Hey, welcome everybody to this webinar today. We're going to get started here in about three minutes. Working on setting screens up here just so that people know. There are several more trainings coming up this year. You should be able to see a list of our upcoming trainings. You are in the ShareLaw video, intro training and video making tips. That's going to be today's training. We're going to get started here at about three minutes after. I'm just going to test and make sure that slides are moving forward and everything's looking good. Excellent. If you've got any questions, please feel free to drop them in the question box. Let's see if I can rearrange screens a little bit so that I'm not looking off screen all the time. How is the audio quality cut? It sounded pretty good. Is any of the air conditioning coming through on my end? Nope. OK, sounds good. Excellent. We're going to give it about a minute and a half here. Let a few more people log on. We've got a list of all of our upcoming trainings here on the screen. All of our trainings are free, and all of our trainings are recorded and archived to be put on our YouTube channel. We've got over 150 YouTube videos. Most of them are an hour and a half long. Several of them, though, have started to also be very short summary versions of things that we're talking about. We did a accessibility series that I'm going to talk about a little bit later that's all two to three minute videos talking about web accessibility and how you can make your website more accessible. We're going to be adding an accessibility training a little bit later on this year. We're talking to a vendor right now. Let's see where we are. We've got a few people already logged in here. We're going to give it one more minute before starting up. If you've got any questions, there are really two ways to add questions into this webinar. Number one is there's a question box, anything you type into the question box. We will read aloud so that everybody can hear the question. The second thing is to use the raise your hand function, and then myself or Kett will unmute you. And you can just speak the question aloud. If you've got a question over anything, please bring it up. We are this industry, both legal and tech, kind of assume particular pieces of knowledge. We're trying to do everything in plain language here. But if anything comes up, just please ask a question. We're going to get started here as we are about two minutes after the hour. Let's get slides moving. This is a video tips training and a share law video.org training. So a little bit of background about myself. My name is Sartro. You may know me as the head of LS NTAP, the Legal Services National Technology Assistance Project, where I try to help all of you implement new technology. I've got a one-on-one counseling next week where I'm working with a program down in Florida that wants to record some trainings and do video work. Anything that you've got for questions like that, please feel free to send them to me. And I'm happy to help out myself, Kett. I've got a summer intern here from the ATG Tech Fellows. We're all here to help out. I have also worked with several other YouTube channels and other nonprofits. I'm on the board over at Northwest Consumer Law Center. I teach occasionally at UW's Information School and SU Law. And then I've worked on private projects such as Mythic MTG Tech and Meeple's included. I'm in-house here at Northwest Justice Project in the Seattle area. So if you are ever in the Seattle area, please feel free to drop me an email. And I'm happy to sit down in person and also talk about anything tech and law related. I love videos. Personally, I started doing videos to understand how to better archive our own videos. And now I do personal videos also all the time. We had a training about a month ago, which some of you may have attended. I'm not going to be rehashing things that were in that training or only slightly mentioning them. I would strongly recommend checking that training out. It's under new video resources for legal aid. There's also a 10 page guide that was published on doing user testing and best practices for video. That is downloadable at lsntap.org. It is on the front page linked there. One of the big questions that people keep asking is what type of software to use. Most of the video production that I do include screen captures, putting together some type of slides, talking over those slides, and then capturing it directly off of the screen. The three best options personally out there. I like Open Broadcast Software. It is a free open source tool that makes it really easy to capture everything that's going on on your screen and everything that is going on from your video camera. My movie is also free on Macs or $15 if you've got an older Mac and you need to upgrade. Very, very, very powerful tool at a very reasonable price. Camtasia is a great piece of software if you want to do a little bit of video editing, add some professional touches, titles, things that slide in and out, animation, set up themes, that type of thing. It is about $200. It is a very good piece of software. I've used all of these. Daniel Eddiger has used iMovie a lot. There are more powerful tools out there. Getting into video, I don't believe that you need them. When you start to do video on a regular basis, there are some things that can be added for video editing. Audacity is one that I've used a lot, which is open source and free. Cat uses Adobe Creative for a lot of the video stuff that he does here. Very powerful tool. The more you use it, the easier it becomes the learning curve on it is higher than any of the three tools that I've got here. I also strongly recommend putting together a computer for doing video editing. Most legal services, offices, your standard computer is made to do word processing and web browsing.  It's going to take a lot longer to do video editing. The price range that you're looking at for a solid video editing computer is about the $1,000 to $1,500 range. And the four real factors that you want to look at is a video card, a good processor, some hard drive space to save those videos, which you don't have to necessarily save the videos to the local machine. It could be a server somewhere else. And then RAM, with those four major components, you will speed up your editing time significantly. Your real time editing will go much, much smoother. It's well worth it to have a dedicated computer that does video editing for that staff member who does it. We're moving into some tips here for creating videos. Make sure your titles are extremely simple. Think about what people search for. Although you're going to probably put your videos up on your law help site and on YouTube, most individuals are going to find them through search on YouTube or on Google or Bing or any other tool out there. And the title tells the search engine so much about what the video covers. So make the title simple, make the title short. The particular video that we've got here, I would actually improve the title a little bit by removing the Northwest Justice Project as they already get that metadata from the channel as it's Northwest Justice Project's channel. And just start with the Washington State Fair Tenant Screening Act and make it simple, make it the answer to some type of a question. Another thing that I strongly recommend is using a comic book style for a lot of your videos or slides. I grew up with comic books and they add a really nice, compelling visual element. The artwork does not have to be amazing. The artwork can be very simple, but it has several advantages to it. Northwest Justice Project has a significant number of videos that have been done in this style. The ability to update these when the law changes is really, really high.  When that video is updated, it's much, much easier and much more reusable to have some non-moving visuals in the front and an audio track over it. It also is much easier to do a second or third or fourth language because you can reuse the visuals, change the text that's on screen, and record a new audio for it. So you're 80% of the way done with the video after you've done it in one language and transferring it to multiple languages is just much, much easier at that point. Your visuals can be pretty compelling also. This is a comic book project that I've been contributing to over on Popup Justice that will start as a comic book explaining some of your rights in the law and then also become a video series. Although you don't need those super fancy graphics. There's a lot of free trainings, tips, tools that are out there. YouTube has an incredible creator academy that is free. Anybody with a YouTube account can take a look at and walk through a bunch of different courses that are designed to help you optimize your videos. They cover everything such as the length of the video, how to put together thumbnails, which is something that I'm going to talk about a little bit later, how to look into the analytics. The analytics are extremely powerful when it comes to YouTube.  Are you asking them to go to a resource and file something or did you put a visual on the screen that's too complicated and people are just tuning out? So being able to look at those user insights as they come forward is extremely useful. Another big thing that people ask me is, where can we get content that we can use for our videos? And I'm actually going to do a little bit of a demo here with the Creative Commons search. So I'm going to be moving out of the slides here and trying this live. One really important thing is to make sure that you've got copyright covered and I'm going to cover copyright a little bit more, but Creative Commons has a search page that is extremely easy to use and has several different types of content that is available. So let's move over here to the Creative Commons search and this is just available right up here at search.creativecommons.com. And what it does is it takes a bunch of popular sites including Google image searches and Pixabay and YouTube and lets you directly search for things that you can use. In this case, I've got checked use for commercial purposes and modify, adapt or build upon. So that's going to give me the most open license possible that is going to let me incorporate it into my own things. With regards to legal services, many of the things we do are non-commercial. I don't think you actually need to hit the commercial purpose here, although I like using things that are most open so that other people can remix them, but that is definitely your choice. Let's say that we're looking at debt here and we're looking for an image that would be useful for debt. We've chosen Google images here and then it will bring up a search on Google images of different images that we could use in our videos. Right here, this one is over on Flickr. So we're going to have to go to Flickr to figure out exactly what the license is on this. The license is right here and the icons show you what the license is. This is a Creative Commons by, which means you've got to attribute the author and additionally, the resources that you make have to be under an open license. That's what the share alike is here.  If you're not going to probably modify this image, so the need to the share alike is not going to be that applicable. Probably going to use the image as it is, but definitely you're going to have to attribute there. Now let's look at another image and see if we can find one with a little bit even more open license from that. The URLs that things come from will often tell you how open the license is and I'm actually going to go all the way back to Creative Commons search and try this again on Pixavay. A lot of the things that come up here are going to be under a Creative Commons zero license. This is a public domain dedication. That means you don't even have to give credit in using that license. You can just add it directly into whatever video you're doing. This here, definitely I could see how that would be useful in a debt video. Very easy tool, very simple to find individual pieces of art. This also works for music. SoundCloud has a very strong collection of tracks that are available under a license. Usually you just have to give a credit to the artist and a link back to them in the video credits and you're able to use them right away. Now let's head back over to the slides here and present this. Please feel free to ask any questions as things come up. Another really big tip for using YouTube in particular and also for putting it on a law help website is create playlists so that people can quickly find one resource and then see related resources. This is a playlist that we did around accessibility and they're all one to five minute videos on making your website more accessible. If someone finds any one of these videos anywhere online through this playlist, it then brings them to the playlist and continues to show the related content there. It also basically lets Google and search engines know that although these have different titles, they are related and increases the chance that they'll be found for related items. Thumbnails are extremely important when it comes to putting videos out, having a graphic image that is very easy to show people what the content is makes it much easier for people to find your content when browsing through a giant