You too team keep it clean. What's going on? It's engraving here with another video and it's video Here to ask a question That a lot of y'all been asking in the comments section. Excuse me Let me get myself situated But a lot of y'all been asking it in the comments section a lot of y'all been talking about it on Twitter A lot of people like a lot of people some people been sending like DMs and stuff on Twitter Instagram Snapchat group chats Comments on videos everything Asking this same question should the Raven sign Jimmy Graham Should the Raven sign free agent to be Jimmy Graham? And that's a legitimate question. That's a very very good question And we're gonna do some little breakdowns of that question and we also gonna talk about the Ravens Titan group Heading into next season the good the bad the ugly and all that good stuff. So And shout out to Marlin Humphrey, I should go get a phone charger right now I didn't even realize I had never worn this jersey yet So I say you know what even though it's a video about tight ends Well, we got on a cornerback jersey. How does that make any sense? I don't know, but I don't have any tight ends jerseys anyway Team keep it clean. Let me introduce myself. Me. I mean graven viz.  We talk Ravens But we also talk all 32 NFL teams So if you're Ravens fan, make sure you subscribe if you are Seahawks fan, make sure you subscribe if you are Saints fan Make sure you subscribe if you like any team that could potentially get Jimmy Graham You can sell bill if you like any protein that had any team that had them before make sure you subscribe turn your notifications on and once You do that once you do that Make sure you leave a like on the video click that thumbs up button And you can follow on Twitter Instagram and snapchat all three are engraving vids so Funny I decided to do this video before I go go get my workout on but anyway, so The question again should the Ravens sign Jimmy Graham the tight end Who has pretty much been explosive for most of his career? I know they said last year his numbers were down a little bit or whatever But he's been a playmaker Pretty much his entire career. He's from Miami former basketball player blah blah blah Play for the Saints and he killed it for the Saints Then he got traded for for Max Unger and some other stuff to the Seahawks So then he's been playing for the Seahawks the past couple years and then Now he's a free agent Now he's a free agent. So appreciate all y'all coming through man. Thank y'all for coming through appreciate it Oh, they go Marlon Humphrey said nice Jersey appreciate it So should they sign Jimmy Graham? Well before we get into that, let's talk about our current tight ends We have Benjamin Watson We have Max Williams We have Nick Boyle We have what Vince smile We have Darren Waller Our tight ends are What are tight ends how how can I describe our tight ends? What's the best word to describe our tight ends? Just it's a it's a it's a mix not a good mix, but it's a mix. Oh mediocre would be a good word Let's just go down list. We've been up and down this list before but let's just go up and down this list right now all right, so What do you look for in a tight end somebody who can catch he said all Hall of Famous all Hall of Famous if I Can't even put that title on them. I can't even think of a bad category to put them in a Hall of Fame for but anyway Our current tight ends right now been Watson old slow can't separate he can catch but old slow can't separate Not scaring anybody. Anybody can cover him lying back of safety Defensive in defensive tackle. He ain't burning nobody He ain't burning nobody and of course his speed isn't everything when it comes to the tight end position But separation is a big thing and being able to be make a be a playmaker is a great thing, too Ben Watson is none of the above he can catch Because remember he he makes and catches last year now. He was our leader receiver for a long time at one point I don't know if he ended up the being the leader receiver the season probably did one surprise me if you did but um Yeah, Ravens got like I think like 12 mil right now Maybe 11 mil something like that, but it's gonna change because they're gonna make some cuts and whatnot, but anyway So Ben Watson every time he caught a pass it was somebody right on his back Every single time he caught a pass there was somebody right on his back Unless he caught it in the flats and they were like, oh that's been Benjamin Watson going in the flats We ain't got to worry about him. We ain't got to worry about that dude. He's too slow He ain't doing nothing to nobody. He ain't doing anything to anybody. So They didn't have to worry about Benjamin Watson Great hands, but now I would rather him be on up out of here Love Benjamin Watson respected Benjamin Watson everything he did in his communities and whatnot heck of a player came in Came in I guess second place for the Walter Peyton man of the year award Because it was three people that went up there JJ white Benjamin Watson and some somebody else. I forgot the other was a Thomas Davis I think it was Thomas Davis, but I can't remember off the top of my head. Anyway JJ white ended up winning it or whatever but oh Olson Greg Olson, okay, appreciate it So with that being said He can get up out of here he can go Benjamin Watson it ain't nothing personal obviously, but as a player he can go. He's not Isn't his contract up anyway? He only sound like a two-year deal I think first year toys ACL on the first play a preseason second year It was like he toys ACL the second year cuz it's like he wasn't even there. I don't know where all these catches I don't know how he caught all these passes Because it didn't really have an impact on the games So Benjamin Watson he can go Next up max Williams Somebody always talk about max Williams. I was excited when we grabbed him We took me stole him from Pittsburgh because Pittsburgh wanted to draft him Max Williams was a big body. Why I mean not where I receive a big body tight end He looked like he could be a baby grunk He he just could be somebody special Who do I want more Landry or Graham we're gonna get into that We're gonna get into that but with max Williams. He was somebody that I felt had potential He could be a playmaking tight end and he made some plays before he could be a playmaking tight end but then He just showed that that injury bug them bit him and it just It wouldn't stop biting. He just cannot stay on the field He can run he got speed, but he can't stay on the field He can't stay on the field Francisco said he looks small and slow when he's on the field in his opinion Hey, maybe cuz he's always hurt that might be the reason right there cuz he's always hurt So max Williams injury prone Benjamin Watson, he'll get injured a lot too and he's obviously older So already we don't we don't need to talk about too tight in so far. They both injury prone both of them both of them both of them Next up we got Nick Boyle Nick Boyle great set of hands great set of hands. He can catch he can block He can play a little full back. They throw him back there sometimes. They threw max Williams back at full back sometimes too Nick Boyle He's about the same speed as Ben Watson. He ain't separating from nobody. I mean, yeah, like Like JB smooth say can't trust him and we talked about that before Nick Boyle He's already been suspended for twice for PDs. He been suspended twice for PDs So he hit his 10 games suspension. I think it was last year the year before last So next time he gets suspended. He's gone for the year. He's gone for the year gone for the year So Another so who knows when that that next suspension could come who knows So, yeah, he can't catch Who else? Vince Myle He was special teams Definitely not a starter not I mean I can't say too much about him because he was only on special teams and he just He wasn't really on offense Harley at all So that's that Dan Waller He was suspended for a year this past year. He got suspended the entire season Suspended the entire season. But even when he was with us, he couldn't catch Do can couldn't catch. Oh George. Oh, what a question that is. He said how could Newsom get so many guys wrong? Oh That's a great question. But um He couldn't catch The dude couldn't catch for nothing He was like he was playing power forward and he was he was Playing post defense Because all he would do Swap swap the bat swap the balls down.  That's it. So He has speed.  He has some speed Boy, he was fast because he was a receiver. He got drafted as a as a receiver I think he's like six six or six seven. I think six six And they felt like he was a project receiver project receiver. So whenever Raven's draft project players They don't make it They don't make it because Ravens aren't good at at finishing those projects They usually don't make it But there wall is a project player wasn't was a wide receiver then they decided, you know what? We got it's too crowded a wide receiver. Let's put you at tight end. He bulked up. What's up, Harry? He bulked up. They moved in the tight end He didn't really do nothing they kept saying oh potential potential potential. He got potential potential potential. He's so fast He can guess he can burn Safety's linebackers. He got such a mismatch advantage with him But none of that ever happened And yeah, he yeah, he got suspended for the year and Like what do you do with that? What's up, Mar? What do you do with that? So that was that for Dan Waller Then of course we had Crockett Gilmore, but they already did the injury release to him. So he'll be a free agent He could catch he wasn't that fast, but he was decent. He could catch he could make some plays But he just injury prone he injury prone. He's injury prone to So that would pretty much sum up our tight ends for the Ravens they either injury prone or They are they get suspended Or they can't catch So, I mean, that's that man. Yeah mark looking back at it now We do what we do with Pittsburgh would have got Max Williams like they wanted Dennis pillow He was he was good He was good, but he obviously toward the end of his career which got cut way short injury prone Injury prone he couldn't do it that hip. Mm-hmm. Oh Todd heat man. I love Todd heat Love Todd heat But yeah Dennis Peter toward the end. He just couldn't do it that hip just gave out that gate that hip gave out Y'all need trade Burton. We need something But yeah, Todd heat when he started getting a little bit old he started getting hit with the injuries to then they brought in Dennis Peter and The game changed Obviously worked out. Yeah, he that was that call man So, yeah, and that was that so now a lot of people talking about Jimmy Graham coming to the Ravens should the Ravens go for Jimmy Graham Would I be opposed to it or would I be for it? I'm I'm neutral. I mean, I would like them to sign Jimmy Graham. That would be great but One he's like even 31 or 32 years old. So he's older.  