in 1940, right? Yeah, that's right. His book his book this wheels on fire Uh talks a lot about how the grand old opera was a big influence for him So yeah, so he definitely grew up listening to these guys You know, that's a good jumping off point there So the grand old operae obviously has a very big influence on a lot of people and I mean I don't know if i'm jumping ahead here, but that is something that has to be talked about Yeah, oh, definitely. We'll get to that. Okay. Um Well, let's just wrap up the 70s real quick. Um, so So basically, you know the 60s was a time of change and and music and drumming and politically and socially and whatnot. So different influences were making its way off throughout Music across the board, but uh in the late in the 70s In the late 60s drummer larry london moved to nashville from motel And he brought the whole like soul thing to to nashville Uh, and now, you know, this is now at this point the straight eighth grooves starts taking you know, this the straight eighth grooves is Has almost taken place in the shuffle and the toms and the crash some will become less taboo In the 70s country drumming kind of went disco and a little bit more rock and all of a sudden you're here and muted toms and stronger backbeat and drum fill and four on the floor and you know, a bigger sound Today this this error is referred to as a disco country or on a gig So we'll lean back to you and be like play the whale and be and they just mean kind of play this chunk it's kind of chunky like it's Again swung straight backbeat. It's it's like swung disco.  It's like it affected Sure, but you but that's what's popular Yeah, yeah, and country music was no different, you know As you as you can see from the beginning of our conversation to now It moved with the time that it kept up with what was cool. Yeah, um, and uh, And disco was no no exception. I guess Unfortunately or fortunately depending on what side you're in Yeah, you know, I kind of I kind of love I grew up. I mean my mom was really into disco I kind of grew up loving. Yeah, at least having some sort of soft spot for those I have no big problem with it.  Yeah, well imagine that but just not opening the hi-hat That's country. That's the country disco beat. It's like doing the same thing but without The the opening of the hi-hat. I mean, it's so funny that like four on the floor was basically how drumming started Almost always. Yeah, and then it went through this period where it was turned into one and three and variations on that and then The 70s happened and now four on the floor is back and it's way up in the mix And now music sounds the way it does. Yeah, so that's It's going full circle It has it has and man, there's so many other drummers to talk about throughout the you know, the history of country music And I I feel bad for whoever I left out because you know, a lot of guys like, you know, kenny Malone uh, paul english who drummed with uh Uh, willy melton and uh, stuffy smith who recorded with connie smith and richie albright who is kind of the the disco country King played with whale and jennings for the longest time. So there's so many guys What I always hope is that people can then Do further research and kind of look into the bands and and uh artists we're talking about and um And find out their their own favorites, you know musicians to listen to um But there's just so many musicians like like like we spoke on the phone before but like Elvis, you know, like he's country and he gets into the kind of more rock and roll stuff, but people like that who just heavily influenced stuff with like dj fontana and and um In all these different drummers who are Really shaping the way a lot of people will grow up and uh be influenced Exactly. Yeah, but I guess when it comes to drumming the like the under Country drumming the undisputed champion of it is Buddy Harman who we mentioned before. Okay, that's good.  Yeah, he uh, I just googled when I'm here. He has the he has the look You know what I mean? There's just like certain people where you see him and they just embody Everything about that that time Sure. I mean, he looks kind of rockabilly. He does.   Yeah And and and jeans only came in one or two lengths. So you just rolled them up. You know, that's yeah That's funny All right. Well, you want to let's talk about the the granola. Yeah, yeah, this is this is so this is the most infamous story surrounding the drums and country music uh, it says that drummers had to play behind a curtain and It's funny when you ask who was the first drummer on the opera and many say bob wills The last time I checked bob wills wasn't a drummer He was a band leader And you know, one of the most important western swing band leaders of all time So it it doesn't make sense when you ask who was the first drummer in the opera bob will Okay, well, he doesn't play the drum. Yeah, not a drummer Not a drummer. Um, and you know, the grand old opera started in 1925 as a string band show Uh broadcast on w sm to uh a national tendency to rural country folks with no drums And when bob will showed up With the texas playboys to play the opera in 1944 The powers that they refused to let bob use his drummer and bob was a big star Perhaps a bigger star than even the opera at the time Now this is 19th. This is the 40s now Kind of step back in time a little bit and the story goes That when the playboys were setting up the drums were placed in the wings behind a curtain after much discussion And bob supposedly yelled out, you know, drag those damn things out here They went on to play the show And that's kind of the lore and legend behind bob wills and the drummer on the opera for the first time Now a lot of people give bob the credit for being the first to use drums on the opera, but uh Bandleader peewee king from the midwest He also claims to be the first to use drums on the opera And that in fact bob wills was the one that had to play behind a curtain and his drummer didn't So, you know, this is if it was peewee, we're talking, you know, the late 30s and uh, you know early 40s Also, if it was peewee, apparently he was asked to not mention the drums over the air You know, don't don't mention that there was a drummer at all I mean like why is there such a uh, I guess it's the tradition, but it's this like Were they I mean, why why wouldn't they mention it over the air? Would it just be out of fear of Kids growing up to be drummers Maybe it was a good thing. I don't know Man, I don't know why uh, it just You know the the the opera suddenly this the opera suddenly was this big show And they had a formula that worked and became very popular Yeah, I just don't think they wanted a mess with that yet change is scary Yeah, and that that formula just did not You know include the drum kit and the drum kit was a big part of Other music at the time I suppose but it just wasn't what they thought, you know, with how they saw The the the operas, I guess brand For lack of a better word And you know, we don't and it's funny too because You know, we don't know exactly who the first drummer was it's still Surprisingly up to debate. We also don't know what song he played How many piece drum kit was used the name of the drummer or in fact he did or did not play behind the curtain so Got it. It's wild It's almost like, you know, that famous story of Pete seeker With the axe trying to turn the power off when bob dillon went electric It's it's a similar sort of, you know, this image of Pete seeker Chopping the power cable, you know, it's kind of the same sort of thing So the first drummer on the opera could be peewee's drummer harold McDonald Uh, or it could be bob wilson's first drummer smoky dachas or bob's second drummer johnny edwards or Somebody else. We don't know man. Yeah. Wow. You know, yeah the timing of this is kind of interesting because as you said other Kinds of music obviously had huge, you know, they were drum heavy and like, you know, I think late 30s 40s We're talking like the height of gene krupa being in movies and buddy rich and it's this is like So it was this isn't some like very primitive time where there were no drummers I mean, this was uh, but country to me again kind of looking from the outside is very steeped in tradition So I think that seems like it plays a big part in it Yeah, but also I mean The things you mentioned buddy rich gene krupa. This is urban settings. You know, this is new york city. This is california Yeah That's you know, this that's not good point, you know, rural country folks. Yes, you know Yeah If you're in and you might not know this but like if I'm a young kid In rural apalachia, I'm somewhere and I want to learn how to play music. I guess it would be much more likely that my Dad or my grandpa or grandma or mom would have A fiddle or a guitar Sure versus having a drum set. So I guess it's also just it's not readily. There's no music stores It's not readily available. You it's probably more difficult to get in. Yeah. Okay. Yeah You know, maybe your family knew a bunch of tunes that they wrote or they were religious tunes or Yeah, as we know a lot of country music and a lot of blues music are secular words written to You know spiritual music So, you know, that's that was passed. I'm sure that was passed down a lot of ways the way the drums were passed down and and uh In new walls, you know, yeah, you learn from the guy the people who came before you And you know, there weren't a lot of drum kits laying around in apalachia, but like we mentioned before Flat footing which I don't know if you ever heard flat footing, but it's a rhythm It's almost like tap dancing and it creates this kind of like rumbly Almost like tap like I said, but kind of rumbly. Yeah I got you out. Yeah. Yeah. And where does like Like I'm probably thinking like like the washboard or like plain spoons That Fall into this. I mean, because that's kind that's percussive. Is that just a different category? Um, well, not really. It's just, you know, that's more in the I think I would say the country blues um Side of things, um I mentioned him before but l wassen he plays the bones with the johnson brothers on some uh uh on some tracks and The one this one song of the waltz and you really hear You know the country waltz It's his beginnings in there rhythmically Um, so yeah, there were different things the bones the washboard. I suppose Maybe not so not as much. I mean, I feel like that may have