list. Most of the search engine results for videos, especially on YouTube, but also on Google and Bing, will show this thumbnail image. These are two that we've recently put up on YouTube. One of them already has a thumbnail that makes it extremely easy to see that this is about user experience. The other one, we haven't put a thumbnail ad, it just randomly chooses an area inside of the video. The difference in these professional-wise is night and day. We will be adding a thumbnail to the Quick Access Toolbars. That's just one that we recently put up where the thumbnail hasn't populated yet. One of the quickest ways to make a thumbnail, Google Drive has a present or a slides and that's actually what we're looking at right here. This is the slideshow presentation you're looking at. If I was going to do a thumbnail for this, I would take the title screen that I had, cut out most of the text and make it larger, and then put an image here that let people know exactly what this was talking about. I'd probably take the ShareLaw video and I would turn this into a little bit of a screen capture of ShareLaw video and make it much larger. I'd move these logos down to be smaller and make it as visual as possible in doing this. So we've kind of run through some of my basic tips for creating video content. And the next thing that we're gonna do is look at sharelawvideo.org. This is a website that LSNTAP took over from Atlanta and has been hosting for about a year and a half, almost two years at this point. Just like the Creative Commons search, this is a place where you can find resources that are available to anybody in the legal services community for free. Everything that is up here has been created by other legal services organizations been used for their own content and you can take this content, repurpose it and reuse it. One of the big things that we did here, the guides that I talked about earlier are posted here. So the how to make and test videos with limited time and money is posted here. Any of our new resources show up here in the new uploads. We have changed the site some so that it is much easier to get to the content. This whole site used to be behind a login. There's still the opportunity to create a count and login, but in order to access the resources, you do not need to login. You just need to provide your name, your organization's name and your email. And that sends us a email letting us know that the resource has been downloaded and by who. We keep track of that for grant reporting and to see how useful this site is. But each of the different resources that are here are downloadable right away. We've made many of the things available both in Movie Maker and in iMovie. So for example, this is a video on what to do if you are sued, the original branding from the organization who donated this has been removed. So you can just add your own branding. The video itself is here, so you're able to preview it, watch it and then download the individual pieces to use in your organization itself. It has a link also to all of the PowerPoint slides that were used. So if you wanna go in and customize those slides, maybe there's something in this video where the law is different in your jurisdiction. You can go in, edit those slides and then you give credit with regards to the original creators of this. All of, we've got a series of quick start guides that are put in place. This here is a finished video with regards to SSI over payment. This kind of uses that comic book style that we talked about a little bit earlier. But what it does is it takes a series of still images and those still images have kind of your speech bubbles over them and then someone reads out each of these. You can go back with the original slides here and customize the text for any of these and then add your own additions to it using the images that are there. This is an alternative to kind of using the hand drawn or using icon base. You can get together staff, take some pictures, add the speech bubbles in Keynote, add them in PowerPoint, add them in Google Slides extremely easily. Once again, this also is much easier to do multiple languages than doing live actors. You're able to go back through, change the language that shows up on the screen and use a different narrator for creating the audios there. Anybody who creates content for a legal services organization that would like to share that content, there's two ways to get things on this site. One of them is to create an account and upload it yourself. It's very easy. There's where this my account button is. There's a create account. We asked for about three pieces of information and we approve accounts within 24 hours. If your account is not approved within 24 hours, please email me. We will figure out what's going on.  Maybe we set up a Dropbox, share those items, upload it and tag it. If you provide us the text explaining what it is, we can also put that content up there directly. But as a reminder, you don't need to create an account in order to access everything that is on share law video. It's open, it's easy to use, and it's under an open license that will let you use it. Originally, there was a custom license that talks specifically about legal services organizations. Most of the organizations that have donated material, we've talked to them about using a slightly more open license, Creative Commons non-commercial license, which I'm gonna cover here in a minute. Let's move back to the slides here. As I said, we removed the login and made it really easy. Most of the content is now under an attribution non-commercial license. That means you can use it as long as you give credit to the original org that created it and you use it in a non-commercial way. If you want to create videos and sell them in some way, you've gotta go back to the original creator and talk to them. Putting this Creative Commons license in your credit screen at the end is all you need to do in order to share content in that way. If you've got more questions about copyright, we've done a full long webinar specifically about copyright and published a 20-page guide on the basics to copyright and fair use. Myself and Liz Lehman put that together a few years back. Also, the video for that and all of our other videos are up on YouTube at Ntapvideos. We've got over 150 videos there ranging from what we've been talking about today and video resources to artificial intelligence using it in legal aid. We had a wonderful webinar about nine months ago by Ivy Ashton that covered that. Any topics related to video creation or anything else that you would like to see on here, we're happy to do videos for. And I highly recommend subscribing to the YouTube Ntap channel. We've added a new series where hopefully every week, but at least every two weeks, we are updating what's going on in the legal services community, letting people know about projects that are being launched, best practices. These are little three to five minute videos called This Week in Legal Services Technology. I'd like to open it up at this point for questions. If people have any questions related to content that they're creating, things that they would like to try to do, please let me know. So how many individuals in the audience have created videos already? Or what type of videos have you created? So we've got Noah Samuels over at Northwest Consumer Law Center. He did a short intro to bankruptcy video. One of the best places to try to find potential topics for videos is look at your statewide websites, hits for particular resources, and think about which resources are being used again and again. Any type of a question that comes up again and again in a clinic or is being accessed a lot online, may be ideal for creating a short video. We are working on a video right now at Northwest Justice Project that will help people request their credit report and help us help them with regards to the debt clinics that we do. Giving a client a little bit of background and a starting point done in plain language is very, very helpful for counseling them. Because then there are at least one or two steps into understanding what you're talking about at the very beginning. We've had questions about where to distribute videos before and the top three choices that we kind of see legal services organizations and other people using are YouTube, Facebook, and Vimeo. There's a pretty big difference between those three ways to distribute video. With regards to Vimeo, you're able to do higher quality or very high quality videos on there and you are able to put them behind a password. If you have things that you do not want other people seeing, Vimeo is by far the easiest choice to add a password. If there is no reason to have it behind a password, I strongly recommend just making it publicly available. One of the things that comes up a lot is recording continuing legal education seminars for advocates. And if that information is generally useful to a broader community, it can be a great way to get some additional hits to your YouTube channel, to build your reputation in the community, to put out some high quality content, record that CLE and put it out publicly. Now, if you've got strategic things in there about how you're approaching cases or if you have very personal client stories that you don't want put out there very publicly, then Vimeo is definitely the better option putting it behind a password. Facebook, short term, you're likely to get many more hits in a video from Facebook, but Facebook values immediate brand new content higher than everything else. Any video that you put on Facebook will stop getting hits a few months to a few days or even a day later depending on the type of content and how relevant it is to current conversations. For example, when working on a terms of service video with regards to a opt out clause that needed to be accessed within 30 days of using an application, I chose to distribute that video both through YouTube and through Facebook. I wanted people to see it immediately on Facebook and the traffic was very good within the first few hours, picked up over a thousand views, but on YouTube, it continues to get views to this day where no one continues to watch the Facebook video. So taking the same content and putting it in different channels is useful depending on what you're looking at. Any other questions about creating videos? The last resource that I'd really like to mention here, it is on LSNTAP's homepage and it is the email group for LSNTAP. We have over 700 people who do legal services projects and let me pull it up here. This join the email lists link is the best resource that we've got. It is the best place to ask a question, like, hey, I would like to do a video on this, has anyone else done a video? What are the best practices for this? If you ask there for content that isn't already on share law video, you may find someone else in the community who has already created it. People are also willing to help with tips, tricks, budgets, basic equipment, upgrading your equipment, anything like that. The email list is general to all legal services technology, but there's at least 20 of us on there that actively do video related content and are happy to answer questions or meet with you one-on-one. If you have a Gmail related account or an account that you've associated with a Gmail account, you can join yourself. If you do not, you just shoot me an email with your email account and I will manually add you. The having a Gmail associated account does give you access to the archives, but if you don't have that, you still get access to the entire email list. I guess the last thing that I'd like to mention here is that we do have some tutorials over on share law video that point out how to work on particular things. We've got a whole guide to using Movie Maker and to iMovie on creating videos, using the templates that are on there that walks you through step by step. These are very easy to follow, very easy to use. It takes probably about two hours to go from no experience to creating your first video with one of these custom pre-made videos. I think that's about all the content that I have here today. Thank you guys so much for coming out. If you've got any questions, if you see any bugs, if you have any feedback on share law video, feel free to email me. We also have a survey here that is on the front page. We do check those, any improvements, any type of content that you would like to see, please request it and we will reach out to the community and find individuals and help share other videos that have been created. Also, if you've got a brand new video that you have just launched, please send us a link. We will put it into the This Week in Legal Services tech and share it with the community broadly. Next week's video for This Week in Legal Services is gonna be highlighting two videos that Justice Hub put together justicehub.tools, which is a site that's out there for helping people pitch their projects and collaborate and work together. And they've started a YouTube channel and we're gonna be sharing some of their videos. I would love to share any of the cool video work that you're doing with a national audience so that other people can get an idea of what they can do. Thank you so much. This has been Sartro with LSNTAP and focusing on share law video and best practices for creating videos.