You can't I Don't know how much he's asking for yes, Sydney. We'll see but you can't be father time So with him being older like 31 32 Who knows how his body's gonna react and I mean that's a risky take with any player But obviously if the player is older and they play such a physical such a I mean football is physical period But a tight end you're going against possible D defensive linemen. You're going against outside linebackers rushing to pass So you're going against linebacker's safeties. Those dudes are bumping you on the line You're getting hit by safeties when you're making catches. You get hit by line. You can hit by everybody I mean, look at look at Gronk with Jalen Ramsey. Jalen Ramsey killed him last year That that's probably my favorite hit of the year last year. That might have been my favorite hit of the year last year. Jeez Goodness gracious boy that that hit was just perfect. Anyway But Jimmy Graham is a playmaker he's somebody that can stretch the field as a tight end He's somebody that can make plays He's somebody that can catch the ball He's somebody that can go up and get it you get a red zone target because Ravens have zero of those right now Even though Flacco didn't make some touchdown throws in the red zone. Even that even one to Michael Campanero against was it the Steelers? I think it was against the Steelers Well, he like found this dude in a back of the end zone and I just couldn't believe it. Um, I just That blew my mind when he found oh, it's against the coach. Okay. Appreciate that Marlon and JB smooth that touchdown was beautiful But So, yeah, we'll see so then he said but I want them on my team for seven eight million a year See, I'll be too much in my opinion for Jimmy Graham. See with Jimmy Graham I would want him but if he was cheap, I would want him to come to the team if he was cheap If he was cheap and Jimmy Graham, he's one of the the biggest names in the tight end market right now So with him being such a big name It's the same way with Jarvis Landry same thing we talked about earlier this morning But with Jarvis Landry right now is probably the top the top name receiver in free agency Well, soon to be free agency Jimmy Graham right now is probably the top tight end name in free agency So with those two being top names whenever you're a top name people gonna throw money at you People are going to throw money at you. They're gonna throw it those teams with no cap. No cap room I mean with a lot of cap room, excuse me, of course the Browns the 49ers it's almost like a cheat code with 49ers because Just do Jimmy Garoppolo came in there and just kept winning and the 49ers didn't even have anybody So imagine now what if they have people or maybe they might end up being one of those teams Well, they just need people who aren't as good or aren't as known to be on the team for them to keep winning who knows if Who knows if once they start getting all these big name players because people gonna go there people are going to Go to San Francisco who knows if once they start getting all these big name players if the team is gonna fall off We'll see. Oh well, but anyway Jimmy Graham if I Would love for them to get him, but only if he was cheap only if he was cheap No Michael Graham said all the sound like a future Patriots player to me. Hey, they just might we'll see Tyler Eiffel, I mean he's They need concussed out of the NFL yet He might want to consider retiring man for that dude our concussion after concussion after concussion after concussion He got a chill man He got to chill Mark says signing Jimmy will cost too much as usual destroying the salary cap as usual. I just might man No love for Bennett or Michael Bennett Michael is the mic Michael. No Martellius Bennett Martellius is the tight end Michael is the DM He's nice, too. I mean he had some problems with the drops last year when he was on With his time with the Packers Patriots He went back to the Patriots right then what happened. I forgot what happened to him What's up, John? What happened to um to Martellius Bennett the Patriots like cut him or something. What happened? Oh He got injured. Okay. Oh He'll caught one pass. I yard. Jeez That's a piece. I know I keep saying this but trade bearing won't start a money But it's as good as earths except route running. I Mean all ravens need is a tight end that can block that can catch. You know what I even take out the block Just somebody that can catch and make some plays man That's it. Just somebody that can catch and make some plays you can't block whatever at least chip somebody at least chip somebody They leave Alex college back there to block or buck Allen. Whoever's gonna be back there They'll take care of it. But Jason Witton.  He's gonna retire as a cowboy. How I feel about their wall. Oh, yeah We were talking about that a little while ago. He he can't catch. I mean, that's something that you can improve though, but um He couldn't catch that was his problem. He couldn't catch Couldn't catch. Oh Dwayne Allen. Oh, yeah, when y'all traded from y'all traded a coach for him. Remember that He say you want to block in tight end Dwayne Allen will be cheap can't read a playbook or catch a pass But he sure can block he may need to transfer to the offensive linemen Um max Williams got destroyed by clowny. Oh, yeah, he did Clowny knocked him right on his butt. I think was he playing fullback on that play?  You want a receiver in the first round or the second round? Whatever? You want a receiver, but the guy you want it gets drafted? So what do you do? What do you do? But then a tight ends there one of the top tight ends or whatnot? What do you do? I want to be mad if they drafted one early. What not be mad at all a Playmaker because I want I Know it works for the Ravens when they um When they signed veterans at certain positions usually receiver Jeremy Macklin obviously was an exception because he was just terrible And Mike Wallace he's worked out. I can't say he's worked out worked out, but I can't say he hasn't worked out Y'all get what I mean by that because Mike Wallace has been somebody he's made plays for us now He's also missed a lot of plays had a lot of drops, but he's made plays I mean, it could be a lot better. It could be a lot. We could be a lot better But it could be a lot worse too, so just keep that in mind Mike Mike Wallace ain't got to take a pay cut because he's a free agent I mean they could bring him back for reduced amount, but he he's a free agent So he ain't got to take a pay cut because he ain't getting paid by Ravens right now Yes, that it. Oh good point Brandon Roberts. He said Joe loves tight ends. He sure does But when you don't have any that are capable of much it's tough Yeah, we did do that more he is converted to a tight end. Oh Don't we all wish we all drafted juju? It's just I Know and it was crazy because before before the draft and before juju start going off Somebody had commented on these video. I think a couple people actually have said oh, we should get juju Smith Schuster from USC Me I couldn't respond to it any type of way cuz like like I always tell y'all I don't watch college So I don't know any of these guys. I don't know their history. I don't know what they're good at bad at any of that stuff Oh Yeah, yeah, juju.  He has a lot of fun. The dude is what like 21 years old super young he but it looks like he's having a He's obviously having clean fun because he's not out there getting in the fights. He's not getting in the trouble He's obviously passing drug tests. Whatever. He's always 20 even even better but he That dude is he is probably He is probably my favorite stealer that dude is he's fun to watch off the field on the field Exactly. That's a perfect perfect perfect sentence perfect description of JB smooth said it's hard not took his heart to not like him Yeah, man, juju is that dude's a beast man. That dude is a beast We need to drive Kirk out of Texas A&M. Is that the dude they call in a baby old deal something baby OBJ, whatever Still will be a dynasty if they didn't solely rely on star teller What do you mean? Because that what I don't get that still is will be a dynasty if they didn't solely rely on start What do you mean by that? That's confusing to me. Do you just mess choose them all in Humphrey are going to have battles for years to come? Yeah, man, that's true. Well, I want to see them matched up because we didn't get to see that So, yeah, we didn't really get to see that last year and he knocked out the biggest villain in that fail Yeah, that hit on perfect wasn't wasn't that the didn't that take them out for the rest of the season? I believe I know they put them on IR But I believe that took them out for the rest of the season because I don't think he played any more games after that So, yeah, man They drafted. Yeah, they're there goes George. See, yeah, cuz I'm still confused by the comment, too They think they can beat the pets with their big three carrying them. I mean That's They could have beat the pets they they almost did they came like this close to doing it So they could have definitely beat the pets, but um, I mean Saying they rely on their big three I mean if those are their big three for reason because those big three make big plays Ben Roscoe's burger Levy on bail and Antonio Brown.  