come later. I'm not sure. I'm just guessing. No. Yeah Sure. Yeah. Yeah. Yeah, but the bones, you know, yeah, actually, I I'm I've been so inspired by the bones That I'm I'm I'm in the process of finding my own set. Um, there's this really cool version, uh, of alabama jubilee by uh, red foley And he has this bones player on it, uh, frances craig who is a uh, a kind of showband Leader, I'm not even sure he was a drummer, but he plays on that and it's so cool. And then of course l watson I just It's a it's a cool. It's a fun thing. It's like a little compact drum kit kind of well. Yeah I was going to say what are so what are the bones? Why are they called the bones? What what's a little more detailed? Well, they're literally The bones are literally they're two handheld instruments That that are literally a bone shaved down to be and you'd hold two in each hand Similar to the way you would actually hold a chopstick where one is stationary and the other one kind of smacks around it and it creates kind of a clickety-clackety kind of like Gotcha That kind of thing. Yeah, basically. Yeah, that's awesome. So many cool little things so many things man. It's just so funny. Yeah um, so yeah, so Drums on the opry. We'll let's finish that whole story. Yeah, um, yeah So, you know drums kind of remained out of sight on the opry in hay riot and the Louisiana hay rides throughout the 40s and 50s um It said that buddy Harman who we mentioned before and harold weekly had to perform behind a curtain on the opry Uh as did dj fontana who we mentioned before um on the Louisiana hay ride in the early 50s and the hay ride was The first to use a full drum kit by 1954 as dj became a member of Elvis's band So the drums are starting to make its way onto the opry I mean, you know in more, you know, not by opry, but just into country music. Yeah So as I talked to glenn davis Um glenn davis started drumming with the opry in 1959 Uh, and I asked him about the curtain and uh, he told me that he had never had to play behind a curtain And he started playing there in 1959 He also seemed a little bit surprised when I brought it up And he was like, I don't even know what you're talking about like what curtain, you know, and this is This is kind of a famous Country drummer. He played he was a member of the jones boys I mentioned it before is kind of being the guy that One of the guys that created the straight eighth country shuffle. I mean, he he was like, I don't Like, I don't know. I read this all the time about the this curtain. I don't I don't really know Uh, and he also told me that he remembers going to the opry in the late 50s like around 57 And seeing buddy and harold on stage So by the by I guess at least by the late 50s Dr Snare and grushes were officially allowed on stage And then, you know by the 70s when the opry moved from the ryman to opryland They started using the full drum kit So yeah, you don't know but like a lot of other guys also claimed to be the first to use a full drum kit on the opry W. S. Holland with johnny cash. He claims to be the very first willy ackerman the great drummer He they say that he was the first to use the full drum kit with jerry reed and 68 Which we know is not entirely true If you you know if you take into account bob oils and sure and pee we there was a drum kit back then But then there was this whole chunk and that whole chunk is from 1944 to 1968 But there was no drums on the opry Crazy it is crazy. But of course people went to uh, it's not a bad thing But like, you know, you know and sometimes your memory really can trick you and go I think I was the first like I don't think they're trying to lie but No, no, a lot of people trying to say they're first I love that there's just no like actual answer No, you know And I and I I've talked to a lot of people about it and they were like man the best thing to do is just kind of lay out all the facts and That is the story as to who the first was it that you know, it's all these facts Just lay them out and help people find out or we figured out someday But that's basically it but as far as the drums and the curtain go I think that maybe it happened a few times or for a while Um, but I don't think it's as significant as people like to make it out to be Sure I have seen pictures of drummers on stage with a snare But I haven't seen one photo of a drummer playing behind a curtain So Interesting There's that Yeah Yeah And it would they have multiple shows a day there or was it just in the evenings like on the weekends or what was the Oh man You know because I'm trying to think maybe it was Multiple times they did it for a week three times a day and they were like just move onto the stage or something You know Sure. Yeah, I mean I I probably went I mean I've read it in enough books at this point about Buddy Harman having to play behind a curtain that I would almost say that Yeah, it happened and there's an interview with DJ Fontana where he mentioned the curtain and describes the curtain on the Louisiana hayride. Okay So they definitely did play behind the curtain, but Again, I just don't think it's like That Who knows, you know, I mean also the Louisiana hayride and the opry You know, Louisiana, Tennessee. I mean, there are both big country music shows Yeah Happening around the same time that you know Um The hayride didn't last as long as the opry the hayride was considered kind of a stepping stone to the opry in some ways Although I'm sure a lot of people would not, you know, wouldn't like that very much, but So, yeah, we don't know but I've read it enough to say, okay, there was a curtain Who was the first to use the curtain? I don't know. Who was the first drummer in the opry? We don't know Yeah, all I know now is that the drums are fully embraced With many tomtoms and many cymbals and even a second snare drum Yeah Now it's just all bets are off and it's just like it's a it's hard to differentiate from rock drumming to arena You know, I mean now things are huge and it's it's uh It's the level playing field for everyone Sure, and that's you know, and that's why you know after the 70s and country drumming I've as rock Started, you know 70s rock and 60s rock. I think it's significantly different, right? Yeah So the sensibility the sensibility that was then brought to other styles of music to compete with that, you know Changed the way the drums sound changed the way the volume of the band And you know took out a lot of subtleties. It wasn't about subtleties It was about power and volume and moving forward. Sure Yeah, that's the same thing goes for country drumming. Cool. All right, maddie Well, why don't you tell us? Why don't you tell everyone where they can find you and just like a little bit about you and How they can keep up with you online and check out gigs you're doing and all that good stuff Great. Yeah, man. Um, well, um, I have my own little website, uh, maddiemyre.com And you can find out where I'm playing with or who I'm playing with and working with and I've been kind of just sticking around Nashville mostly these days playing You know gigs and doing session work Hit the road a little bit here and there You know for years I played with pokey the fudge and and that that gig was uh, I gotta say that that was a you know That was kind of a challenge too because it was you know western swing one song would be polka one song would be You know rock or soul and it was a real nice mix of all the stuff and and I've always been in love with that so You know, I I play a lot of I get called do a lot of gigs where it's western swing and jazz and and uh traditional rock and roll and rockabilly and kind of all the Dead genres sure so to speak. So so yeah, you know, uh on instagram um My uh instagram name is maddiemyre drummer Uh, as you can see where I'm playing around town and um, yeah, just that's about it basically Cool. I'm really glad to have you here because obviously you're a younger guy working in the world of music and you have a clear appreciation and um, kind of a thirst for knowledge For the world of music that you're living in which is country Of all the varieties. So I think that's really important that you know What you're doing and the history of it? Well, thanks, man. I've been enjoying it so far and I hope to keep on Well, thanks for taking the time to talk to us today And uh, I recommend everyone goes and finds maddie myer on uh social media and his website and all that good stuff Matt, thanks, man. Thanks for having me bart and keep up the good work. Talk to you soon. All right. Bye. Bye If you like this podcast find me on social media at drum history and please share rate and leave a review And let me know topics that you would like to learn about in the future Until next time keep on learning This is a Gwyn sound podcast


Hi, welcome to the third and final unit of sailor.org's Mechanics One course. In units one and two we focus a lot on how forces can make structures move or twist and in this unit we're really going to focus on how forces can make structures bend or break. So when a beam experience is increased forces, it will bend and you probably have the experience of walking up an old flight of stairs and you can hear and you can feel the structure of bending underneath your feet. Now a lot of bending can safely be ignored, sometimes it can be reversed, but sometimes bending leads to breaking. So in this course we're going to look at what is the maximum amount of stress and strain that a structure can take before it fractures. And you've made these kinds of analytical decisions in your everyday life. If you're climbing a tree you might think about what happens if I grab for the next branch? Will it support my weight? Will it bend? Will it break?  That's the kind of calculation we're going to do in this unit. Now before I let you get started, a few reminders. First, this will take about 35 hours to complete similar to the other units. Second, there will be again an end of unit assessment, not graded, but grade practice for your final exam. Now third, when you're done with the end of unit assessment, it's time to take your final exam. Just a reminder that that will be the complete grade for this course. 70% is passing and you should budget about an hour and a half to two hours for the final. Now finally, I want to say thank you for joining us in Mechanics One. It's been a pleasure to be your guide, and I hope you've learned a lot. Good luck.