This study quantifies the regional differences in air quality responses to aviation emissions and analyzes their drivers using the GeoS chemistry atmospheric chemistry transport model. The study finds that a unit of fuel burn mass over Europe results in 45% and 50% higher global health impacts than a unit of fuel burn mass over Asia and North America, respectively, with 73% and 88% of health impacts from aviation emissions over Europe and North America occurring outside the region of emission. These findings suggest that inter-regional effects and differences in regional response to emissions should be taken into account when considering policies to mitigate air quality impacts from aviation. This article was authored by Flavio de Equadros, Mir Jamsnelin, and Irene CDDC.


So, far we have discussed about computability with respect to Turing machines. Now, like in case of finite automata or push down automata, we have an equivalent formalism with respect to grammars also. So, in case of push down automata, we have called them as context free grammars, in case of finite automata that is regular grammars or right linear grammars. So, we have discussed all those things and we have ascertain the equivalence between those classes. So, similarly in case of Turing machines, we have a class of grammars an equivalent set of grammars. So, here this is the most as you understand the Turing machine is defined for the utmost computability that means as a device which is useful to model the computation, this is the model of computation. So, grammar whatever that we are going to talk about that should also have enough facility to capture or to understand anything which is which you wanted to compute. So, in this lecture I will talk about that more general type of grammars. So, we call this as because we have certain restrictions so far on the grammar in case of context free grammar or regular grammar. This is the one which is more in a relaxed fashion that means the more general one we call it as a structured grammar or unrestricted grammar. So, the grammars that I am going to talk about here are structured or unrestricted or unrestricted grammars. So, now the question is what is that what is the meaning of unrestricted grammar? Like if you look at if you remember in case of context free grammar a production rule A goes to alpha where this A is a non terminal symbol and this alpha is a mixture of terminals and non terminals because if you write terminals by sigma I wrote that as say V. So, alpha is an element of V star as we just recollect that this A non terminal because some for every production rule left side some non terminal has to be there. Otherwise when you are applying a production rule because for a terminal we are we have already agreed upon that when you want to apply there has to be a non terminal on the left hand side of each production rule. Now, we relax this condition that left side only one non terminal symbol that was the restriction that we were maintaining. So, we relax that condition. Now, what is the more general situation the left side also you can have a mixture of terminals and non terminals right side also mixture of terminals and non terminals, but you remember that if you want to apply a production rule at least one non terminal has to be there. Suppose if you arrive to a terminal string in a derivation then we as we have as we have seen we do not expect anything further because we have derived already a terminal string that means the derivation ends there. So, there has to be at least one non terminal to apply any production rule. So, that condition we cannot relax. So, the more general scenario is left side a mixture of terminals and non terminals, but at least one non terminal has to be there and the right side a mixture of terminal non terminals as earlier. So, this unrestricted grammar the production rule which is of the form say alpha goes to beta where alpha is a mixture of terminals and non terminals, but at least one non terminal has to be there. That means it is an element of this set and as earlier beta is an element of V star where this V is non terminals union the terminal symbols. So, this is what we introduce. So, formally a structured grammar structured or unrestricted grammar when we call it a simply grammar grammar is a quadruple this is a quadruple as earlier n sigma p s where n finite set because they are all as earlier finite set called non terminal symbols and sigma is a finite set this is called terminal symbols and s is the start symbol s is a non terminal the start symbol. Now this p the production rules it is a finite subset of V star and V star that means at least one non terminal has to be there on the left side cross V star where V as given here. So, this is how formally we give it as a quadruple n sigma p s like in case of context free grammars or regular grammars we give the same notation, but here the production rules it is a finite subset of V star n V star that means left hand side of each production rule should have at least one non terminal symbol on the right hand side you will have a mixture of terminals and non terminals. So, that is how formally an unrestricted grammar can be defined now let me look at an example. I will not consider those examples which we have already established some regular grammars or context free grammars because you can quickly see as a remark that every regular grammar is you know a context free grammar and every context free grammar is a structured grammar because left side you are allowed to use a mixture of terminals and non terminals with at least one non terminal. If you fix only one non terminal on the left hand side it is just boiling down to a context free grammar therefore, I am not going to give those examples which you have already established some context free grammars. So, let us look at the example because we have this particular example that we have observed that this language say x in a b c star such that number of a c n x is same as number of b c n x is same as number of c c n x of course, just I put a restriction that at least is a non empty strings. So, we have observed that this is not context free language now can we have a grammar for this because we have a more relaxed and you know you have already constructed a Turing machine also for this. So, we can obviously as I had mentioned that these grammars are I am going to introduce here they are equivalent to equivalent computational capacity with Turing machines. So, we will naturally expect a grammar for this. So, what kind of what kind of thing here context free grammar it is not possible. So, the left side mixture of terminals and non terminals sort of thing is required here. So, at or more than one non terminal symbol is required here. So, let us look at a grammar for this you can quickly ascertain and understand that you have to generate a b c is equal number. So, first what I will do I will take the production rule say capital A capital B capital C. So, a b c when I will generate and maybe I will put s s recursively the number of a b c is whatever you want you generate and then. So, for example, by using these two rules you can quickly understand that for example, if you want 2 s 2 bs 2 c's then you use the production rule s s and 2 s you have generated and s goes to a b c if you use 2 times then you can get this for corresponding to each capital letter. Of course, I will give the respective small letter say a goes to a b goes to little b and that c goes to little c for example, I give it like this. Now, it is not that a b c's will be in the same order because it is it can be mixed for example, all a's come together or may be some b's and a's are mixed but c's may come together. So, whatever is the possibility only restriction I have is number of a's and number of b's and number of c's should be same. So, what I will do I will allow this non terminal symbols a b c's they can commute each other say for example, a b can be b a whenever you have a b if you want b a you can make if you have b a similarly, I will have a flexibility of making a b. So, this a can commute with b similarly, a can commute with c say a c can be c a c a can be a c similarly, b c can commute with c that is b can commute with c that is b c can be c b or c b can be b c. Suppose, if I give all these rules you can quickly understand that the logic the way that we have defined you can understand that you know first what are the number of a's or number of b's number of c's there should be equal. So, you wanted to have in a particular string that many times you apply as recursively and get that n number and once you have that required number of capital a's capital b's capital c's which are equal always and then whatever the particular type of string you want what are the permutation that you want you permute this a a's b's c's capital a's capital b's capital c's and then you terminate with the terminal strings and you can quickly generate whatever the string that you want in this language. Let me give an example for example, if you want a b a b c c you can you can see that two a's two b's two c's are here. So, the derivation as I had mentioned you may first use s s the production rule and this s you can put a b c and for this also you can put a b c and now do not terminate first you arrange using the that permuting rules and bring the form whatever that you want for example, this a b can give this first a b there is no problem, but you want another a b here. So, this c we will take. So, c can commute with a as well as b. So, I will use that rule by commuting this I will get a c then I have b c and you can commute this c with b also. So, I will get a b a b c c now you can terminate this a little capital a can go to little a. So, that is the situation here and then this capital b.  So, you know how many steps are required I am putting a star here finitely many steps. So, you have a derivation like this. So, quickly we can ascertain that the strings in this language can be generated because as I had mentioned that at least one a or one b one c has to be there because number of a is equal to number of b is equal to number of c greater than equal to 1 one a one b one c has to be there, but whatever is the order. And the logic that I have defined you can recursively give this and you can permute to the positions whatever that you want a b c. So, these are the permuting rules and thus any string in this language you can observe that any string in this language can be generated. Of course, I have not defined formally the notion of this one step relation and the reflexive transitive closure of that. So, this can be you know as earlier in case of context programmers. So, I am using this for one step relation one step relation and it is a reflexive transitive closure is by star of this reflexive transitive closure of this one step relation. So, this one step relation again what is that given a string if you can apply rule once and to get another string say from alpha to beta if you can get in by applying one production rule once then we use this symbol between the strings as earlier. So, that is what using these two we have defined we have shown that S derives this particular string a b a b c c. So, as earlier for a grammar g language generated by g is set of all x in sigma star such that S derives x infinitely many steps where S is a start symbol of the grammar. So, all these definitions this one step relation definition are reflexive transitive closure of that and the language generated by grammar as earlier. So, we are not going into details of this, but we will just see like what are the languages that you can generate using structured grammars or unrestricted grammars this kind of grammars. So, if you recall let me look at this example this is set of all x I can simply write like this is a power n b power n c power n such that n greater than equal to 1 for example. Once again we have observed that this particular language is not context free we have used pumping lemma for context free languages and we have realized that this language cannot be generated by a context free grammar this is not a context free language. Now, again the question is can we have a structured grammar for this. So, for this particular language we have defined we have designed the Turing machine also you have you have that. Now, one wants that we do not have that