Well, and we only talking about offense. We're only talking about offense So what's up mojo? I'm I'm definitely Confused on What you meant it's never gonna happen in the postseason. I mean, you never know me Never know. Oh, yeah, you're right mark. They do be making stars, man. We got we got the old player I don't think we're gonna get the other old receive I mean, we got there one of their old receivers who's done a lot of damage to us Mike Wallace I don't think we're gonna get a manual sentence cuz I know the Bronco They said the Broncos are trying to trade him. I don't see it happening though I don't see Ravens getting not saying I don't see the Broncos trading them have it I don't see the Ravens getting them. They could have beat the past but big They could have been the past but big bum rather burger through a slant at the goal line. Oh, yeah He Tom Brady that I mean he Russell Wilson that thing, man He Russell Wilson did I did I did like the aggression the aggression though. I love the aggression. I love that. I love how um, I Love that about whether it be Todd Haley. That's one thing I do love about Todd Haley He is very aggressive. He is not afraid to go for it whether it's Todd Haley a big Ben I don't know who that whoever makes those aggressive calls like the Steelers always do. I love it Love it Jimmy Graham will be a huge comfort for Joe Flacco. Russie. He could be they could be Marks and Steelers make stars on both sides of the ball. We have to buy other teams toss on one side of the ball Oh, yeah offense, man. You already know me That's my yeah, it is Marley. It's Marley more Smaller more honestly Jimmy Graham could be a good asset to the Ravens if you don't agree don't scream at me Please. No, yeah, we said he could he could it just had to be the right price. We'll have to be the right price because I'm Ravens don't have cap room. They don't have any cap room and I think was it George earlier that asked me would I rather Jimmy Graham or Would I rather Jimmy Graham? Oh, he said that I steal that Jersey. No, man I ain't swing on any taxi cab drivers anything like that or Uber drivers anything like that Oh, yeah, that's what's up to it man. See you already know But I think yeah, George asked me did I would I rather the Jarvis Landry or Jimmy Graham? Um hmm probably Jarvis Landry reason being because I feel like the the biggest The biggest letdown of last season what really just killed us was the terrible play of wide receiving I feel like the the terrible play of our tight ends. We could get away with that. What's up? AK shape actually um, I Feel like yeah, like I said, I feel like our um the terrible play of our wide receivers Hurt the team more than our terrible play of the tight ends Hey shout out to Ravens fan for life for winning in matter That's how I felt and tight ends are only as good as the receivers surrounding them Well, I mean both were pretty bad for us, but um, I Know man, I would rather Jarvis Landry. I know it's probably gonna be it's probably gonna be neither one It's probably gonna be neither one But I would if I had to choose one, it would be Jarvis But I know it's gonna be probably neither. Um, so there are other receivers out there. Yeah, they are Alan Robinson's Who's the other guy was just thinking of Is Marquis Lee a free agent too, I don't think so. It's somebody else too It's other receivers out there to Paul Richardson is another one that keeps coming up Crab trees another one. That's another possibility Josh Gordon. I don't believe he's a free agent. Hold on Let me see if I need to charge my battery What's up, Marvin? So, I mean, we'll see what happens with that We're gonna see what happens there and I appreciate all y'all leaving a like on a video I appreciate y'all leaving a like on a video. I see it most people that's coming through here We got 34 people in here right now and it's 30 likes. So I appreciate y'all man. Thank you. Thank you a lot, man Yeah, there's is somebody that I'm Like I keep saying I would be indifferent about there's Brian if we signed them I'd be like Okay, if we didn't sign them and be like, okay, whatever he is somebody that If he if he was really cheap, I'm I'd be for it, but he drops a lot too. I mean it'd be like having It's like he he had on a Ravens jersey all last year He dropped a lot man. He dropped a lot. Ozzy must finally draft a good receiving the draft this year That'd be nice man on his way out. He drafted a nice wide receiver to bring in that would be very nice There's Brian is too cocky. Oh, you heard caught in the background. Appreciate that man. Um, I don't I don't See what a cocky wide receiver think about it, man well and coin voting wasn't cocky, but um Oh Chosinco To Randy malls Those guys were cocky or they were playmakers man Steve Smith senior I love I love when those receivers got talent Hey, they just gave you a shout-out son They just gave you a shout-out Caught us being a silent dinosaur right now You want to show them what you're doing? Oh, never mind. He changed his mind. He's running away now But yeah, Steve Smith senior we had a cocky receiver on the team and he was great. He was great, but he could catch To your head is little issues with drops or whatever too sometimes, but he could catch he made he made more plays than he missed definitely Yeah, Carter mainly he may need his own YouTube channel right Carter Carter. Where you at? Where you at? Where you at? Where you at? Where you at? Where you at? Where you at?  All we need to do is come complete. Oh compete as his character. Oh, I can sign a what? He'd be killing me man All we need to do is come all we need to do to compete as his character Uh, it's sign a watch 35. Yo, why receive it and draft the difference? You'll be killing me man Israel also Our first hall of hammer. I know you may hall of fame at all. Um, no, Jonathan Ogden is Jonathan Ogden the left tackle He is all you heavy son You are very heavy And there's Carter everybody Oh, okay, thanks for punching me Um, no, I know what you mean. No, I said Ozzie and talks with Jerry Rice. We'll see man. Shout out to my daughter Uh, I was staring at you watching the video. Okay. Well, there it goes man. That's what it's about man It's about the key is that next generation And that's my next generation right there He's playing with his McQueen All right, so um, Mike Wallace see Mike Wallace. I don't think he's cocky Mike Wallace is somebody who he can be cocky, but he can get humbled real quick He can get humbled real quick Real quick because when he's not making any plays Which happens in a lot of games, but when he's not making any plays that dude is silent You don't see him doing that thing You know when the receivers catch it first down and he he put the ball up and drop it Mike Wallace would do that a lot. I mean when he would actually catch the ball Um, but Mike Wallace gets shut up quick Quick why y'all flaming flakko like that? Who is flaming flakko? What do they say? Oh, man? I forgot about pyramid We've even been talking about pyramid like that. I've been trying to wish that dude well, man Because I'd be feeling for pyramid sometimes man because I know with him being a uh A Not necessarily a star, but oh be careful with your water. It's no no no. It's water in there with him being a uh A football player with him being in the Definitely in the spotlight in baltimore, but with him being a um, let me say perry who With him being a wide receiver for the baltimore ravens a team that struggles with wide receivers He uh, it's gotta be hard because you know fans always be talking to him Because you know a lot of people get disrespectful when it comes to twitter. Um They think they're big and bold when they get behind their iPhone or android or laptop keyboard tablet, whatever And they start thinking they can say whatever they want to to anybody they want to Um, but if if they were right there in that person's face, they wouldn't say not even a quarter Of what they say on the internet um That's the thing about the internet. It gives it gives everybody a voice But a lot of people just use it in a bad way Um, but it is what it is. Oh way worse than facebook. Definitely Why you keep climbing up me and then climbing back down? And he ran away, okay but I mean that's that but i'll be feeling for perryman sometimes man. I feel for that dude because I know he um Like I said like two years ago. I think he should be on suicide watch two years from two years ago. Um, because he Because he his career was just going down here before he even got started Me he said everybody tweets at perryman because it's justified and it's justified because he sucks Um, but people just when they when it comes to being disrespectful, it's like, oh god, just chill Number one corner, you need at least two corners, right? Oh, yeah, we need at least like we need about four or five man We need about four or five jimmy smith is our number one corner, but he's always hurt always He lives on in your reserve. He lives on the injury list. That's him Um, malin Humphrey beast. He was great last year loved him. He did nothing but get better He got nothing, but he did nothing but get better. Um Oh, yeah, but anyway back to the tight ends Uh Should we sign jimmy graham if he's cheap enough if he's cheap enough? Yes if he's cheap enough so Is he gonna be cheap enough? I don't know but I think they should definitely draft one whether they Excuse me, whether they signed jimmy graham or not definitely draft draft the tight end For the future because the guys that you thought were the future They not even the past Straight up like the dudes we thought were for the future.  He just couldn't stay healthy Do you think jimmy graham will want to play? Oh, well, there goes another factor right there He said do you think jimmy graham want to play for flakko? If the money was right, he'd probably play for anybody But hey, who knows me Who knows parryman was projected in the fourth round and we drafted him in the first It's almost it's almost even even his fault I thought no, I thought he was uh Yeah, he was the first round pick Even projected they're going the first because I believe they said he was one of the top receivers I thought but it was kind of scary because um Even though, you know, they can't parryman a t-bow wide receivers. No, man. No because um t-bow actually He made a lot of bad plays in the first two third quarters, but in the fourth quarter.  He was gonna talk about that too. Um But real quick just to touch on that Why would we cut brandon car? Think about it because he um Oh Yeah, that 40 was fast. I think they said it was a fastest in the history Before christ johnson or the second to christ johnson. I forgot but um Oh car car. Yeah, he did get destroyed on some plays. He sure did but um Who are other cornerbacks besides malin humphrey? To von young coming coming back off of acl jimmy smith coming back off of a killie's injury And who else kennedy? So our starters would be Marlin humphrey who will be fine morris kennedy the jury's still out and Who else? Jalen hill who's coming off acl and pcl i think too or is the acl and mcl either way So we cut brandon car We would have to draft another one or sign another one a free agency It's gonna go through the same thing again If i mean i wouldn't be mad at them drafting somebody but you got out you got to have some type of veterans out there I don't think you can have all rookies out there or all young guys It's it's it's a perfect balance when it's young and veteran at the same time not too veteran not too old because remember um Look at jacksonville boy. I'm about jealous and old too tight. I mean those two cornerbacks Look at jacksonville though jacksonville had a j buye who was a veteran, but he wasn't too old They had jalen ramsey I don't even want to talk about the draft with jalen ramsey anymore But anyway Yeah, ravens are pretty good at drafting Cornerbacks that's one thing. Uh, they they can do that is one thing they are they are definitely good at they can do that and um That's good. You don't need that many old heads in the secondary. No, I mean, I just just balance as far as starters as far as starters Because jimmy smith and brandon car was a nice combo jimmy smith and marlin humphrey was a nice combo um jimmy smith and Brandon car marlin humphrey not so good because brandon car they they would just pick on that guy so much They will pick on brandon car so much. Um But jimmy smith who knows when he's gonna be ready who knows when he's coming back Who knows when he's gonna be ready? Uh, we'll see tevon young. I know he said he started walking I believe but that was a little while ago. So Hopefully he'll be straight, but you just never know man. You just never know Um ravens in the hall of fame game just an extra game for more injuries Well, they're not gonna play any starters in it, but we'll see we need a real free safety Um, and we need to play our strong safety like a strong safety that he is play to his strengths and not Keep on making him weak Carter, why you keep doing that? This too cute. He he runs into the room then comes back climbs up climbs on me halfway That's why y'all keep seeing his head. He climbs on me halfway then climbs down then runs back in the room Then comes back and does it all over again.  