A while ago I made a promise to you, a promise of change, a promise that I would leave behind my old self and be born anew, that I would rise from the ashes, a new God, new abilities, new desires, but there's some parts of the old me that I miss. There's some days where I hear whispers of my past and think, what if... So today we bring back that old past. We find out what if CrankGameplays may be dead and gone but a part of him still lies deep, buried in my soul. And I don't think I'll ever be able to get rid of him completely. So today we go back to my roots. Today we play an indie horror game. No CrankGameplays is not back, but maybe a part of him always lived in Ethan Nester. Okay, hi, how's it going? Yeah, I'm playing a game. Relax, okay? When I changed from CrankGameplays to Ethan Nester, it mainly was just for the name change, okay? I said that I would probably still do some games every now and again. And I am. Today I felt like playing a game, okay? Can I not just play a game anymore? I can't just record and let's play? Ha! Ha! I was talking to Mark the other day and he was talking about Garten of Banban. Which I don't know if I'll ever play. But he stumbled upon a game that they made called Egghead Gumpty. So like I do with everything, I'm taking that idea from him because he said that this is probably the ultimate let's play. And so I'm gonna strike before he even does. The algorithm will be on my side. We're playing Egghead Gumpty, baby, and nobody can stop me. Mr. Gumpty? Press T to answer, okay? Am I going to break my ankles? Okay. Okay. Okay. Goal. The purple door continuously appears randomly. Okay? Parking causes unwelcome sounds. If the eye icon appears, you are being watched. Find and scare off your watch or quickly. Pointing a UV flashlight at threats is the only way to survive. Run from agile threats. They tire quickly. Eye color of small sized threats reveals temporary weakness. Oh. So I've got the gifts, I guess. I'm just supposed to find the daughter, yeah? What are these hieroglyphs on the walls? What do they mean? What are they? Can I go through? Okay. All right. We have to go around. Can I open this? Oh. Oh, that's kind of cool, isn't it? Okay. Sick. Well, uh, so do I have to? How do I, from where? But how do I, where do I hide? What do I do? I don't know what I'm doing. Oh! That egghead gumtee! He was there, you saw it! That egghead gumtee! Egghead! Egghead gumtee! Yeah. All right. Tee to answer, Tee to skip. I'm skipping it all. I don't need anything. Wait, so, I, I, is that the daughter? Who is that? There's trash here now? Is this procedurally generated? Oh my God. Is that how many times I've died? Guys, it is procedurally generated. It's different every damn time. Egghead gumtee. Do you think you could be in the box? I've got two keys. Have I got three? No.   Maybe I shouldn't open this. No, I'm opening it. It might even be, I'll see, I got a key. R and T. Let's do R. Press T when the screen is darkest. Press T when the screen is, what? Okay. Cool, I guess. So, where's the daughter? So, he was like, I know what you look like, or I know, you know what my daughter looks like. I actually don't know what the daughter looks like. Um, I've actually no damn clue. Let's hope it's not egghead gumtee. Get over there. I don't know where he is. I don't know where he could be. I don't know how to crouch. Egghead gumtee? What am I supposed to do when egghead gumtee's around like that? Dude, it's black and white now.  Egghead gumtee, what's his name? Egghead gumtee, he's all the same. Egghead gumtee. How often, like, how does the flash work? I'm not sure. I don't know. I don't understand the way that egghead gumtee moves. I don't understand a turlet. This is where egghead gumtee takes his dumpers. Oh, the turlet's fake. Oh my God, guys, he's been trying to trick us this whole time. Egghead gumtee. Get back. Get back, egghead gumtee. I see you coming out of the goddamn floor. Get back. Get back. Get out of here. Egghead gumtee, how does it work? Do I need to run from egghead gumtee? Do I need to? I don't know. I just don't get it. I paid $5 for egghead gumtee. Is that okay? Is that allowed? Does this give me any clues to the way that he works? Why is this one scratched out? Why wasn't he pleased with that? So I guess this time let's try and run from egghead gumtee. If his presence is sensed, he will run. Why? I don't like how glossy this looks like it's covered in sweat. I don't like that couch. I don't like how reflective it is. It makes me uncomfortable, actually. Egghead gumtee. Do you think egghead gumtee had a great fall? And that's why he's so upset? Look at this, huh? Oh my God, it's a metaphor. Oh! Oh! Oh! I know that I should have turned around, but that was weird. I don't know why I didn't just turn around and run. Guys, I'm never going to be egghead gumtee at this rate. Guys, can you believe this is one of the most advanced games of all time? Egghead gumtees. Did you guys realize that? Before FNAF. Before Poppy Playtime. Before Amnesia. Before Resident Evil. Before Silent Hill. This is the original horror game. Okay. You guys don't understand the impact that egghead gumtee has made on not only the gaming sphere, but society as a whole. Dude, I saw egghead gumtee over there. Did you guys see egghead gumtee? I'm running away. Dude.  I ran away from egghead gumtee. I ran away from egghead gumtee. You saw it. If I'm honest, I don't understand, um, pretty much how any of this works. You guys think the rent on this place is? I mean, like, how many bedrooms is it? I guess that's like a hard thing to quantify because at least in California, at least in California, this would be a no bedroom house because you, a bedroom has to have a window in it. So actually, I don't even think that they could list this as a livable residence. This would have to be some sort of, some sort of office space or maybe just, maybe even just storage. And that might even be what it is because even an office for it to, you know, go up with the office guidelines and whatnot. Is that muscle, man? They might, you might have to have windows. The hell is that? Is that his daughter? Dude, that must be the daughter. It must be the daughter. Egghead gumtee? Oh, egghead gumtee is watching. That wasn't egghead gumtee. That was the other dude. I don't get how this game works. I just don't understand. I don't even know what I'm doing. I'm trying to find his daughter. Where's his daughter? Why'd he lose his daughter? Maybe she should be finding his daughter. It's your kid.  I don't care. I don't even care about it. Are you even paying me? What's this room made of? I don't like egghead gumtee. If the shoe fits. Guys, maybe I'm egghead gumtee. Dude, that would be the most insane twist of all time. If it turns out at the end that I was egghead gumtee?  Can you imagine? The repercussions of that would be unbelievable. Yeah, I'm kicking the door down. I don't even care. Yeah, egghead gumtee. There's no windows in this place. You can't charge rent here. It's actually not allowed, my guy. You're exploiting the system and I don't appreciate it. I don't know where it's coming from. Keeping this light on. Keeping this light on. But you see.  It's harder than even four night battle pass. Why is it so dark in here? Not even egghead gumtee could see in these conditions. This is the one where we need to escape. Need 10 more keys, okay? Fucker, dude. I'm just going to run as fast as I can. Because I'm the gingerbread man and whatnot. Okay, running as fast as I can. You cannot catch me. Dude, but how? I need to get to the purple door and that's how I get out. But hold on. Am I supposed to find the daughter or not?  