flexibility we have certain restrictions may be let me define like this I want to generate because n greater than equal to 1 some a b c has to be generated and then say let me give recursion and S t say t may be like this. Here the idea is as follows this t counts the how many this commutes with this t commutes with this little c and whenever you have this b t c we will make this t essentially generates the respective number of b c's say b b c c. So, if I give an example then you will realize that it generates a power n b power n c power n you can see that if you want just a b c to be generated it is not a big deal you just get in one step using the first rule there is no problem because S goes to a b c is a rule. If you want so this can be generated if you want a square b square c square say 2 s 2 b's 2 c's in that order if you want you see I use this rule a s t and then this s with this rule a b c we terminate this t is there. So, t takes care of you know generating the respective number of b's and c's as for that we have used. So, this t can commute with c and comes inside. So, what I get like this a a b t c now b t c can give this another power because each t will generate a pair of b c's. So, a a b b c c so this is what the string that we wanted in this language. So, this production rules that the way that I have defined look at that because this s can produce as many s as you want and a t is the check corresponding to each s you are having a t. So, this t will generate the respective number of b's and c's in the appropriate position. So, for that purpose this t has to be you know moved in between that b's and c's because if t is not moved then what will happen this b's and t's when you are generating you know you require to generate them in this particular pattern after b's then c's should come and after once you have c then there should not be any b. So, that is the reason we have to allow this rule that t commutes with little c and you will be able to generate then the respective in the respective pattern. So, just for the sake of you know familiarity just if you want a typical a power n b power n c power n then what you have to do is you use this rule for n number of times to generate a power n then what will happen here s t s t when I am using.  So, n minus 1 times we use and then this you terminate with a b c a power n minus 1 a b c t n that is how we have to do. So, what do you have this is this is a power n b c t now you bring t inside 1 t. So, a power n b t c t power n minus 1 this is how you have then this you can generate now 2 b s say b b c c then t power n minus 1 and so on you keep bringing this t is inside to generate the respective number. Now, you have 2 b s here a b c t power n minus 1 sorry. So, this will be n minus 2. So, 2 b s and 2 c are already there the respective number of t's you bring inside and after finitely many steps you get a power n b power n c power n. So, this is a typical derivation in this particular grammar. Now, what I have observed you take any string which is of the form a power n b power n c power n because anyway a 2 b 2 c 2 I have already observed assume n greater than n greater than 2 in which case you just use this kind of rules a s t for n minus 1 times.  So, those n minus 1 t's you bring inside to produce the respective number of b c's again side by side. So, that means this t has to commute with the c's whatever that is that so far you have generated then t will come between b's and c's there you terminate that t by generating one more a pair that b c. So, that is how we will generate a n b n c n. So, by this what do we understand this language a power n b power n c power n such that n greater than equal to 1 is a subset of the language generated by g. Now, we have to look for the converse that means that means whatever that is generated by this grammar this the string is of the form a power n b power n c power n for which we have to look at the characteristic properties of each rule. Here I have two non-terminal symbols s and t unless I use this rule a b c the s cannot be avoided that is what is the property. So, if you start with the start symbol s unless I use the rule a s goes to a b c we will always have the non-terminal symbol s you know because there are only possibility that I can use a s t. So, I will be producing this many number of t's. Now, to avoid this t that means to terminate this capital t I have to use this production rule I can use this production rule if I have this t in between b and c. So, I have to use this commuting rule if I have produced certain b certain c's and so on. So, you use there are only very few rules 1, 2, 3, 4 rules only. So, observe that applicability of the 4 rules and then you argue that this the language generated by the grammar is a subset of this set a power n b power n c power n such that n greater than equal to 1. Thus we conclude that this language generated by this particular grammar is this language we have this equality. So, this is one phase of grammars, but as I had mentioned that these are having the power of Turing machines Turing machines are used as a language generators or as a computable computing devices because we have talked about Turing computable functions between you know strings a Turing computable function is the one to compute that particular function you should require a Turing machine. Now, an equivalent or a parallel mechanism or parallel concept of computability in case of grammars that we will introduce. So, that is let me give you this formally the definition as in case of Turing machines let sigma 1 and sigma 2 be to alphabet a function a function a f from sigma 1 star to sigma 2 star is said to be grammatically computable. Earlier we have talked about Turing computability now we are calling a call grammatically computable if there is a grammar say n sigma T s where the sigma 1 sigma 2 are subsets of the sigma and there are strings let me call say u v u dash v dash in v star we call them as n markers we call them as n markers such that such that for x in sigma 1 star y in sigma 2 star if y is image of x under f if and only if u x v from u x v infinitely many steps in g you should be able to get u dash y v dash look at the similarity of the Turing computability with this grammatically computable function. Now, just recall a function is said to be Turing computable if there is a Turing machine such that if y is image of x under f then by giving x as input in the initial state you should be able to get y as output and conversely and conversely I mean this if and only if that means, by giving x as input whenever you are getting y as output in a Turing machine what is the condition that y has to be image under f of x. So, the similar the same thing here in place of the Turing machine we are talking about through a grammar, but here there is nothing like you know giving input and output therefore, we are talking with respect to certain n markers and if you want to say a particular function is grammatically computable with respect to a particular grammar further particular grammar you have to first declare these are the n markers. So, these are the starting n markers in this particular context we are choosing u v and the ending n markers we are choosing u dash v dash it is similar to you know initializing a Turing machine and you know you are stopping a Turing machine halting a Turing machine by giving the output in a similar fashion here we had to introduce the n markers because otherwise in case of grammars we are generating grammar through start symbol here start symbol will not play any rule, but anyway the grammar that start symbol is a component. So, we are anyway considering that fourth component as well in the grammar, but here the n markers are important when you want to say a particular function is grammatically computable we have to fix the n markers for that particular grammar for to compute that particular function. Now, look at this definition take two alphabets a sigma 1 and sigma 2 a function from sigma 1 star to sigma 2 star is said to be grammatically computable if there is a grammar n sigma p s where sigma 1 sigma 2 subsets of sigma and there are strings these are the n markers u v u dash v dash for the purpose of you know the starting and ending we are using. So, u v u dash v dash is elements of v star such that whenever y is image of x under f then you should be able to have this kind of derivation and between this n markers whenever you have this terminal strings x and y with the property that x is in sigma 1 star and y is in sigma 2 star then y has to be image of x under f. So, this condition is very strict this is if and only if condition. So, using this condition will be establishing that the Turing computable functions are also grammatically computable and vice versa, but let me demonstrate first how to construct such a grammar through certain examples then we will see accordingly. So, let me consider a simple example is a very easy example to understand this because grammar generating languages you know very well, but this is little bit different. So, let me first consider say sigma 2 b is a a b. So, a b star into a b star a simple function this f 1 I am defining if you take any x I simply concatenate a to x. So, you can clearly see this is a function it is grammatically computable what is the grammar I consider. So, let me consider the grammar g 2 b say anyway start symbol since you require let me take this that itself as a start symbol and special symbol some dollar and some cent and some this own symbol let me use and the terminals a b the production rules I give you and yes is that. And the production rules what do I give I give as follows if I have a with cent I will simply give or I do not require anything because I have to produce a I will just give this as a production rule just only one production rule. So, what is the idea here I declare the n markers u to be this dollar and v to be this cent I give and u dash same dollar, but v dash I declare it as this bound symbol. So, the idea here while giving this particular production rule whatever that string x that I consider I consider with this n markers dollar and cent and after finitely many steps whatever that why I wanted to have that is the this n marker I am taking the same and, but this n marker with this bound I do not get this bound unless I apply this production rule I apply this production rule whenever I have this cent I simply concatenate a you can quickly see that using this rules any string that you consider a 1 a 2 a n this dollar and this cent you apply that production rule only once and then you can get the same a 1 a 2 a n you have whatever is that string then you concatenate a and terminate. So, only one step derivation that you have in this grammar because only one production rule wherever cent is there I will simply concatenate a and produce bound and since this is the n marker for right side and this is for the left side the same thing that we have considered. So, here within one step I get the image of x under this function f 1 and hence. So, everything that you can compute in one step only. So, you can quickly see that f 1 is grammatically computable function. So, this f 1 is grammatically computable let just let me extend this just conditionally because unconditionally we are putting there. So, if f 2 is f 2 is same a b star to a b star defined by f 2 of any x is equal to let me write y a if x is of the form say y b and it is y b if it is of the form y a epsilon else. So, look at the definition of the function if the string x is terminating with b if the ending symbol is b then I have to remove that b and I have to place by a and vice versa whenever I have a I have to place it by b and if it is empty string it is empty only. So, for a non empty strings at least a or b you should have. So, you can quickly tell me that what are the production rules that you require same earlier if you have a with scent I just give b with pound and b with scent if you have and say a with pound you give and this is important because dollar with scent that means if the input is empty string then you have you require this rule. So, these three rules let me consider now the respective grammar g you know what are the non terminal symbols etcetera. So, this is the p for this grammar now the idea here is with the u u dash I am taking the same