I mean he He made some plays for us now.  There we go. He's solid He's solid Here we go Here we go, and that's part of youtube is spam Part of youtube is a spam. There it goes. All right Anyway, I kind of want ground to retire become an action movie star. They said wwe might be thinking about him too So we'll see We'll see uh, he said, that's what happened when you played two strong safeties I mean weather weather does this thing back there as a free safety, but tony jefferson He's he needs to be in a box. That's his specialty. That's his specialty. That's what he does, man Car usually gets got beat on extended plays That's a good way to look at it. Oh, that is a good way to look at it. Yeah So we're having the tarras brooks. Oh god. Yeah ronda rousey. She didn't wrestle yet, but she was that wrestling I mean royal rumble and did the whole thing That's all she did It was the stupidest thing ever. That's all she did at royal rumble just like that but anyway um He said I love gronk, but if he's talking about retirement and he comes back trade him as fast as you can I will see what they do with him, man What's our biggest need that isn't What's our biggest need that isn't we because what what's our biggest need? We barely use two middle linebackers. They use two middle linebackers a lot peanut was out there a lot, man But um, yeah cj mosey was out there by itself a lot. They played a lot of dying too. Um He said ronda is so done Ravens get tom brady I don't think that one's gonna happen Oh, yeah, she's gonna make a lot of money mic. You're right, man And that's all she got to do just go like that That's it. That's all she got to do She'll make her money, but we'll see what happens with that I feel like just a little side note I feel like um, I know it's a business and it's about the money or whatever You want to bring you want to bring in the hottest names or whatever to bring in more business But I feel like it's a slap in the face to all the other girls that stare Took for me in my opinion I feel like it's a slap in the face to all of them that are there and the ones that are trying to come up and what not You just get this ramp not necessarily a random person But you just get this girl from UFC to come in and oh now she's a star and she gets to go to WrestleMania blah blah, but anyway That's that Hey, meet you. It happens, man. It happens, man um 94% confirm we on the verge of signing Malcolm butler and sam Hey, you never know man. That that wouldn't that wouldn't even be bad I mean, I would like to mallet. I mean the Malcolm the Malcolm butler signing better But um If they did sign my Malcolm butler, then I think they will cut Brandon Carter And I wouldn't have no problem with them doing that if they sound if they signed Malcolm butler I would have no problem with that Because it would be an immediate upgrade at cornerback.  So that would be nice, man He's It's kind of man when me to be getting on some of these players, they be getting on some of these players, man I I forget about this. They said they might cut the Darius web. I keep saying that all over I don't know. I mean They didn't use him at all Like last year toward the end of the year beginning of the year. Oh web webby was out there You saw that number 21 flying across the field getting caught on and all like that bears game Where he got moss for the first day and led to the game when the field go on a third and long but Beginning of the year web was out there. He was out there But toward the end of the year You you had you didn't even know 21 was active You ain't even know 21 was active Um But it's all good, man All good. Oh, yeah, you're right. You're right, Daniel. He said Kennedy has web's job now. That's true They had him in the slot and not lederius Um, so we'll see man. We lost to old dale beckham because of web Um, but no, I mean they ran into each other t'von young and uh Well t'von young I know somebody in the comments that always get upset when I say his name like that um him and uh Was it him and web that ran into each other or him and somebody else it might have been Oh, well, there it goes. What's up stark? Yeah, when they ran into each other and then old dale just That was it We need uh, well, we need the defensive end the right defensive end the left defense We need pass rushes man straight up man Straight up Straight up He lost to obj because he was happy getting engaged to the kicking head. He was on cloud nine Yeah, we got to see obj firsthand And that's what happened with jimmy smith ain't playing whether it's our best player somebody did ask earlier Who is the ravens best player? right now alice collins say him um What's up king? I would say alice collins Oh marlin. I mean And when I when I raise somebody as the best player, I would say somebody who um Consistently is making plays for the team and can in changes the game and has had way more of a positive impact on the team than a negative And if if they didn't play then the season would be different So I would say me my first my first choice would be alice collins because if we didn't have him Then we wouldn't even be talking about almost making the playoffs yonder mist all season Or pretty much all season um Let me say collins was the only reason we had a chance against the bingo the bingles had a close game with the stealers um Oh tucker. Wow. How could I forget about justin tucker sam cook? Those are definitely two that are yes You can't argue with either one of those two as well because if not for justin tucker Then we would have way less points than we did um And sam cook too uh from us from our offense not being able to score points He was out on the field so much and punting the ball. So he put teams in bad field position. So that helped us um eric weddle Yeah, things would be a lot different if we had somebody back there as safety um, I wouldn't put him over of justin tucker sam cook or alice collins though, but he would be he'd be up there um Who else who else? Uh We wouldn't even have a superbowl without tucker. True Brad kaya is with the coats malin Humphrey was almost defensive rookie to you but marshawn lighter mo is good I don't even think malin Humphrey was almost rookie of the year. Um I think he would have been out there a little more. He would he might have got it But he did he didn't make some plays though. He definitely makes some plays Shout out to malin man. We lost the best game because of weddle We lost the best game just because of the team man You can't put it all on one player because if the offense would have been able to actually score some points that game Uh, because I the bear's game was the one with uh, michael campanero And um, chris mo right With the kickoff return. No, not bobby reyney that was with bobby reyney and um bobby reyney and michael campanero right with the kickoff and the punt return That was that game right the bear's game Oh, whether that's where to try to strip when he was like back close to the opponent's own Their goal line or something like that Oh, that game was just rough all around I got told y'all that was the only game this season that actually made almost made me cry I got my eyes watery because I'm like man, this team really came together and they really are they really put up a fight like that But they lost They lost They were at home Remember do y'all remember? I don't know if y'all remember because it was so long ago It was so long ago Remember when ravens actually had home field advantage Remember when home field actually meant something these dudes used to go eight and no at home seven and one maybe six and two remember that remember that It's like it was so long ago So long ago Do you think snoop had pock killed? What did this come from? I don't know remember when fleck Remember when fleck go through behind the line of scrimmage against the bears Yeah, oh, yeah, I remember that and then Perryman dropped it and ended up being a pick six and It's just rough when when was that? Oh, Morrison. When was that? That was a long time ago That was a long time ago. You know who the bill's best player was last season and he don't know. Yes And he don't he was their hero. He was their hero I was mad when ravens lost to the stealers. I mean, yeah What if the first game had me? I was more upset from the first game Then the second game because the first game they didn't even put up no effort These two didn't put up any effort when they played the stealers in the first game at home That went away with nerf and defenses. Oh, yeah, that's true, man Guys, what are you talking about brashata's mvp? He's something all right And your luck is getting injured so brad kaia You you've been pushing brad kaia brad kaia That must be one of your other your uncles or cousins or something like that Big Ben knows the ravens more Okay next year's opponents are really tough Look, like I like I said, I think I don't know if that was you that put it on twitter too, but Ravens it don't matter who they're playing Seasons season is gonna be hard either way because they make it like that. They don't like heaven Whether the opponents, sorry or not Whether the opponents good or not whether the opponent got a winning record or not Ravens make everything tough Hope it don't get no copyright for whatever this netflix video Okay, nope. I thought I did it Oh PlayStation controller see we do got a playstation george We got it, but it's like I said, it's not It's not on Sorry about that george. I know We got it, but we just That's only for the tv But well, you don't know that if the season will be hard next season Every team that played the ram start will be a cakewalk or not it Raven yeah, like me said, I think he's him biggest opponents. Yeah, the most difficult opponents themselves That is so true because ravens make everything harder They make everything harder Everything everything They make it they make