Truly, I don't know. And also truly, I don't care. That's the crazy thing is that I just don't care about the well-being of his daughter.  But I just, what am I even getting out of this? You know what's in it for me? And don't say you should just do it out of the kindness of your own heart, Ethan. I don't want to. And I think I should be able to be honest. You know, I just don't, I don't find somebody who's more qualified to deal with egghead gumtee. Okay? Because obviously, obviously, I'm not qualified to deal with the gumteur.  I would have won this game by now, but here we are. The gumteur is still after me. I'm still losing.  I'm gonna try two things here. Running and the light on. Running and I've got the light on. Dude, he's still here. Oh, he's gone now. Okay. It's just one of those things where this doesn't seem like a fruitful, a fruitful venture for me. I have seven keys. That's good for me. No, no, no. Don't do that.  I'm gonna exit the game and I'm gonna re-enter. Yesterday Mark played, yesterday Mark played egghead gumtee. He's ahead of me. I've got to post this before he does. Hold G to access this guide. Okay. Green is batteries. Black is that. Keys are blue. Okay. I need blue. If the eye-iconic ears you're being watched, find and scare off your watcher. How do I scare him off? Finding UV flash at threats is the only way to survive. So we really need blue. Okay, if I had just read that a little bit better the first time, it would be a little bit better. So when I'm being watched, find and scare away. How do I scare gumtee? You know? How do I... How the fuck... Hey, hey, hey! Get out of here! Hey, bear! Hey, bear! How am I supposed to scare egghead gumtee? I don't get it. I don't understand. I don't understand. I don't get it.   Okay? Red. Oh, pink? Wait, what was pink? Carter... Get out of here, gumtee.  Which is... uplifting compared to the 25% that there was last month. All but one of the new inmates have yielded negative results for the mandatory pre- I knew it. Get out of here, gumtee. Get out of here, egghead gumtee.  He can't. He can't.  Guys, I've been recording for over an hour. I think this is my last go at egghead gumtee. I'm sorry, but I don't know how many times I can do the same thing over and over. I'm not even great gameplays anymore. Great gameplays maybe could have done this. But Ethan Nester? I just don't know. Do I need to find his daughter? I'm still... perplexed by that. Is that something that I actually need to do? I might be fucked. Found purple door though. Get out of here. One more. One more. Where is he?  Found ya. Good.  I don't know why I put my microphone over there. I'm very sorry that I have failed you like this. I can't beat egghead gumtee. It's impossible. If you'd like me to try again, if you'd like... Maybe I'll stream this on YouTube and you guys can help me beat egghead gumtee but I simply... It's too damn hard so give me any tips that you'd like. Thank you so much for watching me play egghead gumtee. I appreciate it. I love you all very much.


Thunder E here, and you've been waiting for a video like this. I'm looking at gaming on both the Red Magic 5G and the Black Shark 3 to find out which of these devices that are in the 600 dollar club as gaming devices that you should pick up. Now let's not waste any time and let's do some gaming. All right, so we've got two devices that pack in a lot of punch, right? They're both powered by the Snapdragon 865 processor. They both have, of course, either 8 or 12-geeks of RAM, 256 gigabytes of storage or 128. You know the drill. Those parts are the same, but what is different with both devices? So let's start off with the Black Shark 3. Now comes in multiple colors. You can get in black, silver, or white. It's got, of course, that typical solid gaming look. It's black all around. You never have the S logo behind. It does light up. You've got the camera on the very top with three cameras and you've got also this kind of magnetic connected at the bottom. That allows you to charge your device at 18 watts so you don't actually have the USB cord on the side. But if you use the USB cord, it charges 66 watts and it's crazily fast. Basically, in 13 minutes, you're getting 52% charge and in 35 minutes, this thing charges up to 100%. And that's a 4,700 milliamp battery. So that's a little power. Now the display is 6.65 inches and you have a 90 Hertz display, which you can change between 90 and 60 Hertz. And it's touch sampling rate is 270 Hertz. So that is quite interesting. Why the one with 270? We'll have to wait and see. Now let's move over to, of course, the Red Magic 5G. Oh, if I forget, when you look around the device on the bottom right-hand side, there's a switch that takes you directly into game mode and a ton of game settings, which we check out. Now the Red Magic 5G. The Red Magic 5G is a device that also is 6.65 inches in size, comes in three color variants. Oh, actually four, if you will. It's got a black, you've got a red, you've got a multicolor, which is like a red and neon, which is what we have here. And we also have a translucent version, which isn't out yet. Now this device also packs in quite a lot of punch. You've got a display that is 144 Hertz. Yes, the same display resolution that you find on a G-Sync monitor, you can switch between 144, 90 and 60 Hertz. What's cool about it is that when you have it on this, on 144 Hertz or any of the different display settings, it will show on the top left-hand corner of your notification saying it's at 144. So you know where you have it. 240 Hertz touch sampling. And the cool thing about this device is it's got built-in trigger touch pads there. So when you're playing shooters, you have that already ready to go. No need for an extra accessory or anything like that to do your gaming. This is a nice idea. Plus, it's also got a built-in fan that rotates at about 2100 RPMs to cool your system down. And that's a big thing they're pushing with this device. As I mentioned, pricing is around the same. Triple cameras on the back. It's got a standard lens, got a wide and also got a macro lens behind. So let's get into nitty-gritty of this devices. I also forgot to mention, 4500 milliamp battery within the Red Magic 5G. And it does support a faster charging at 55 watts but doesn't come with the unit. You have to buy that separately. So what do we have here? And what games are we checking on? Simple. We're gonna check out PUBG, Call of Duty Mobile Fortnite on the three devices. And we'll check out how that software adds the thing or two to it. So without wasting any more time, let's look at just quick gameplay clips on both devices and then we'll jump from there. So the very first thing I will mention between both devices is that they run really well. The cool thing is that both of them have softwares where you can amp up and overclock if you will, push the processing to max out as much as possible. Now I will say this, both of them played well and visually the Red Magic 5G felt like it looked smoother. It reminded me of playing on a PC 144 Hertz. That kind of refresh rate was just good to see visually. But I did like the touch sampling of the Black Shark 3 270 is a nice sweet spot. I just felt it felt a little better. I don't know whether it's just the display or the touch sampling, but I'm just saying it felt better for me. Though the Red Magic 5G 240 Hertz touch sampling was great too as well, so no complaints there. Now, both of them have different pieces of