dollar, but v to b scent and v dash is the pound that is what we are considering. So, if you take any string a 1 a 2 a n with the start symbols this dollar and scent and now what happens this a n based on this a n if a n is a then it is of the form y I require b. So, this a n scent that is a scent will become b. So, here are the possibilities this dollar is same a 1 a 2 a n minus 1 and that a n if a n is equal to a then a scent you can make it as b pound and if that a n is b this will become in one step a 1 a 2 a n minus 1 by applying this second rule you will have a pound and if n equal to 0 then you have this dollar and scent side by side and hence in one step you can produce this and thus with the n markers the beginning n markers u v and the ending n markers that means, by the time of terminating this derivation of course, here also every derivation is you know in one step that you are getting. Let me consider little better example of course, we have talked about the definition of grammatically computable functions from strings to strings as in case of Turing machines we can talk about this grammatically computable function or numbers also when I am talking about numbers as earlier we will talk with respect to unary representation. So, let me consider a simple function that is succcer function from i star in the unary representation the natural numbers are i star that means, essentially I am considering s from natural numbers to natural numbers defined by s of n is equal to n plus 1 the succcer function. So, here that s is taking i power n i power n plus 1 as we have constructed earlier you can see this is grammatically computable this particular example. Now, similarly if you want to talk about predecessor function from natural numbers to natural numbers defined by p of n is equal to n minus 1 if n greater than equal to 1 0 if n equal to 0. So, for that we have to be little bit careful that you know whatever the number of i's you are given if there is an i sent the way that you are defining i sent you can make it as say for example, so that 1 i is killed the last one. If there is no i then the scenario is that you have dollar and send side by side and hence. So, essentially you have to check the condition because earlier you can simply define that produce one more i at the end by changing the symbol you will get it. That means, let me give you because dollar and sense consistently if I am using I can give you the production rule like this whenever I have sent I will simply make i power that is all. So, what are the number of i's existing n number of i's one more i is appended and you declare that pound to be the v dash. But in this case in case of predecessor function you have to cross check that means as earlier if you have this i sent then you can make it pound. So, 1 i is killed and otherwise if there are no i's then that means this dollar and send will be side by side then you make this is dollar pound. So, you have you if you consider these two rules you can quickly see that predecessor function or natural numbers you know using your representation with number of i's we can see that it is they are grammatically computable. Let me consider another example which let me stick to a b for the time being say f from a b star to a b star defined by r of x is reversal of x you know reversal of x if whenever you are considering a 1 a 2 a n the string the image is a n a n minus 1 and so on a 1 the reversing reversing the string. So, this is little bit tricky we have to be careful with the n markers and how we have to pursue this job we have to look at. Now, let me fix may be n markers like this some bracket this dollar x this bracket this is with this pair n marker u and this is with v after finitely many steps I would like to produce this x power r this dollar this.  So, here what I will do whenever I am considering this a 1 a 2 a n this dollar the idea is like this the square bracket the terminal symbol whenever it is touching this particular terminal symbol corresponding to that I will create one non terminal symbol some non terminal symbol and I will allow this non terminal symbol to commute with each of this terminal symbols here and pass through this dollar whenever it is passing through the dollar I will make that as a the respective terminal symbol. For example, if it is a I will make it as a capital A let me not use this because you may think this is the production rule. So, I will convert this as capital A and if it is small b I will convert this as capital B that is how I will choose. So, whenever this is touching this right side bracket the respective capital letters that I am considering these capital letters can commute with any of the small letters here. So, that it will go here and after crossing this dollar I will leave them back that means if the capital A is crossing this dollar I will make it as a small letter if the capital B is crossing this then I will make it as a small b. Thus you will quick you will understand that x power r can be generated through this mechanism let me give the rules. So, the idea is this if I have little a with this bracket the idea is to create the capital A in that place. Similarly, if you have little b touching to the right right side bracket I will give the rule that it will be made capital B. And this capital A and capital B should be able to go through this little a's and little b's. So, that means this little a capital A the capital A little a that means a can pass through this and similarly it can pass through b also. Now, same property with b's a capital B is this and if you have little b capital B then b b. Now, this capital A whenever it is touching dollar what do we do? We convert this back to its original form that is A dollar. Similarly, this dollar the capital B is touching this dollar once it pass to that place we will leave it back to little b dollar. Now, you look at through an example. So, these are the production rule I am considering these are how many these are 4 here the 4 here total 8 production rules. This is what is the production rule set you know the grammar here of course, for start symbol purpose you can take dollar as a start symbol does not matter. So, dollar I have used and this square brackets what else capital A and capital B these are the non-terminal symbols under consideration and terminal symbols little a little b only I have and p has given there and this s. So, this is the quadruple under consideration this grammar computes this function making a string reversal sorry making a string reversal how it pursues let us look at an example. Suppose, I am considering a b b what is the form that I am considering dollar this bracket and this bracket. Now, using that rule 2 little b with the bracket can be converted to capital B bracket. So, I have this a b this is capital B now this capital B can pass through this little a s and little b s.  So, let me for fun consider this way look at these symbols cannot commute among themselves this capital letters b and b cannot commute themselves. So, the first symbol can commute with small letters only this a you cannot now convert unless you pass this symbols. So, let me pass now dollar this capital B a b. So, what I want to point out here whatever the order that the capital letters are generated in that order only they will pass through dollar the order cannot be changed because this capital letter can commute with only small letters and these capital letters will become small letters after passing through dollar. So, the order whatever the way that they are converted to capital letters will not be changed that is what one has to observe here now this capital B is touching this dollar. So, you just pass through that and now becoming the small letter this is how you are you have now this little a unless it becomes capital letter it cannot pass through dollar and so unless you get that particular position you are unable to do that. So, that order is taken care here now pass B through this little a. So, you have this and now this capital B passes through this become small letter this and a b b this dollar can become now capital letter. So, this is now B B a dollar and you see the end markers u dash v dash you have achieved this is u dash as declared u dash is left side bracket and v dash now is dollar with this bracket and for empty string you do not have to apply any rule quickly. You can see that if it is empty string the input is of this form here epsilon and with 0 number of steps here let me write star 0 number of steps in fact you can see that because these 2 strings are essentially same. Now, in a general case let us see what is happening in a general case if you consider a 1 a 2 a n if you consider a 1 a 2 a n this becomes capital A n a 1 this is capital A n it may be capital A or capital B I am writing A n corresponding to this this A n can commute and pass through this after finitely many steps this A n comes here becomes small A n dollar this A 1 A n minus 1. And similarly this A n dollar A 1 say capital A n minus 1 this may be capital A or capital B again this passes through all these letters finitely many steps and now pass through this dollar become A n minus 1 this dollar A 1 and so on A n minus 2. Now, you notice that A n has first cross dollar its position is maintained and A n minus 1 is a second symbol to pass through this dollar. So, A n A n minus 1 and so on. So, this symbol at the last A 1 will be pass through this dollar and will be at the end and dollar will be next to this. So, you will get after finitely many steps using this same process A n A n minus 1 and so on A 1 dollar by the time A 1 passes this dollar will be next to this. So, that you will get the final end markers this v dash and this is u dash and whatever is the string which is formed this way and if this dollar is going to next to this you can realize that this will be the reversal of the given string. So, that you can understand that the reversal can be a forming reversal is a grammatically computable function. So, all these things that we have done in case of a Turing machines because given x as input x power r how to create or you know given x maybe let me do that kind of thing if I give g from say a b star to a b star g of x is equal to x x power r. So, this kind of all such functions we have observed through Turing machines that we can create this kind of strings if x is there to create x power r next to that this kind of things are you know over numbers computing over numbers all those things that we have done to Turing machines the same thing whatever that you have done that computable whatever the computable function that you have observed through Turing machine you can observe through grammars also. Now, for the sake of the generalization because you have handled with two strings three strings as input and so on n number of strings as input only thing is here I have to have certain notation. The n markers say for example, u v that you are fixing if you want to give n number of strings as input you may separate with some special symbol like this as in case of Turing machine x 1 x 2 and so on x n we will separating through some special symbols and what are the output that you wanted after finitely many steps u dash v dash in between suppose if you want to generate m number of strings say y 1 say special symbol some blank symbol that I am using assume this is not the part of the input alphabet.  So, this kind of strings the computable functions in a general case of this form can also be discussed for example, now you consider two numbers giving as input in general representation and then you know calculating some of those two numbers product of two numbers or division. So, whatever is the computable functions that we are handled through Turing functions the similar things that you can handle here and may be we will discuss some of the examples through grammatically computable function showing grammatically computable function is you know is much easier than creating a very cumbersome Turing machine. So, we will discuss few more examples and then see. So, meanwhile what whatever the simple Turing computable functions that we have discussed they are all can be taken as exercise to show them as grammatically computable function. That means, the respective grammars that you have to create and show that these are grammatically computable functions.