everything hard on themselves. It's tough man Everybody know how tough a schedule is until like week six. Oh, no, trust me as a raven fan We already know the schedule is tough We know the schedule is tough before preseason even before the season before the schedule even comes out before even though Who we're gonna play we already know that the schedule is gonna be tough because The ravens are the ravens and they do this they do this So nothing new We'll see george. I'm we'll see man We'll see flaco might actually be good next year. We got hope. We got chances of be Being the eagles next year. We just need a good draft. Let's see, man jimmy smith and own dan tonio brown and Achilles owns jimmy smith Whenever we are eight and six we choke Sad man Sad story thoughts on uh moinweg Moinhegg. Have you we say his name? Oh, I can never say this dude's name, right? Um, like I said before I'm not mad that they brought him back Um What that ravens defense looking like? Can't close out games um But a better offensive coordinator coming back. I don't have no problem with them coming back I didn't have a problem coming back. Would you rather have uh, jimmy graham landry or earl thomas landry? What's up marcellus? uh, with our offensive coordinator coming back, I don't have any problem with it because As long as they get some playmakers for as long as they get some playmakers for them because we're the fact That they were able to move the ball after the buy week For pretty much to remain to the season the fact that they were able to do that With absolute garbage at wide receiver and everything else then um If they can get some playmakers, it should be a lot better It should be a lot better But remember when ravens weren't going eight and six near the end of the season and didn't have to play must went Oh boy So that seemed like so long boy. It was so long ago. That's crazy man You do not want there's no man I mean, yes Well, somebody please take the old thomas from us. He needs. Oh, you don't like old thomas really Even though he did he that was disrespectful man. I feel like that was that was just like pretty much saying forget you see hawks I feel like that's pretty much what he said man you guys missed on tired helio we We sure did um, but i'm not mad that we did why could we not find the right coordinator all these years? We'll see what morning morning. We'll see what marty does right carter right So y'all hit a footsteps me Four years man, not that long ago. What imagine if y'all had made the playoffs in that long if patriots hadn't seen patriots y'all y'all it's like y'all ain't even got a uh Y'all don't even got to be like oh man um It's been four years since we made the playoffs y'all could be like man A long time for y'all would be saying it was four years since y'all won a superbowl And it's only been one So that's man y'all I boy I thought we was spoiled Sheesh Nobody spoiled like the patriots man y'all got it man Nobody spoiled like y'all We used to be spoiled, but we have been We have been brought back down all the way to earth Um, yeah, Juan you're right. It used to be used to be used to be so long ago, right carter Carter been uh, he's been peeing in the potty.  I'm proud of you Where your m&m's at? Hold on. What are you doing now? Whoa? Whoa? What are you doing? Do you got to use the potty? Never mind. I thought you did. You scared me.  I don't even know who that is. What's up? Flacco's a leap and now he's hurt. Hey, you could you could change your uh, your avatar name now or your youtube name Since he's healthy now, so You upside down Come on. You got to stop talking like that people gonna think he used drugs or something But anyway, um No, the the high that he meant he was climbing on my leg and he wanted me to lift lift him up Oh, you can't change it. Okay. Oh good. Josh Allen the best QB we should trade for Oh, no, I don't know. What was my thoughts on a 5 and 11 season? We just sucked that's when everybody was hurt That's when everybody was hurt everybody so Got a pass hardball got a pass for that one Which he should have But then the next season we failed He ain't deserve a pass in the next season. We failed again.   We weren't making up Hold on. Let me see how much battery any second now. So Who you talking to you don't have a phone All right y'all appreciate y'all. Thank y'all for coming through sorry I had to end like this so quick because I do not know what my charger is But thank y'all. Thank you. Thank you. Thank you. We had a lot of fun on this stream Love y'all appreciate y'all. I see y'all on twitter instagram snapchat all three are engraving vids I'm about to go work out now. Then probably go on a run with my son too because he likes running everywhere Love y'all appreciate


Alessandro, how do you navigate in this environment? Well, that's quite a complicated question. So thank you for having me here. Is there someone in the driving seat? I'm complicated to say, I would say not really. So I'll try perhaps to focus on technology, which is my subject here, and on the challenges and the questions that the person who eventually will be in the driver's seat will have to answer. And first, I would like to start by making a quick comparison to assess where technology actually brought us today. So I would like to go back actually to the year 1850. So at that moment, life expectancy was 40 years old. And what does it mean? It means that basically nearly all of us would be statistically dead. And by the way, I also would be dead too, because I would have died in childbirth something like 10 years ago. Oh, and by the way, my child also would be dead because roughly 25% of deaths were children below five. And the three main causes of deaths at that moment were pneumonia, tuberculosis, and diarrhea. And basically at that moment, medicine was largely helpless. You had a few elements like the vaccine for smallpox that was invented on the 18th century. But really, there was nothing much that could be done. And what do we stand now? Today, in the Western world, life expectancy has basically doubled. It is around 80 years old. Death of infants, childbirth is very rare. And the three main causes of death are heart disease, cancer, and stroke. So basically, we have virtually eradicated the three main causes of death of the 19th century. And how did we do that? Well, mainly hygiene, medicine. But in the end, it is science and technology. So between 1850 and now, there has been countless innovations. We've had antibiotics, very efficient drugs, we've had radiotherapy, immunotherapies, advanced surgery. And it's clearly not over, because there are still some innovations that are coming and that will likely change our lives in the year to come, for example, CRISPR-Cas9, or even artificial organs. But of course, when you have such progress, in the same time, you have great challenges and you have a lot of questions. And this basically is a subject that I would like to address today. So I would like to start by the challenge of validating these new innovations. Then I would like to discuss a little bit the place of doctors in all this. And in the end, of course, we need to talk about cost. So let's start by the subject of validation of innovations and more precisely about regulatory validation. So when you want to validate an innovation, you need basically clinical trials, patients, clinicians, regulators. But today, we are in a system that is extremely risk adverse and that requires always more proof of efficacy, more details, and that practically demands that there are no side effects. And it means more preclinical studies, more clinical trials, with more centers and locations, and of course, more money. So it is very easy to say and to see the limitations of such a system. Already today, there is a real competition for people who want to launch an innovation to have access to the well characterized patients for clinical trials. And that's why we see such a big development of biobanks. And the result today is that sometimes, well, COVID is definitely not a good example here, but most of the time you need more than 10 years to put a new drug on the market. And it can cost above $1 billion. And if we go back to the subject of adverse side effects, I guess, well, in my opinion, it is just an illusion to believe that one drug is going to have the same effect on something like 7 billion people and that will have no side effect. For side effect, we see that very well for genetic manipulation. And the direct result in that is that in some therapeutic areas, only 2 or 3% of the drugs in the end reach the market. So there is a real limitation of what we're going to be able to do in only the step of validating the innovation. Well, the good side of it is that, of course, it protects the patients, but the downside is that it's clearly an obstacle. So now, I would like to switch to the role of doctors. And I know that there are doctors among them, so I'm sorry about what I have to say if they don't agree with that. With all the progress that we have seen, the level of required expertise for doctors dramatically increases, even for general practitioners. And in the end, of course, it's not possible. For example, in France today, you need something like 10 years of study to become a general practitioner. But during these 10 years, there is only one hour and a half that is devoted to the theory of mood disorders, mood disorders that include depression, depression that in the end affect 19% of the population during their lifetimes. And of course, this patient, the problem is that in most cases, they go first and only to the general practitioners for the same disease of depression. So we see that here there is a problem and something that needs to be changed. So on the one side, we have doctors that actually need to be experts. But there is another way of seeing things, another implication of progress. And it is that the progress of technology threatens to transform doctors into highly skilled technicians who operate sophisticated machines and computers and prescribe paracetamol. Already today, artificial intelligence is sometimes more efficient than trained doctors in detecting cancers in radiographies. So my point here is that as technology advances, as it has such a big impact on the healthcare, there is probably a real reflection to be had on the role of doctors and how it should evolve and adapt to the progress of science and technology. So another subject, of course, is cost in healthcare and innovation. The USA today spent something like 17% of their GDP in health and it keeps increasing. Yet the quality of care in the US is often criticized. So where is the problem? Does it mean that we're not spending enough? Or does it mean that we're not spending well? Difficult to say, but obviously there is a limit to the amount of money that can be spent even for health. So the question that can be asked, well, the first one is what do we expect from innovation? And the second, which innovations should we fund? If we want to simplify, there are two categories of innovations. So first category corresponds to the innovations that increase efficiency, meaning the ones that allow to do at least as well as what is already available on the market, but for lower cost. For this one, I would say it's a no-brainer. It's better for cheaper, so it will be adopted. For the second category, it's more complicated.  