software. Like I mentioned earlier, both devices do have a switch option. So basically once you press the switch it on, it takes you straight into the game mode. And it's a really nice feature that you can use to basically jump into your gaming session and you are good to go. Now there are a couple of things here with that mode. You can go in and you can check out your private spaces, you can go to your gaming studio. All that is nice, well and good. But with the Black Shark, you pull down from the top right hand corner, it showcases your quick access panel. Allows you to master controls, Wi-Fi, anti-touch functionality, game configuration, which you swipe up from the bottom, allows you to configure, of course, the game to kind of push the CPU if you need to. But also it's got FPS counter. So you have an FPS counter that shows up. It also shows you your battery temperature and it shows you, of course, your CPU frequency. That is really nice and a great feature. And this works out pretty well. It's a very robust piece of software that allows you to do a lot with this device. You can also go in and do some screen recording as well. Now with the Red Magic 5G, you have the same functionality where the buttons at the top left hand corner, once you switch that on, it takes you straight into the game mode. Where, of course, you can see all the games you have.  Now, when you jump into a game, you also have the ability to swipe from the right hand side to give you a quick access panel. Now, this panel also adds in a lot of features, a little bit more and also slightly less at the same time. So one of the things is that when you swipe with that panel, you have the ability to turn on the fan. You can also switch your refresh rate to display immediately from 144 down to 60. You don't have to go to the settings for that. There's a 4D shock. There's also the anti-touching. Then you've got ability to set macros for external controllers. You've got aim assist where you can actually set aim assist crosshairs. If you're into FPS shooters, you get your pro triggers, which I do like, allowing you to remap buttons within the game into the trigger buttons, which you saw me use with Call of Duty and of course, PUBG Mobile. That is truly one of the best features on this device. And then you've got enhancements, which allows you to go into what they call different modes like auto, CPU turbo, GPU turbo, or super performance, which just basically maxes out both of them. And also a display setting that gives you quote unquote the best display for each one. Now, what I said, it adds a lot. It does add a lot, similar to what you have for the Black Shark, except it doesn't have an FPS counter. So for me, that's a big bummer. I mean, I can go ahead and see my GPU speeds, my CPU speeds, and my network speeds, but I cannot see, of course, my FPS counter, which is something as gamers we always want to see. But one thing I noticed is when you actually overclock it, it really pushes the CPU much higher and much faster. Now, gaming, as I said, was pretty solid with both. What about temperatures? They also ran about the same temperatures. I also had the fan with the red magic 5G running at its max to cool my system down. And since, of course, this was overclocked, I expected it to really run hard. And it still cooled it down to 97 degrees, which is still war-hard, don't get me wrong, but that's the fan in action. But here's the thing, the Black Shark also was at that temperature as well, overclocking it and also just running those games as well. So was there a benefit to having the fan? In this case, I don't see it, but it is nice if you're going for a longer period of time. So this was within an hour of gaming. Now, if you're spending more time, I think that fan will be more beneficial because it's still bringing in cool air, but that's something you have to make a choice and see for yourself. So temperature temperatures do around the same for that period of time that I was using to game. And that's something that's quite interesting. Now, when it comes to the other features of this device, they all have cameras. And are they still the cameras? They are. Let's take a quick look at some video segments from the cameras to see what they bring to the table. And we'll talk about some of the photos. So we're three, two, one, go. So recording with the front-facing camera of the Black Shark 3 and the Red Magic 5G, just wanted to see what kind of quality we get. Again, gaming phones, we don't really focus on the camera. I figure this time we'll give you something different since we are outdoors on my roof, waiting for everyone. It's sunny, it's nice, we can walk around. And then we'll see the rear camera. And then we'll just go from there. So what do we get with both the Black Shark 3 and of course the Red Magic 5G in terms of 4K 60 for both of them. And we're gonna see how audio is as well with both devices. It's the better stabilization. Remember, these are gaming phones. So we get in something better, we get in something nice. You can see the clouds in the sky. And you can see how lighting is. One of course, put them around the same price range. And yeah. So in terms of video, I was quite impressed with what I saw with video from both devices. Yes, I wasn't expecting crazy stabilization, but 4K 60 from both devices. But the Merritt Magic also be able to shoot at 8K if you actually want that feature. And some good front facing action even though it was at 1080 B30. Now, rare photos actually were good, especially taking portrait shots with both devices. They look solid. I did find out that the Red Magic 5G's portrait just didn't work for me, even though it did work on the Black Shark 3. And when it comes to low light photography, that's where the Xiaomi Black Shark 3 really showcases it. Using the Xiaomi cameras, you can see it quite well. Low light photography actually looked pretty good on this device. I was quite impressed with the photos I got from it. I think overall, when you look at both devices, you're gonna say, you know what, gaming phones have come a long way in terms of just what you get and what your experience, yes, performance is there. There are a ton of features. And also, you've got improved cameras overall. Now, if I were to go ahead and pick one, this is really difficult because I do like having trigger buttons on the gaming phone if I want to actually play shooters. PUBG Mobile, Call of Duty Mobile. I play a lot of Call of Duty Mobile. So for me, that's very important. But the lack of an FPS counter is really bummer, but they still got a ton of features in there. And I do like the touch sampling on the Black Shark 3. Plus the FPS counter is really solid and it has a better camera. So for me, I would take the Black Shark 3 and I think it has a more rounded approach for a gaming phone that packs a lot of performance and power.  I think both of them handle battery life fantastically. You're gaming, you're gonna game for hours, probably game about six hours or so for both devices and you will pretty much max it out. With the red magic and wonder of 44 hertz, I was able to actually push that much gaming out of the system. Same thing with the red magic at 90 hertz or so. Now, without that, if you ran them at 60 hertz, you'd be fine. Good, solid devices. So tell me what you think. Which of these two devices would you pick up with everything we've mentioned here? Let me know. If you have any questions, any comments, leave them down below. Otherwise guys, if we're to like, share, subscribe and always enjoy your entertainment.