And welcome to the Hawaii Smooth Jazz Connection. I am your host, Gwendolyn Harris. My guest today has been a professional musician, band leader, teacher, composer, producer, and contractor for 40 plus years. He has traveled extensively performing internationally. A few highlights have been performances at the Hollywood Bowl, Carnegie Hall, Irvine Metal Shoreline Amphitheater, Aloha Stadium, Tokyo Dome, and the One and Center in Golden City, Sinai, India. My guest has shared the stage with Tony Bennett, Larry Carlton, Lee Rittenauer, Dr. Khan, the Doobie Brothers, Isaac Hayes, Power of Power, Pauline Wilson, Michael Paolo, Sheila E., Brian Culberson, Dave Koss, James Ingram, Gloria Gaynor, Ray Parker Jr., The Captain and Tenille, Tina Easton, Martha Reeves and the Vendellas, Ben Vereen, Bobby Caldwell, Rick Braun, Peter White, Mindy-a-Bear, Warren Hill, and Michael Lincoln. He has also worked with Matt Patengub and the Honolulu Symphony Pops, Don Ho, Kalapana Apala, and Countless Others. In 1999, his solo record for Every Heart was nominated for Best Contemporary Album in Hawaii. This musician was awarded the 2000 Nahuca Hano-Hano Best Jazz Album for Hula Jo and the Hutt Jumpers. This producer and musician has eight CDs to his credit, his latest titled Coco with Maui singer-songwriter Ron Kuala O. He is currently performing with artist Kumu Hula Napua Gring as a music educator. My guest travels the world teaching music through the ukulele. Let's find out more about this music man and welcome Mr. Zanik Apala Lindsey to the show. Welcome, I'm out of breath. Yeah, I am out of breath. You did that well, Gwen, thank you for having me. Is this over? Woo, but you know, everybody needs to hear that. Everybody needs to hear that. I know for one thing, I go to a lot of concerts here, jazz concerts, and I see you. So I can definitely say people that some of these people I've seen him with, okay? All right, now what made you want to start playing music? I was watching the Ed Sullivan show when I was five years old and I saw The Beatles. I think a lot of people my age were influenced by that because there were only three channels on at the time and everybody gathered around the TV on a Sunday night and that was the show because there were comedy acts, ventriloquist, all kinds of entertainment and it was just a family show but The Beatles came on and tore it up and that started me thinking, wow, whatever they're doing, they're creating a mess here in the audience, people are going crazy for that. And then I started to listen to radio and I felt rhythm. I would grab pencils and chopsticks and drum on my transistor radio with the beat and I think that's when the bug started. Really? Yeah. Wow. Now, I know that you play, of course, the guitar. I do. And the ukulele. I do. But what other instruments do you play? I dabble in a little of piano but I wouldn't call myself a piano player and I'm a singer as well and I consider that an instrument as well. And you'll get to hear that later on. Tell us about your original song, Heat of the Night that won first place in 1987 in a national songwriting contest sponsored by Capital Records and Budweiser. That's a great story. I was in college, I was going to Cal State Northridge getting a music degree and I was a songwriter at that time and I entered a song and it was for a BRE Black Radio exclusive. So I didn't send a picture in and I just sent the tape and it was kind of a soul valid and a heartbreak song and they loved it so they brought me into the finals and they didn't know that I was in black. So they looked at the picture and wait a minute, this was so, it was too late, I was already in the finals but that was the song and I put it on my first CD for every heart. Oh wow, I'm gonna have to listen to that. I don't have to get your coffee. Okay. Get your coffee. All right, now, what type of music do you like playing the best? You play all types of music. I do. All types. What is your favorite? My favorite to listen to and what I aspire to playing better in my golden years would be jazz. I'm a big jazz fan. I grew up listening to a lot of rock and roll, the Beatles, then we got into Hendrix then we got into Led Zeppelin and then I found R&B so I started listening to Stevie Wonder and Earth But It Fire and I sort of merged those styles into something that I feel I like to play like. Right. You know, it's a blend of those two. I love the blues. I love it all. As long as the music has some soul and feeling to it, it doesn't sound mechanical. So Hawaiian music does that for me too. It's a beautiful music. Culturally I understand it a little better now and I enjoy playing those kinds of music as well. I don't have a favorite. I'm sorry, Gwen. I didn't ask you a question. I'm not trying to avoid it. I really believe that music language is the same throughout all the styles. Right. Okay, now you work at the University of Hawaii. What do you do there? I work for the Maui Division. I go over there and I teach at the Institute for Hawaiian Studies. They're developing a two-year program for people that don't want to enter into a music degree program, which is a very intense classical music-oriented type of degree. This is just teaching people practical hands-on information, how to read a little bit of music, how to understand the protocol of being in a studio and fundamental things that can help them get through on a gig, how to contract yourself out, how to use internet. It's a really good program. Awesome. Now, tell us about your work with the ukulele field of Hawaii. Ooh, that's vast. I made a conscious decision years ago to give back to the community in whatever way I could and I think the best way I can offer some help in that way is to teach. I've acquired a lot of knowledge over the years of just hands-on experience, being on the road, traveling a lot and now I want to just offer access to music that anyone can do. And ukulele is the simplest instrument to pick up and instantly make music on. So I understand that and now I travel, I work with the ukulele guild and the president, Kimohashi. I've been to Australia, Japan. There's been a ton of places we've been going to just to teach ukulele. And now I teach here. I work at Aliamanu Middle School. I teach at Tripler Hospital. I teach at the Shriners Hospital. I teach their nursing staff ukulele so they can play for the kids. It's sort of a music therapy kind of thing. Now, what is the difference? Is there a major difference between the ukulele and the guitar? It's kind of hard. What's the differences between them? First of all, the side. Right. And the number of strings. OK. The number of strings on a ukulele are four and the guitar starts with this thing. The tuning is a slightly different kind of tuning. So you have to learn the corresponding chords and things to each particular instrument. But they're both from the string family, obviously. And they work well together. They sound great together. That's why you hear a lot of in not just Hawaiian music, but both music, all kinds of stuff. Now, I understand you are also in another group called, and it's your group called, Dodiak Daimler. Yeah, that's the latest thing. That's the latest thing. Tell us about that. Sure. The group consists of Michael Grande on keyboards, Conrad Kendrick on drums, George Coffidge on bass, and Jason Gay on saxophone and flute. And as I get older and continue to make music in these years, I want to just work with people that I get along with. You get thrown into a lot of situations, impromptu situations, where you don't know what you're going to end up with. Everyone was handpicked because we've been old friends for at least now, 25, 30 years. Jason is my most recent acquaintance. But Jason and I get along really well. So the chemistry of the band is great. We all love the same kind of music. The stuff that we do is based in soul and R&B. And we're writing music now, and we'll be playing some of that at our gig coming up. And when is that? That will be April 19th, Friday at Medici's, 7.30. Do you hear that, everyone? Yep. Do you hear that, everyone? You should be there, because I'll be there. I'll be there, most definitely. And if you have not heard this band play, they are awesome. They are awesome. Just be prepared to dance. I can tell you that, too. And to see Jason and all the band members, they just really get into it, including Zanac here. You'll see him on his guitar just doing his thing. Just doing his thing. So what was the date of that again? April 19th, Friday night. It's going to be at Medici's from 7.30 to 10. And Medici's is in the Manoa marketplace. Lots of parking, great venue, very nice intimate venue. Now, is there anyone, if you could pick anyone, any musician, is there anyone that you would like to collaborate with? Wow. Collaborate with, that's a good question. There's too many of them. There's too many of them. Jazz musicians, I like a lot of rock musicians. I would love to write a song without John. I mean, Billy Joel or those kind of people. And then there are musicians that I just want to have an experience playing with and feel that upliftment of playing with someone of that caliber. Pat Matheny comes to mind. Kirby Hancock. Oh, yes. You know, of that caliber. Because I want to learn. I'm an eternal student. I want to continue growing as a musician. So whoever can give me that opportunity, that's what I'd like to do. Don't say it'll never happen. I know. Because you know. No, and I'm open. And you already have that wealth of experience you've played with all of these people. So don't say it'll never happen. No, no, it's this time. We're going to see that. We are going to see that. Now, what are your thoughts? And I ask this of all my guests, because it's big to me, OK? Growing up in, growing up in, you know, playing music in the school, now they're taking it out to school slowly. So it leaves our youth. It's kind of challenging. What are your thoughts on that? And what can we do? I think it's sad. I think it's unfortunate. I'm not sure what we can do. We need to reprioritize what, you know, what we think kids will enjoy. And I know this firsthand now, because I'm teaching the seventh and eighth grade levels. And their music now comes in the form of technology. Everything comes through their phone and their computers. And the real life experience of singing, interacting with instruments, that's something that's foreign to them. I think that's a shame. So I'm doing