So how do we evaluate the worst of such an innovation?  And the concept is simple. We give a worse to one year of a life of a patient and it depends on the country and of the age of the patient. So if we consider innovations that will save one year of life for this patient, if the cost of this innovation is below the worst of one year, then it's economically viable. If it's not, then adoption of this innovation will be compromised or impossible. A very good example is that the cost of one dose to cure and save infants with spinal muscular atrophy is over two million dollars. And this figure, it is already giving an idea of how much a baby is worth. So this is one way of seeing the problem of cost, but there is another one. And it concerns R&D and investment. When should we invest and for what? Here, the problem is that money is not enough. R&D is about searching and it's not necessarily about finding. Concernings of vaccine for COVID-19 that has been discussed a lot previously today, I've heard a lot of people say around me, oh, it's noble that they found so quickly. The governments gave tons of money. Well, I guess we would know if it was that simple. Because for example, the Bill and Melinda get foundations as massively invested for malaria. And what is the conclusion of their research? Use mosquito nets impregnated with insecticide. So it's not really a revolution here. So if we want to wrap up on technology and cost, perhaps a key takeaway would be, in the end, there is no choice. Technology will have to allow for a global reduction of cost, because only at this condition will the system be sustainable. So progress. Where will it all lead us? I would like to do here a little analogy with financial bubbles and financial crisis. In a financial bubble, everything is accelerating, especially profit. And people tend to think that it will never end, which leads in the end to the crisis. In health care, these last years and decades has been quite the same thing. Progress has always been quicker and more spectacular. And we tend to think that it will never end. And my opinion is that these beliefs that progress is everlasting affects our position as a society towards tests. Deep inside us, a lot of people believe that technology will find a solution to everything, to AIDS, to cancer, to Alzheimer, to everything. And the consequence is that today, most deaths are unacceptable. Dying during a surgery of a random disease, unacceptable. Childbirth, let's not even talk about that. For example, even dying of COVID-19 when you are 90 years old is not accepted. Today, you're allowed to die in a car crash of cancer of all the age the rest will not do. But as it is the case with financial bubble, technology in health care will one day or another reach its limits. And the question are, will we understand when we reach that point? Will we see it? And how will we react? And to conclude, I would like to go back to the other theme of this session, which is ethics. And I would like to ask one question. Is innovation necessarily the synonym of progress? I would say no. Let's take, for example, human cloning and genetic manipulation on human embryos. And notably, these are big innovations. But most countries agree that they are also very unethical. So the immediate question is, where is a red line? Where should science and technology stop? And at what point must we decide that we need to stop trying to cure and that we need to stop trying to save? And I guess that this is going to be a huge challenge for anyone who in the end will find itself in the driver position. Thank you very much. Thank you, Alessandra, for very lively and at least still provoking, if not simply provoking, presentation.


Okay, ladies and gentlemen, good morning. I think things are going to work better today. I'm optimistic about the audio equipment and about our slide material and things such as that. All cell phones off, and we will begin. Don't forget, sections start tonight at 7 o'clock, and there's another set at 8 o'clock, and then Friday afternoon at 1.30 and Monday morning. You've got that all online for you. You do your work product, and you bring it to sections, and hand it into your TA in section each time. So that's the way this works. I'll be sending you a global email, bringing you up to date with some other things later on this afternoon. Okay, so today we actually, before I get to any questions from you, is there stuff to do for section tonight? Yes, but only the stuff that was assigned, the listing exercises that were assigned early on. It's just one, nine through eleven. Which you've probably had done for days now. So you just bring that material, hand it in. Others will be assigned tonight. This is a shopping period. We're starting, sifting through things, and then we'll get rolling. Gentlemen here. Can I turn on my microphone? Very good idea. As a matter of fact, I think I'm actually missing a microphone, and it was not put on here. So what do I do with this? So gentlemen, you will have to come and do this as you would like to have it done. Okay. Okay, here we go. Sorry. Today we're going to come to what I would call the nitty-ritty of the course. We're no longer having introductory material, but we're going to jump into the question of musical notation. And we're going to be dealing with things such as half notes, quarter notes, things like that. But before we do this, I'd like to say a couple of words about musical notation, because it sort of affects how we deal with music, how we treat music. It seems to me that there's a very large reverberation in here now. Is that the case? Does it sound like it's reverberating to you? No, it sounds okay to you. All right. Musical notation is a particularly Western phenomenon. When you stop and think about it, only we in the West, and by West what I mean in the United States and Canada and Western Europe and Russia, parts of South America, only we use musical notation and we use it principally for our high-art music. That's not to say that the Chinese don't have an esoteric form of musical notation, that the Indians do not have an esoteric form of musical notation. They do. But it doesn't intersect quite as intensely as musical notation does in Western cultures. Most cultures around the world, if you stop and think about it, don't use musical notation. But we do here with our art music, and that has two advantages. Let's talk about the advantages first. One, it allows the composer to specify, rather precisely, what he or she wants, to sort of write things out in the form of musical details. So, as a result, the creator in this Western art form takes on greater importance than the creator in other cultures, where the composer, so to speak, is more or less anonymous and perhaps synonymous with the group as a whole. So, again, the process of notation allows the composer here to loom larger. And secondly, this is another advantage of notation. It allows us to preserve the work of art. We can kind of freeze dry this thing and store it, and then bring it back to life more or less exactly as the composer had attended. But this, if you stop and think about it, takes the traditional balance of things and throws it out of proportion in our art music, our symphonies, concertos, genres of this sort. The performer is actually much less important. He's sort of in there. Let's think of this as architect and carpenter. The great architect, the thinker, is the composer. And the performer, the violinist, gets this piece of, gets this blueprint, or black print, in the case of musical notation, and is expected simply to replicate the black print. Well, that's very different than what happens in other kinds of music, other kinds of music. Let's talk about pop music for a second. Jazz, rock, hip-hop, blues, that kind of thing.  No, that'd be ridiculous. How many of you, I was walking with a student over to my office after a lecture the other day to get some material to him, how many of you play in a rock band, or have ever played in a rock band? Okay, a number of you, a young lady out there. Did you use musical notation? Now, that'd be kind of silly, right? It's all, okay, so how is it done? It's all done orally, and we'll talk a little bit more about that as we go along. So the composer in the West is very important, more important than the composer in other cultures. Other cultures don't use this type of notation. Here's a thought for you. Musical notation was the first graph in Western culture. How could that be, you say? How could that be? Well, if you go back to the formation of musical notation from the ninth to the twelfth centuries, we see that very early on these two dimensions of music, the two axes of music that we talked about before, pitch vertically, and duration horizontally, are in place, and we have these sort of spots in this grid. So musical notation, first grid pattern in Western culture, but it does lock us in in interesting ways that we may, you perhaps have never considered, particularly compared to how music is made in other cultures. Let's see how some music is made in other cultures. We're going to play here now as our first excerpt, an adhan. And what this is is the Islamic call to worship which is sung across the world thousands of times every day. And as we listen to this, I want you to think about the vocal production here and how what's interesting are all the vocal nuances. So let's listen to just a bit of this, please. Chaya l-as-salah. Stop there. Fascinating. What a wonderful sound. But the beauty of it is all between what we would call the notes. We would specify a precise frequency here, another one up here. But what that gentleman was singing was all the stuff in between that made it very beautiful. And there's no way in God's earth that we could replicate that through the Western system of musical notation. Let's take another example. We're going to go to the realm of Western jazz here. I'm going to pick on Chuck Mangione. Anybody ever heard of Chuck Mangione? Yeah. Okay. Brian, our tech guy, has. He's an older fellow. He's sort of my age. And the reason I mention Chuck Mangione is that years ago I went to school with him. He was a couple of classes ahead of me at the Eastman School of Music. I was a fledgling pianist. He was a very good trumpeter. Indeed, he was winning Grammys when he was in his twenties. And he's been recording sort of esoteric and sometimes more pop jazz thereafter. Now, you can go to a Mangione concert. He will sometimes play the Schubert Theater there. And you'll have two hours of spectacular jazz.  