walks into your office and tells you he wants to give himself up. We were working the day watch out of homicide detail. My partner's Frank Smith. The boss is Captain Warman. My name's Frank. We're on our way back from records and identification. It was 11.15 a.m. when we got to room 42. The squad room. Joe? Yeah, Danny. Kid waiting to see you. Did he say what he wanted? Nope. Said he wanted to talk to you and nobody else. To give a name? No. Nice looking kid. All right, we'll talk to him. Get right with the job. Check the book. All right. All right, do you want to see me? You Sergeant Friday? That's right. What can I do for you? I want to talk to you. Nothing on the book, Joe. What's your name, son? Emel Salder. Emel, this is my partner, Frank Smith. Hello, Mr. Smith. Hi, son. Why'd you ask for me? Well, they told me to. Who's that? The men in that room across the hall, the business office. I see. I sure hope you can help me, Sergeant Friday. I'm in trouble. Real bad. All right. So I'll sit down here and you can tell us about it. Go ahead. Well, one thing you should know, I came in to give myself up. Is that all right? I didn't mean to do wrong. All right, what'd you do? Killed a man. Emel Charles Salder was 18 years old, five feet seven and a half, 137 pounds. He had light blonde hair and blue eyes. He was wearing a tan windbreaker and tan pants. He looked tired and he told us that he hadn't eaten in several hours. We set out for some hot coffee and sandwiches. Frank checked his name and description through R and I, but he found that he had no record in our files. We asked him to tell us the story.  No, I never saw him before. Well, how'd you kill him? Ran him down. In a car? No, a truck. A word that's happened. Coast Highway near Malibu. They're just this side. When? Last night. I guess it must have been around 10. It should have been around then because I left town at 8.30. Took about an hour and a half to drive up there. Now, you're sure the man was dead? Yeah, I looked at him. It wasn't hard to tell. Did you try to help him at all? No. As soon as I looked at him, I knew there wasn't anything I could do. Just got back in the truck and took off. Where's the truck now? I left it. Just the other side of Malibu. Broke down, so I left it. When it stopped, I sat there for a while. Tried to think why I was hung up in something like this. Tried to figure why. Didn't come, so I got out and started to walk. All the time I was thinking about the man. I could almost see him. I guess it got to me, so I came back, caught a ride, and came back. Hey, Joe, here's your food. Oh, thanks, Danny. Where we owe you? A couple bucks, 60. All right, wait a minute. You got 15 cents, Frank. Oh, yeah, I guess so. Here, Danny. Thanks. There's a couple cartons in there, black. All right, thank you. All right, here, Amy, help yourself. Thank you. Sure hungry.  You want to tell us about the truck? Yeah. Where'd you get it? I stole it. That's wrong, too. I know. Everything I do seems to be wrong. Where did you take it from, son? Parking, Latin, where I used to live. Where's that? Roaminghouse on 9th Street in the Figueroa. Can you show us where the truck is now? I guess so. I don't think anybody could move it. It broke down, like I said. Where you from, Amy? Waukesha, Wisconsin. It's a small city near Milwaukee. Maybe you've heard of it. No, I can't say I have. Got good water, springs and wells. Real fine. Manufacturer things, too. Motors, jacks, lots of things. Sure is a nice little place. How come you left there? Lots of reasons. In trouble? Yeah. In a way, nothing serious. There's lots of things. You know, at home. I don't know just how to say it. You haven't been arrested? No. Well, not booked or anything. Cops took me in a couple of times. What for? Little things. Like one night we broke in a church. Didn't go into steal anything. One of the guys just wanted to play the organ. Your parents alive? Yeah. When'd you leave home? Last July. I thought about it for a long time. I figured I might have a better chance where nobody knew me. Looks like it didn't make any difference. When'd you get here? Last part of July. Sure was different than Walker's show. What do you mean by that? That's so big. When I didn't know anyone. Pretty lonesome at first. Then I got lucky. Yeah. I got this job. Nothing important. Just washing dishes at this cafe. I got $25 a week in food. Yeah. Got a little money ahead and bought some clothes. Not real fancy, but they were new and they give me a lift. You know, sure. Had nice room too. Clean, handy to work. Thought I had it made. Then the axe fell. What do you mean? I got sick. Couldn't get out of bed one morning. The landlord called a doctor. He said I had rheumatic fever. Yeah. The doctor called for an ambulance and they took me to General Hospital. Huh? Things are bad enough when you feel good. I was in the hospital and I didn't feel like nothing. You remember the doctor's name? No, sir, I don't. How long were you in the hospital? Three days. They discharged you in three days, didn't they? No, sir. I ran away. Why? Well, a traveler's aid society said that they were going to send me back home. I didn't want that. So I ducked out. I went back to my room. I got a couple of bucks I had hidden left. Didn't have any idea what I was going to do, but I didn't want to be sent back to Wisconsin. That's when you stole the truck, huh? Yeah. Looked like a way out of town. The whole thing doesn't seem like it really happened. You know how when you're half asleep and the radio's on, the things come through but they're not real clear? Yeah. Like that. I remember riding in the truck after I hit the man. Trying to think what I was going to do. How I was alone.  Seems like I was always alone. Sure was last night. I don't know. I guess I never do anything right, do I? Guess I just don't have the nerve. You did this time. You came here, didn't you? We put in a call to accident records and verified Amel Salter's story. The body of a man identified as Lloyd Holtman, a transient and been found by officers of the highway patrol. Holtman had apparently been struck by a vehicle traveling at high speed as he walked along the road. We checked with Lieutenant Lee Jones at the crime lab and we found that his division had made an investigation. Frank and I left the office and went over to see him. He showed us pictures taken at the scene. On the victim's coat, the lab crew had been able to find traces of blue paint. Jones was not able to tell us what type of vehicle had hit the victim, but he did say that from the high rate of speed at the time of impact, there would be extensive damage to the front end of the vehicle. Amel Salter was booked on charges of violation of Section 480VC, a felony. Frank and I checked him out of the main jail and drove out to where he'd left the truck.  When we got past the Malibu Colony, he directed us to turn off onto a dirt road. We drove about 200 yards and then he asked us to stop. You sure this is where you left the truck? Yeah, just over there, behind those trees. When the engine started acting up, I looked for a place to park. I figured it'd be better if I got off the road. There it is. You can see it now. Uh-huh. This is the same one you stole last night, is it? Yes, sir. It's the one I was driving. I'll check the front end. Do you have anything to drink last night? No, I had enough of that at home. You're sure this is the truck you had when you hit that fella? Yeah, I'm sure. I don't know what all the questions are about. I said I did it. I'm not trying to hide anything. There's nothing up there, Joe. Fun end's clean. Well, it doesn't make a lot of sense, does it? No. I don't understand what the problem is. But what you tell us doesn't add up with the evidence here. What do you mean? Well, the report we got says that the man was killed by a blue vehicle. Uh-huh. Now take a look at that truck, will you? Yeah. Black. We put in a call to the office and we asked them to send the tow truck out and impound the vehicle. We stood by until they arrived. Frank and I drove Amel Salter to the scene of the accident. He pointed it out for us. According to the information we'd gotten, the location he gave us was the place where Lloyd Holtman had been found. We checked the area, but we failed to come up with anything new. 5.20 p.m., we returned to suspect to the main jail and we went back to the office. We sent a radiogram to the authorities in Waukesha asking for all available information on Salter. At 6.47 p.m., we checked out of the office. The next morning, December 11, Frank and I met in the squad room. Hi, Joe. Good morning. See the morning papers? Yeah, guess there isn't much news, huh? I'm sure he gave Salter a lot of space. Yeah, I'm sure he could find the answers. I called Lee when I got in. They went over the truck, found a lot of the kid's prints, but they didn't turn anything with the point to an accident. The way the body looked, it should be something on the car that ran him down, shouldn't it? Excuse me? Yes, sir. Wonder if y'all could help me out? Oh, we'll try, sir. Come on in.  