whatever I can by teaching privately or in classrooms and giving them, hopefully, an opportunity to see the value of that. But you can't fight city hall, as they say. There's a lot of bureaucracy in the system. And I don't want to talk about political things, but I'm just saying that, yeah, I wish there were more opportunity, because that's what gave me life and spirit, you know, and joy, joy for me in my years on the planet. That's what I live for. So I don't know what they're afraid of. I don't know why that's the first thing to go. I'm not sure. It is sad. And like I said, I set up all of my guests that I have on the show just because I want to know their thoughts and what are they doing and what can we do to keep it in there some way. I feel for myself, I speak personally, that I want to be a mentor to any kids who are interested and parents who are supportive of those children. I would love to share what I know. There's so much. Hold that thought. We've got to go on a quick break. OK. Don't go anywhere. We'll be right back. Hey, loha. My name is Andrew Lanning. I'm the host of Security Matters Hawaii airing every Wednesday here on Think Tech Hawaii, live from the studios. I'll bring you guests. I'll bring you information about the things in security that matter to keeping you safe, your co-workers safe, your family safe, keep our community safe. We want to teach you about those things in our industry that may be a little outside of your experience. So please join me because security matters. Aloha. Aloha. I'm Yukari Kunisue, the host of Konnichiwa Hawaii, Japanese talk show on Think Tech Hawaii. Konnichiwa Hawaii is all Japanese broadcast show and is streamed live on Think Tech at 2 PM every other Monday. Thank you so much for watching our show. We look forward to seeing you then. I'm Yukari Kunisue. Mahalo. Aloha, and welcome back to the Hawaii Smooth Jazz Connection with your host, Gwen Harris. My guest today is Mr. Xanak Apala Lindsey. And I am just so much enjoying talking with him because I see him all the time playing all over the place on stage everywhere. Now, before we went on the break, we were talking about the music in the schools and how gradually it is being taken out. Right. And you were saying? Well, I was talking about being a mentor. And I feel that there are many people my age who have been in music, fortunately all their lives. And I think I know I plan to share this information now in the remaining years of me being on the planet. That's the only way that we're going to get the interest of music again with the kids. If you give them a personal experience, an emotional experience, then I teach in several different locations, and I see a development of a lifelong interest, as you say. And I feel great to be somewhat influential in that. That feeling is very infectious. And I encourage more musicians to do that if they have an opportunity. That would be awesome.  I mean, I started playing the violin when I was younger, little bit of keyboards, clarinet, and then in college, I played the flute and piccolo. And I always said, I really want to either go back to the keyboards or really want to just learn how to guitar because then I can sit at home and just, you know, strumming and just play around with it.  You just got back from Cuba, and I know the music there is off the table. There are no words to describe it. I'm wearing my Cuban shirt today in honor of that trip. I just got back a few days ago, and we spent four days in Havana. You still can't be a tourist there. I just want to make that clear. You can't just trot right in. You have to have an educational visa of some sort where there's an exchange. They call it a people-to-people visa. So I went on an educational visa. So I had to do activities which were not, you know, I didn't feel forced into anything. I got to go to schools, listen to these virtuoso kids playing flamenco music. For me, I went to concerts and jazz concerts, Buena Vista Social Club style of music, dancing, salsa dancing. You did some salsa. Did you do some salsa? I did a little bit. I'm not that great at it, but you know, you have to down there. Yes, you do. It's in the air. It's in the water. Took a cooking class. So as long as your day is filled with these activities, you can get a visa and go. And I highly encourage anyone who's always thought about going there to go. That's on my bucket list. So many of my friends have gone. Amazing. And the heart of the people, remind me of the people from Hawaii too, just very open and genuine and hospitality is amazing. There's a lot of misconception. You know, we get media that slants stories for us over here. It's not the same. You go there and you'll see how wonderful it is over there. There is a lot of poverty. But then you walk right into a time warp where you see all these old 50s cars and then the people, they're just relaxed and it's great. It's great. Oh, wow. It's safe too. People think there's a lot of crime because of the poverty, but you can walk the streets at night. It's the safest place. Yeah. Did you share some of your music with them? I did. I did. I went to a music school. I brought over ukuleles to give to them. I knew I was going to see them. Oh, nice. So I brought ukuleles and some chocolate macadamia nuts. Nice. And I played a couple of songs. And my fiancee Stacy danced a hula while I was there. So we did a great exchange thing that day. Oh, that's awesome. And when I presented the ukuleles, the kids started crying. They started crying because they get all of their instruments passed down. They're not in great shape. But they're using it to the best of their ability. And they're amazing musicians at a young age because the musician is the most revered position in the Cuban society. Not the doctors and the lawyers, musicians. Yeah. It's an amazing turnaround. I'm coming over here. Yes. Well, speaking of musicians, the music, are you going to play something for us? I can. I can do one. I'm going to do a song from my most recent CD. It's been out for a couple of years now. And is that this one right here? That's that one right there. It's called Cocoa. Cocoa in Hawaiian means blood. And Ron, who I partner with on this CD, is my cousin. We grew up together. And now he lives on Maui. But our family always asked us to have a CD done before everybody passes away. So that was our project. So here's a song called I'm Ready.  I can put away my fears about tomorrow. I know your love is true, so I give my heart to you. Oh, I'm ready no matter where the road might lead. As long as I can feel you here beside me, so let the heavens fall. I won't care at all because I'm ready. I'm ready to let my soul break through. After all the years, I'm not afraid to start again with you. Sometimes I may stumble along the way. But I can finally say goodbye to yesterday. If you're ready, won't you take my hand and promise that we'll always be together. Please whisper now as we take this vow. I'm ready. Please whisper now as we take our vow. That was beautiful. Thanks. That was beautiful. I said, you're trying not to cry. Well, I've been a songwriter. That's something that I don't know if I mentioned, but for a while now, that's what brings me a lot of joy. Is writing songs, writing music. Well, that was beautiful. Like, I don't even know what to say right now. Well, you have the CD now. You can check it out. Now I can definitely check it out. Everybody, you need to go get this CD. I want to ask you a few more questions. What would you do or what would you say, because there's so many up-and-coming musicians that are coming up? And for some of them, it's hard, and some of them is not. You know? So what would you tell a new musician or up-and-coming musician coming up in the music? What advice? Or I should say, what advice would you give a new musician or up-and-coming musician in the music industry today? That's a good question. Well, my advice has evolved through the decades. Back in the 80s, I would have said, get off of this island and go to Los Angeles, New York, or Nashville, or a city, or it's competitive, where you can learn a higher standard of playing music. Not to say that the music here is not that way, but people are just hungrier and willing to put in the extra work to get the job. I mean, and there's a lot of that in those cities. And that was back in the 80s. So that's what I did first. And I was telling everybody, you need to do the same. Bruno Mars did it. I mean, that's a lot of kids from Hawaii did it, and they've excelled, because there's really no difference. It's just the amount of work that you want to put in to get there. So that's what's great about doing that. That's inspiring. But now, my advice was a change a little because of the advances in technology. Things seem to come a little easier, although there's no avoiding the actual hard work that goes into practicing and playing. You can't avoid that. I mean, if you're looking for celebrity, yeah, there are many roads to take now. You can get on TV instantly. You can create your own YouTube channel. And people are just going to be mystified because they're just zoning out, watching their phone or the computer. So they'll stop on anything. But if we're talking about developing talent, yeah, you need to really work at the craft. You need to, and I'm saying this to those potential students out there, people who want to make it in the music business, there's a lot of sacrifice in doing that. And there's, yeah, it's a tough road. And I feel like I'm lucky as maybe people my age are who are still in music and that. Well, we got the bug, and I heard the Beatles. I knew that was it. That's all I wanted to do. There was no plan B. And I stuck with it. And I didn't feel all of the hardship as much because I was in the music. Doing it, yeah. No, it's easy. It's just easy to let that go. And I'm not sure if they were really meant to be in music in the first place. But you'll know. If you feel that, you'll know. You'll know. Well, Zannick, I thank you. Our time has come to an end. Oh, it's too quick. I know, right? I know. But I thank you so much. Can I come back? Yes, of course. I will, I will. But I thank you so much for coming on Hawaii Smooth Jazz Connection. And your group plays with? Zodiac Diamond, April 19th, Medici's 730. Be there. Be there, baby. Be there. Thank you, everyone, for tuning in to the Hawaii Smooth Jazz Connection. Tune in next week with me, your host, Wendell and Harrison. Aloha.