So how do these musicians generate two hours of music with no music in front of them? Does this mean he doesn't read music? Of course not. You can't get through these conservatories like Eastman or Julliard or Curtis without being introduced to an intense regimen of musical notation. But it sort of otherwise would get in the way of the music. So let's listen to a track here, a sax solo. And I'm going to try to make some sense out of this, because it gets more and more complex by following the electric bass underneath. So let's listen to an old tape. He used to go to bars in Rochester and listen to this guy and tape his stuff. So here's Chuck Mangione with his saxophonist and a saxophone sort of cadenza almost. It's a wild riff for saxophone. It gives you an idea. Now, how in the world would you ever notate that? And to produce this prescripted document that anybody else could follow was all improvisatory. If you tried to notate it again, you would take all the spirit out, all the heart out of the music. Well, how do they do that, though? One of these performers plays such long spans of music without any notation. Is it all memorized? Well, it's not memorized as we think, and you may have had music lessons along the way, and your teacher and your mother said, go memorize your piece. It's not memorized like that. There are certain basic patterns that they have. They might have a, let's say, for that sort of music they've said, all right, we're now going to have a 32-bar solo, we'll be in the key of E-flat. We're going to work through a 1-6-4-5-1 chord progression, as we'll come back to that. We'll come back to the dominant chord for eight beats, and all I, Chuck, will look over, and everybody else will come back in at the end of Chris's solo. It would be that kind of thing, kind of head charts, general plans, and within that general plan a lot of freedom of expression. So, having said that, having said that about musical notation, something about a cautionary tale about musical notation, we should think about how it affects the way we compose music in the West and how we perform music in the West. When you go to a concert of classical music and the music is playing and you start to talk what happens, somebody will go, shh, right? We go to these concerts and we have to be so quiet. Why do we have to be quiet? That doesn't sound like much fun. Why do we have to be so quiet? It's because we have these performers up there that are playing this blueprint and everyone is listening, basically, to see how accurately they can reproduce, revivify this artistic artifact. So that's sort of what's going on, but it really does affect how we behave even in a concert. Now, if you go to other cultures and they are engaged in their own classical, not just popular, but classical music, Indonesian gamelan music. For example, the audience will be there playing back and forth, clapping, applauding with the performance for particularly good solo, the same thing with Indian sitar music, that classical tradition. Oddly, it's much more like going to a jazz concert, where the audience is sitting maybe around tables or something like that and encouraging and interacting with the performers. But again, in those cultures, no notation. Notation, everybody sits there sort of mummified, waiting for this great work of art to come back to life. It's an interesting thing. And isn't it sort of typical of us in the West to take something music, which is expression and feeling and motion and movement and a response to sound, and turn it into a complex patterns, complex patterns that can be sort of visualized and rearranged and analyzed and nowadays even digitalized? What we've done is take this spontaneous response to the creation of sound and bodily movement with sound and sort of replaced it. We've replaced the ear and maybe the heart, the ear and the body with the eye and the mind. It's a much more visual. It's a much more analytical type of approach to music. And it has its pros and cons. We get great Mahler symphonies, yet we have everybody sitting there, rock still at these concerts. Okay, having said that, and I guess pointing out the advantages and disadvantages of notation, let's plunge in then to a discussion of it. Put on the board up here the following. We're going to review this. It's simply material found on page fifteen of your textbook, but let's review it. We say this is a beginning course, so we assume no previous knowledge. If you've read through that material and you should have read through it by now, you know that we have a value in music that's called the whole note. What the whole note is, what all these symbols are, are simply representations of duration. So we have a symbolic language here that's going to represent the horizontal axis, the axis of duration. And this whole note obviously can be subdivided into two half notes, and each of the half notes into two quarter notes, each of the quarter notes into two eighth notes, and so on. So these are symbols telling us how long a particular frequency is to endure similarly, just as we have symbols for the presence of sound and its length. We have symbols that represent the absence of sound. We call those, of course, what? Rest. Okay, so we're resting over here. We're not making any music. So we have the notes and their values and the rest. We've noticed that they're all pretty much duple in their divisions. Now, here's a question for you, all duple divisions. How do we make, how do we get triple arrangements in music? How do we do that? Well, we take our basic note and what do we do to it? I bet some, I'm sure some of you know to this. How can we get a half note that actually equals now three quarter notes? What do we do, gentlemen here? At a dot, what does that do to this value specifically, in terms of ratios? It adds 50% or a half to that, and that means instead of two quarter notes that we now have three. And we can do the same thing to any one of these other values here, and that's how we get our triple relationships. Okay, so those are the basic note values, normally with a duple division, but we can superimpose the duple by using a dot and the absence of sound. Now, let's talk for a moment about the idea of pulse in music and the beat in music, and rhythms in music. We all know that there is this thing in music called beat, and to the extent that popular music is more interesting and that everybody likes it and go dance to it, it's because it's really foregrounding beat and rhythm in an important way that classical music does not. So I've put this idea of the beat up on the board here. It's really just a pulse. It's very much like the human pulse. This is the pulse of music, and music theorists, ever since the late fifteenth century, from Kinu's Gafurius, we could go all the way back to him, have said that the pulse in music is basically at the same tempo as the human pulse, which comes out to be about, oh, we'll say, seventy-two beats, if you will, pulses per minute. So we have this pulse, and it's just kind of out there streaming, beat, da, da, da, da. But we don't like undifferentiated, disorganized material in the West. Our psyche says we've got to bring rational organization to this. Ever think about this? Why do we have this periodicity when you take history courses? Why do we have the Renaissance, the Baroque period, the Classical period, the Romantic period, and so on? We have it in music, you have it in history, we have it in the fine arts. Why do we have it? It's simply a convention established after the fact that allows us to organize material in ways that we can grapple with it, the ways that we can understand it. So in music what has happened is that we have organized this steady stream of beats in ways that we can understand it. We organize them, we subdivide these into units of two. For example, groups of two, like this. Or we have an undifferentiated stream like this. I am convinced, even though I'm sure that the Toyota Motor Company didn't organize it this way, I am convinced that on my automobile, when I do not plug in my safety belt, that there is a bell ringing, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding. I don't think they were thinking of that in terms of triple meter here. I think they were just a succession of dings, but I'm hearing it. My mind wants to hear this organization. So there's another organization here of units of three. As you may know, there's yet another organization where we could group this in units of four. But for all intents and purposes, there are a few nuances to it. Four is simply a multiplication of two. So in our course, we are only going to have two types of meters. These organizations, taking the beat and organizing it into groups, is called superimposing meter on the music. Then we want to indicate that meter to the performer. It's a way to tell the performer how this music is to be executed. So what do we do? Well, in music the most basic symbol for the beat is the quarter note. The quarter note usually carries the beat. Okay? So here we have a series of groups of two quarter notes. We have the convention of music of writing this symbol indicating the beat-carrying unit of four. So I'm writing a four underneath each of these. Then I look up here and I say, well, up in this duple pattern, I have two of these quarter notes. So I'm going to write a two out there. That tells the performer that the quarter note is carrying the beat. Think of the chord. You see a quarter note? That's a beat. And that there'll be two in each of your units. These units we call bars or measures. And just to finish this off down here, we would have three quarter notes, of course, in this particular arrangement. Okay. Now ultimately what happens with this is that we begin to take this stream and organize it into different patterns. I could go da-da-di-da-da-dum, something like this. And we would call that a rhythm. Superimposing longs and shorts, different patterns, patterns that oftentimes repeat, the dividing up of this stream into different patterns, often repeating of longs and short, is superimposing rhythm over top of this basic beat, which is organized in terms of these meters. So are there questions about that? Does that seem straightforward enough? Now as you may know, some of you may have played clarinet in a high school band or something like that, neither here nor there, if you did or did not. But you may know that there are other meters out there. These things called six, eight. I was thinking this