A lot of their kid in the paper. Sir? You know a young kid that ran down the old bum, uh, emo something? Slover. Yeah, yeah, that's it. Well, what do you know about it? Well, just take it easy now. A couple things I gotta be sure of before I tell you anything. All right, what's that? Well, I ain't gonna get mixed up enough. We can't promise you that till we heard what you got to tell. Now, I'm wasting my time. Bye. All right, just a minute. Huh? Maybe I better straighten you out, Mr. On what? Well, this kid's sitting in jail right now. He's got a pretty serious charge against him. I didn't make it. Yeah, sir, that might be true, but I better tell you this. If you know anything about a felony that's been committed, and you withhold that information, you're liable for prosecutions and accessories, you know that? That's the law? Those are the words. Now, the only thing we're interested in is getting the case off the books. We're not gonna give your name to the papers. That's a promise? That's a promise. Okay.  All right. Now, what's your name? Lawn State. That's L-O-R-E-M? Yeah. You want to sit down? Oh, yeah, thank you.   How's that? He didn't do it. How do you know? Oh, I've seen the accident. I've seen the whole thing. You want to start at the beginning? Now, you're sure none of this is gonna get out? We told you, not from us. Okay. Well, I took a drive Saturday night up the coast. I had dinner. Now, on the way back, I stopped and parked a while. You know, kind of looked out at the ocean? Yeah. Well, I was just leaving, and I saw this old guy walk along the road, a metal stiff, you know, had a blanket roll on his back. Just walking along. You know how to do. Yes, sir. All of a sudden, his car come rolling down the road. Thing must have been doing at least 90. Come rolling around the turn right at this old guy. Well, sir, the old guy saw the car coming right at him, kind of turned and started to run. Wasn't any place for him to go. It's where the roads cut right out of the mountain, you know. Yeah, we were there, we know. Well, I guess he figured to drive a swing around him or something, so he run over the side of the pavement, trying to get out the way. Didn't do no good. That car plowed right into him, must have knocked him 150 feet. 122. Well, it seemed a lot further than that. Did the driver make any attempt to stop after he hit the old man? Yeah, pulled over the side of the road, didn't get out the car, though. Just stayed there, man, then it drove off. Yes, sir. Well, sir, I was going to go over and see what I could do for the old fella. I really was, and then this truck drove up. The guy stopped and got out, walked over to the fella. I figured he'd be able to take care of it, so I left. Did you see the driver of the truck? Yes, sir. So I'm good when he walked in front of the headlights. The same fella in the paper, that, you know, what's his name? Solard. Yeah, Solard. You're pretty sure it's the same man? Yes, sir. Now, like I told you, I got a good look at him. How about the other man? What can you tell us about him? Not much, except when he was driving too fast. Well, how about the car? You know what kind it was? Well, I didn't get a good look at that. How about the color? You notice that? Yeah, it was a blue, kind of light color. Can you give us any description of the driver? No, sir. Could you tell us if it was a man or a woman? Oh, it was a man. I noticed that when he slowed down. He kind of leaned out the window and looked back down the road. It was a man, all right. Could you see the color of his hair? Anything at all about him? No, sir. There wasn't any lights up there. You know, it was dark. I couldn't see very good. The main reason I know the driver was a man was the lights on the truck kind of picked him up, and that's when he left. All right, Mr. States, we appreciate what you've told us. Glad to help as long as nobody's going to know. Be pretty embarrassing. Well, how's that? Well, C.C., me and the wife, we haven't been getting along too good. Nothing worth talking about. Well, if all I don't like to be nagged at, you know. Well, there's just a little secretary in our office, and she and I talk once in a while. A couple of times, we've gone out for morning coffee together. This last beef with my wife, I figured our six are good. So I asked the secretary for a date. She gave it to me. We got together Saturday night. Had dinner at a place up near Malibu. On the way back, we just parked and talked. Nothing wrong, mind you. But I don't guess my wife understands you found out. I see. So you see why I don't want nobody to know about Saturday? It'd be kind of tough to explain. Yes, sir. Got the thinking about it, though, and what that kid, he more solid. Yeah, got the thinking, well, he must be going through and decided maybe I better tell about it. I don't see it's going to help him a lot. Yeah, I guess so. Oh, something else you might be able to use. What's that? Might not be worth anything out of state and all. What's that? The hit-and-run car? Yeah. I've got license number. You are listening to Dragnet, the authentic story of your police force in action. We got the license number of the hit-and-run car. Also, the fact that it carried an Illinois plate. We put out a local and an APB on it. We got in touch with the Department of Motor Vehicles back east and we obtained the owner's name. According to their records, he had notified them that he was moving to California. They were able to supply us with a North Hollywood address for him. We checked the name through our record section but we found nothing. At 5.20 p.m., Frank and I drove out to see him. Yes, Charles Bookman. That's right. Police officers, we'd like to talk to you. Come on in. Thank you. My partner, Frank Smith, my name's Friday. Hello. How you doing, sir? I was just having dinner. You mind if I tell my wife to go ahead? Well, we can wait, if you like. No, I'll be right back. All right. You want to wait just a minute? Mind if we go with you? I'm just going into the dining room. Yes, sir, but we'll still have to be with you. What's this about? You owe the 1954 Pontiac. Yeah, light blue. That's right. Something happened to the car? Well, I want you to tell us, if you will. Well, I don't know what this is all about. It seems you ought to be able to tell me. Where is the car? Well, I don't know. You owe the car. You don't know where it is. That's right. It's been stolen. Well, I don't know. For all I know it could have been. I haven't seen it for a couple of days. Well, who has it, do you know? My brother-in-law. I let him drive it. You don't know where he is. You know, if he smashed up the car, he's going to pay for it, though. I'm not going to be responsible. Well, Freddy's done more than that.  My wife's kid brother can't hold a job for more than five minutes, all the time sponging off me. When did you let him take the car? Well, let's see. It was Saturday morning. I told him I wouldn't be using it for a couple of days so he could have it. Look, it's my car you're asking about. I got a right to know. If something's wrong, I ought to notify the insurance company. Yes, sir, we understand. But it'd be better if we talked to your brother-in-law about it first. You want to give us a full name? Casey Stedman. S-T-E-A-D-M-A-N, is that right? That's right. How about a description? No problem. I think I got a picture around if you want that. Yes, sir. Help. I'll get it for you. What were you doing over the weekend? I was home. I'm branch manager for the company I worked for. I got an annual report I have to get out. I worked on that. Every night? Yeah. Started at Friday night, finished it up Monday afternoon. That's one reason I let Casey take the car. What? To get him out of the house so I could get some work done. Oh, I see. But all he does is sit around and look at the TV. He starts right with the programs for kids and goes straight through the day. I think there's something wrong with his ears, too. Always got set, turned up real loud. And anybody can thank when he's watching the show. Oh, sir. I had to get him out of the house.  She knows how important that work is, too. Sometimes I wonder if it's worth it. Well, I wouldn't know about that, sir. Just once. Just once.  