This is the VOA Special English Technology Report. Samsung Electronics won a case in its battle with the American technology company Apple over property rights. A court in Japan ruled in a case involving Samsung's Galaxy series of smartphones and tablet computers. A three-judge panel in Tokyo said the products did not violate an Apple patent for organizing music and video on several devices. The court also ordered Apple to pay all legal costs related to the case. A patent is a property right given by a government. It keeps others from making, using, or selling an invention without the permission of the patent owner. But the case in Japan is just one of many in the worldwide legal battle between Apple and Samsung. In August, a jury in California found Samsung guilty of willfully violating several of Apple's patents. The jury ordered the South Korean company to pay Apple more than $1 billion. The patents include so-called utility patents for Apple's pinch-to-zoom and tap-to-zoom technology. They let users change the way things appear on the screen of their device. Included are design patents on the look and shape of the iPhone. Maravi Sunder is a law professor at the University of California, Davis. She has also written a book called From Goods to a Good Life, Intellectual Property and Global Justice. She says issues involving design patents are complex. Maravi Sunder says patents are meant to increase competition and support design and development. She sees a problem with Apple trying to say its designs are something only one company can have. She adds, it raises the real question of whether or not we should be protecting designs with patents in the first place. Maravi Sunder says Apple built its computer company using the same methods that it is now opposing. Apple appears to be saying that no one else can use its methods. Maravi Sunder says this goes to the heart of what innovation is about. Samsung said the California court's decision in its words should not be viewed as a win for Apple but as a loss for American consumers. And the company told its employees that it would continue to fight until its arguments are accepted. But the dispute is far from over. On the day of the California ruling, a court in South Korea ruled that Apple and Samsung had violated each other's patents. For VOA Learning English, I'm Laurel Bowman.


How many times a day do you think you gawk at the opposite sex? Mark Ireland, a researcher from Kodak Lens Vision Center, carried out a study that interviewed 3,000 British individuals, questioning females and males on how often they gawk at the gender they're attracted to. Results show men between the ages of 18 and 50 spend an average of 43 minutes a day eyeing members of the opposite sex, summing up to almost one year in an average lifetime. Women, on the other hand, spend an average of 6 months of their lifetime eyeing males. Most female participants in the study shared it was a fellow's dazzling eyes that first drew their gaze. With men it was a lady's figure. For men, the top 5 spots for them to eye up women are supermarkets, pubs slash bars, nightclubs, work, and shops. For women, the top 5 spots are pubs slash bars, shops, public transportation, supermarkets, and work. Though a majority of participants stated that being eyed makes them feel flattered, 28% said it made them feel happy, 16% said it made them feel uncomfortable, and 20% said it embarrasses them. Another interesting find was how partners reacted to each other's wandering eyes. One third of the poll members have argued with their partner over wandering eyes, with 1 in 10 breaking up with their partner because of it. But on a more positive note, 35% of Brits shared they started a relationship with someone they eyed up. And question of the day, would you be empathetic if you caught your partner staring at another attractive person? Or would you be like the other 1,000 Brits who argued with their partners? Leave that in the comments below.


It's a hot sun That's a hot mug guys. Hey guys, this is my review for sunshine This is a kind of a peculiar movie But it's because I'm a big fan of Danny Boyle and I haven't seen the film in a while if I were to describe this in two words Flawed masterpiece pretty big saying for it. So I'll explain what it is This film follows the crew of a ship called the Icarus 2 what has happened is that the core of the Sun has stopped It has cooled down to a point where earth is going into a solar winter Their mission is to try and reignite the Sun with a bond that is the size of the cubic size of Manhattan They also are the second mission because the first one just disappeared and they don't know what happened They are the last chance they have of Saving the earth the bond they carry is the last of the raw materials and as kind of Similar to that really stupid movie the core as this sounds I can assure you it is not that stupid The film is a visual delight the space scenes look amazing the ship scenes look amazing Danny Boyle put a lot of effort into making this film He actually in fact put so much effort into it both. We've obviously directing it But in the post he was working extensively with the visual effects team who I believe are double negative the guys Who went on to make interstellar do the visual effects for that film apparently because it was such a rigorous Regime for him that he swore he would never do a sci-fi film again, which is unfortunate because this is one of my favorite sci-fi films ever the cast is actually really good in this film We've got a big bunch of actors including Killian Murphy Chris Evans before he was Captain America Michelle Leone And they're all actually really good characters and on top of that on top of that Something that's a usual thing with these sci-fi films is something bad happens because of stupidity And it doesn't actually happen in this film the thing that really starts to the shit Storm to start rolling is when they make a course change There is a factor of it that actually makes sense as to why the mistake is made considering It's just one guy because at this point they actually don't have any more communication with NASA They were on their own so it's just him to make the decision and it could happen And that's how I feel it is for most of this film. We're not only getting a visual show We are getting a psychological film We are seeing the effects that such a evident and important and literal Life-creating source the Sun is we see people have inversions to it We see people have nightmares about it We see people become addicted to looking at the Sun The psychologist character becomes addicted to looking at the Sun to the point where he's getting sunburns There's a psychological aspect of this film Which I feel is not talked about enough because it is one of the greatest parts of the film That's delving into these characters just basic things of what would be going through your mind if you were on this mission if you were given such an absolutely bananas crazy task and they handle it in a very understandable way not just from the actors and just their own emotions But also the narrative because when you think about it That's a cuckoo ludicrous plot, but it's still pretty good and that's because it's written by Alex Garland Who would go on to direct Machina? He would go on to direct Nihilation dudes killing it right now with sci-fi. They also had Brian Cox a pretty well-known Physicist, I think he's even been home Joe Rogan He actually came in and gave them a lot of tips a lot of information about it He even provided a commentary for the film talking about all the science aspects and it's one of my favorite commentaries I've ever listened to it's very very good if you own the film or you have access to that commentary I would definitely suggest you watch it also the music the music so The band Underworld and John Murphy the composer just made a delicious blend of music just a Fantastic soundtrack that is not available at all for physical sale and the film came out in 2007 There's a big legal issue between the band Underworld and 20th Century Fox and apparently they have still not solved this shit But as I said, there is something that's kind of silly Kind of stupid and happens in the latter third of the film and it changes the film aspect from a psychological in-depth voyage in space to Kind of a slasher, but it's still trying to keep that element of Psychological trippiness into it, especially of how they shoot these scenes. It's a part that really Disjoins people it's a part that makes a lot of people walk out of the room and I can understand why it's a lot to Accept and if you can't completely understand because it is kind of bananas I enjoy this idea because it talks about more of the ideas of faith humanity their Weaknesses the totality of addictions and madness But it's still a very very entertaining film from beginning to end the space scenes are great Music's great. The characters are great. The attention detail is astounding and I do love how it ends I love it from a visual perspective. I love it from a narrative perspective But again, I can understand why people don't enjoy it when it gets to this point in the film because it's asking a lot In the end, I'm gonna give sunshine a six out of seven. This is one of my favorite films of all time It's one of my favorite sci-fi films of all time It has a lot of ups and it has one kind of very perplexing down, but I still say it is a must-see film I don't know if it's on any streaming servers right now, but I would definitely suggest watching it Anyways guys that's all for me I hope you enjoyed this review if you did leave a like and if you're interested in more subscribe Otherwise see you guys next time Thanks for watching the video My name is Knitz and you might remember me from the animated cult classic TV show undergrads It's been a while, but I'm happy to say the click is finally getting back together in an all-new movie Thanks to a successful Kickstarter campaign But we are still asking for your support to see any and all updates about the upcoming undergrads movie Be sure to check out and like the bring back undergrads Facebook page and with any luck. We'll see you guys soon