Just once, so she really believes it. Well, if he was driving your car Saturday night, we'll let you know. Well, let proof. She'll believe it, then. We got a complete description of Casey Steadman, along with a picture of the suspect. We went back to the office and got out of supplemental broadcast and an APV on him. A check at R&I failed to turn up any information. We talked with his friends and his known associates. None of them could tell us where he was. None of them had seen him since the accident. Wednesday, December 12th, we got a call from one of the larger garages in the city. Yes, sir, that's right. Wendy called you. I see. All right, we'll be right over. No. No, if he does, will you try to stall him till we get there? Right. Thank you. Bye. Garage over on 6th. Yeah. Guy hauled a car in this morning. The front end all smashed up. Started to work on it, and he thought he better call us. Blue Pontiac? That's right. Stains and the fender. Yeah. Mechanic thinks they're blood. Frank and I left the office and we drove over to the garage. We talked to the owner. He told us that he'd gotten a call to bring a tow truck to the corner of Main and Crocker streets. When he got there, he met a man who asked him to tow a car to the garage and to do some repair work on the right front fender. We showed him Stedman's picture. He gave us a positive identification. We checked the car over. It was a 1954 Blue Pontiac sedan. The license number was the same one that we'd gotten previously. The garage owner went on to tell us that the suspect wanted the car on Thursday night and that it was important that the repairs be made by that time. We asked that we be notified in the event the suspect made an appearance before then. We called the crime lab and we asked them to come down and go over the car. Frank and I went back to the office and we met with Captain Warman. We told him what we'd found. He told us to be at the garage the first thing Thursday morning in the event Stedman made an early appearance. Frank and I got there at 7.30 AM. At 4.30 in the afternoon, the suspect still hadn't shown. 4.45. 4.50 PM. Maybe you figure something's wrong. Doesn't seem likely. No way for him to find out. Thank you, sister, Captain. No, Bookman said he wouldn't say anything to her about it. Oh, man. Let him in, Frank. Yeah. We got a live one. Let's take it. Stedman? Yeah? I'd like to talk to you. Why? Do I know you? Police officers. You on that blue potty-ack over there?  All right, make the ticket easy. No! I know nothing about it. Nothing. I never saw the car before. It's all that's toted in, says the other one who called him. Well, he made a mistake. Must be a lot of men who look like me. Nothing special about me. The crime lab has gone over the car. As soon as we roll your fingerprints, we'll be able to tell for sure. What's that going to prove? Maybe I did drive the car. Nothing wrong with that. No law says a man can't drive a car. We got one that says you can't use it to kill somebody. I didn't do that. Yeah, sure. Oh, you don't believe me, do you? Nope. That's kind of lousy, isn't it? How do you mean that? You walk in here.  I'm guilty. You call that fair? We just got to go with the evidence, mister. Well, you got nothing to prove I was in that car. Nothing to show that I killed anybody. Just trying to make me say I did something I don't know nothing about. All right, come on. Let's go. You just swear. You take me to court. I'll tell the whole world about this lousy deal. Yeah, well, I don't know about the world. Yeah? But we'll be there to listen. We took the suspect back down to the city hall. As soon as we had his fingerprints taken and compared with the ones found in the car, we showed him the physical evidence that we had. When it was presented, he confessed to killing Lloyd Holdman. He made a statement and we took him over to the main jail where he was booked in on the charge of violation of Section 480-V-C, a felony. Before we left the jail, we had Amel Salter brought from his cell to one of the interview rooms. He looked like he hadn't slept for several days. Sit down, Amel. Thanks. How do you feel? Not too good, Mr. Friday. Oh, we got some news for you. Yeah? You didn't kill that man. You're not lying to me. No, we've got the guy that did it. Oh, that's good. Since that night all I've thought about was that man lying there. I'm glad it wasn't me. Yeah? You know you still have to answer for all of that. Sure, I know. Funny. The reason I left home was to build something new. Here I am in jail. Just me, I guess. I blame my parents, my brothers, everybody. All the time it's me. There's nobody else to blame, really. Well, I can try it again, Amel. Yeah. But it'll probably be the same. Always on the outside looking in. What do you mean by that?  Maybe you'll think it's funny, but... like one time I wanted to go to the junior prom. Real bad. Didn't have the right clothes. Didn't have a date. Who'd want to go out with a shrimp like me? Won't you ask anybody to go with you? No, I knew better. But I went to the prom anyway. All by myself. No date, no nice clothes. Just old cords and a beat-up jacket. One and how I went. Uh-huh. I sat on the fire escape. Yeah, I watched the whole thing through the gym window sitting on a fire escape. They had lanterns and stuff. Kids all dressed up real pretty. It was nice to watch. Saw the grand march, everything. Only one trouble. Yeah. Like I said, I was all alone. Looking in from the outside. Well, we got a shove-off for you. Thanks for coming over. It's all right. See you soon. Sure. You want to wait here? We'll send an officer in for you. Yes, sir. Thanks again. Kind of a nice kid, don't you think? Yeah, I guess he is. Just a lot of things caught up with him. Kind of gives you a funny feeling talking to him. How do you mean that? Well, you know how when he works all night and you get home early in the morning? Mm-hmm. Too tired to sleep and you hear a train whistle from the other side of town. Listening to that kid, it got the same sort of feeling. I don't think he's a bad kid, not really. You think I'm wrong, Joe? Well, I guess if you are, it makes two of it. Yeah. The whistle you're talking about? Uh-huh. I hear it every once in a while on the shelf. The names were changed to protect the innocent. On April 16th, trial was held in Department 97's Superior Court of the State of California in and for the county of Los Angeles. Casey Harrison Steadman was tried and convicted of violation of Section 480 of the vehicle code law. Violation of Section 480 BC is punishable by imprisonment in the state penitentiary for a period of from one to five years. Amal Donald Salter pled guilty to one count of grand theft auto. In the interests of justice, he was placed on probation for a period of three years.


One example I've got here is all focused on how we embed student support and it works through our student support teams who have a fantastic dashboard that gives them information about the students who are in the various tutor groups across the UK. And we rely on the reporting that you can see here in front of you to develop interventions that will help support our students in their journey. So a very typical intervention here could be that we observe that the students do not hand in an assignment for example and so we're able to send them a message to say, please consider your assignment and should you be handing it in now. So we gently prompt the student. Another way in which we embed learning analytics is through the quality assurance and quality enhancement processes at the University. And typically qualification completion a whole range of different factors which help inform what things should enhance the quality learning experience of our students. And finally another example that we're very proud of are the principles that we've developed for the ethical use of student data for learning analytics. A real cornerstone to the Open Universities program around learning analytics is how we've gone about identifying at-risk students. So within the program we spent a lot of time very early on understanding just what the factors were that described our at-risk students. We need to look at demographic. We also have discovered that previous motivation and study patterns is very important so if a student has studied with us before or has done prior study they're more likely to be successful. Same with student progress in their previous OU study. Obviously the number of modules that a student take actually affects their progression and what qualification within that module as well. So there are more than 30 factors that underpin this that we know create the picture for the Open University of what a successful student looks like here. So we can basically tell where the student is going to pass or they're going to fail at key points within the module they're studying. Now all of the dots that you can see on the screen they're all represent aspects of the learning journey. They're learning activities. They're learning interactions. They're points within the journey within the learning design that we deem as important. And we can actually see which parts of that students touch and some parts of that journey have proved to be more successful for some students than other. So we're able to use OU Analyze to predict whether or not students are going to pass or fail but we use that information directly into practice. And what we've done is identified a series of modules which we can work specifically with module teams on to say hey we've noticed in this spot here in this learning activity but if students don't do this they're more likely to fail. However many students aren't doing that activity so what could we do to encourage them to do that. And that's just one example of the kind of intervention that we can make and how research and practice is actually at the heart of what we're doing in learning analytics.