morning. Bum-di-di-di-di-di-di. Bum-di-di-di-di-di-di-di. Bum-di-di-di-di-di-di. Bum-di-di-di-di. Four, five, six. One, two, three, four, five, six, one, two. Well that's a beat that's basically a duple meter with a triple subdivision. But we're not getting into triple subdivisions here. In our course, the beat is always going to be a divided, to the extent that it's divided, always going to be divided into two. We have only so-called simple meters rather than compound meters. You want to learn about compound meters? Go take music, two, ten, and become a music major. That's the kind of thing that they get into. But we're not doing that here. We're interested only really in two things. One, can you differentiate between duple and triple meter? And two, can you recognize some very basic rhythmic patterns? And we'll be doing some of that today. Questions again? Okay. Let's then proceed. I used to have some glasses, but that's okay. I'll just... Oh, here they are. Okay. Let me play some music at the piano. This is Bulldog. Isn't this the Yale Fight song? Who wrote this? Anybody know... You probably heard it eight zillion times at football games. It's great. What a wonderful Yale. Yale was so lucky to have this as a... So, yes, I think I hear somebody out there. Cole Porter. Who is Cole Porter, as I vamp for my music here? Ah, fooie, I've lost it. Who is Cole Porter? He was a Yale graduate, class of 1914. And unfortunately, I seem to have misplaced. Well, I can generate a little bit of it here. Okay. I was sort of trying to remember the first page of missing music there. So is this in duple meter or triple meter? What do you think? And how do we find out? Tap your foot. Did we find any music? Ah, thank you. Enlightenment. Enlightenment from Linda. What's the key here? What do you listen to? How many think it's in duple meter? Raise your hand. How many think it's in triple meter? Okay. Almost everybody thinks it's in duple meter, and that's correct. We worked through this just a little bit once before. What is it that tells us that it's in duple meter? It's the bass, because it's organizing itself very strongly in duple patterns. There's one other interesting thing in here. This would be, well, let's think through that in one additional way, and that is notice that in duple meter we have a strong beat, right? Strong, weak, strong, weak, strong, weak, strong, weak in that sense. Or if we have triple, it would be strong, weak, weak, strong, weak, weak. There would be two weak beats or two unstressed beats between each strong beat. We could do this. And we'd have the waltz of the bulldog. It would be pretty cool to see, actually. So there I'm simply taking the Cole Porter piece and throwing in an extra beat in each measure, an unstressed beat in each measure, and it works out pretty well. Notice this would be, Harvard would have had a field day with this melody if Cole Porter had not done one thing. He makes this really rather snappy by the use of this kind of stuff. We're coming on bom, bom, bom, bom, dan, dan, dan, dan, dan, dan, dan, dan, dan, dan, dan, dan. What's that a good example of? Sink of patience. Yeah, it turns on the board up there. But it's a good example of sink of patience, sort of jumping in ahead of time, cutting off the beat, getting in there ahead of time, and throwing off the metrical balance for a very short period of time. Okay, so that's a duplometer piece. And what we're trying to do here is just here, if we've got one strong and one weak beat, or one strong and two weak beats. How do we do this? How are you going to do this? Well, I think one thing that's very helpful is for you to start to move, to move around, to sway, tap your foot. Now, we can't do this during an existent test in here. It'd be a little bit annoying, but we really have to do this. Now, musicians, being a bit more uptight, oftentimes classical musicians than other more spirited folks, have developed this tradition of using conducting patterns, right? So for a duplometer, we just go down, up, down, up. It's kind of maybe a little shake over to the right, down, up, down, up, that kind of thing. And for triple, we do down, over, up, down, over, up, down, over, up. Okay? So I'm going to start playing here, and you are going to start conducting. You're going to listen just for a second, and then you're going to move, and you're going to move using the conducting pattern. Okay, good. Now, I see some of you out there from like this, not really participating. And if I can get up here and think about this. I'm old. I'm sort of used to think of myself a white Anglo-Saxon Protestant. I have every reason in the world to be repressed, right? I could... So if I could be up here making a fool of myself on a daily basis, you guys are much younger than I, and known for outrageous behaviors. You can certainly get in here and move and flow and go with the beat here. So here we go. Everybody together? Much better. Okay. I'm watching. Good. Virtually everyone has got the downbeat here. You're not going... You're going... So there is a sense of downbeat. There is a sense of downbeat, and we'll come back to that in just a moment. Let's do a triple meter one. Here we go... Excellent. Very good. Now I'm going to modulate. Go to a different key. Okay. There's a little confusion here, so let's try to do it together. You ready? Ya-di-di-di-di-da-di-da-di-da-da. Okay. Now this gentleman out here is actually doing it different from what I am doing and what most of you are doing. But you know what? He's doing it correctly. We're doing it incorrectly. Ya-di-di-di-da-da-di-da-da-dum-dum-dum-dum-dum. What's wrong here? We're off. We're off because our downbeats, our strong pulses, always have to come on the first part of the bar. This note, this note. The first part of the bar is called the downbeat. It's the most important thing. And our conducting pattern always has to have the downbeat of the hand in sync with the strongest impulse in the music. The strong, the downbeat in the music comes with the down motion of the hand. So we were getting ya-di-dim. Well, there's the downbeat, but we were putting that on two. One, two, three, one, two. We don't want that. We want one, boom, at that point. So what do we have here? What's happening? Well, there's a little bit of music before the downbeat. That's called a pick-up. Okay? So we have a little pick-up. Di-di-dim. I was thinking of a diver in the Olympics.  Dum-dum-dum-dum-dum-dum-dum-dum. That bump-dum-dum kind of gets you really landing good and hard on that downbeat. So the downbeat is very important to us. And we could conclude this by saying that although all music has a downbeat, although all music has a downbeat, not all music starts with the downbeat. Sometimes when listening to music you have to wait. Listen for a while and your body almost will start to tell you, tell you, start to signal to you where the downbeat is. Is it really your body that will signal this to you? I doubt it.  We talked about the auditory cortex, the first section, and maybe there are other parts of the brain that are factoring in here as well. But how is it that composers send this information to, let's say our auditory cortex here? How do they do that? Well, there are four principal ways that composers signal to us the whereabouts of the downbeat. Okay? So let's review, let's focus on that just for a moment. Okay, way number one. Way number one. That has to do with duration. Duration. Notes are simply longer, held longer. That's how we have a sense of where the downbeat is. I guess it's a spiritual, huh? Beautiful. But think about that. Short, long, short, long, short, long, short, long, short, long, short, long, short, long, short, long. And all of those long notes are coming on the downbeat. So that's how we start to hear that as a downbeat. And that's how we know to make our hand go down at that point. So that's one way. Now, another way is through accent. And to exemplify this, let's turn to some classical music, the music of Mozart. So here we have Mozart's fortieth symphony, his famous G minor symphony. And Linda, go ahead and start to play it. Just go ahead.  Several of you are actually conducting this. That's great. That's great. Okay. And that's fine. That wasn't the question here, but great. You're hearing that and I'm delighted. What Mozart has done here, if we could get the score up here of Mozart's music, we would see that he has put a little sort of arrow over top of a wedge, over top of each of the downbeats, so that the string player will really accent those. But the string player would be accenting them anyway. Why? Any violinists in here or anybody ever played a string instrument? What are you always told to do? When you're playing a downbeat with an up bow, are you in good shape? No, no, no, no. Your teacher would not be happy with that. Your bowing pattern is probably backward at that point. String players are taught, whether it's cellists going this way, downbeat or violas, and violinists coming down this way, that the downward motion of the hand or the pull across, the strong pull across, should come with the downbeat that emphasizes the downbeat. That's how we know the downbeat. So, so far we've had duration and accent. Mozart is actually writing accent into this. The third way that composers signal to us, that we pick up almost intuitively the whereabouts of downbeats, is through patterns of accompaniment. We'll call it range, range. Okay, so here's a waltz by Ricard Strauss, not to be confused. No, excuse me, by Johann Strauss, not to be confused with Ricard Strauss that we heard last time. And so on. What's important here is the left hand. That's why we hear a triple pattern there. We're hearing two weak beats, and the strong beat is always in the lower position here. So we're getting low, middle, middle, low, middle, middle. Or it could be something as we had the other day in the Tchaikovsky Piano Concerto. Low, middle, high. Low, middle, high. But each time the downbeat seems to be coming in association with that lowest note. So range or position here in the accompaniment can oftentimes signal this information to us. And finally, and most important, these others I think have been pretty straightforward. These others have been pretty straightforward. But what has not been straightforward is something that you might listen to many, many times and not be aware of. And that is chord changes. If you know that we have chords in music. Sort of these building blocks that support a melody. And they have to change for that melody to be consonant all the time. But where they change oftentimes is on the downbeat. Most frequently chord changes come on the downbeat. So composers signal to us in a fourth way the downbeat, by means of chord change. Now we're going to play just a little bit of pop music, not too loud Linda, because this thing is really hyped up. A bit of pop music here. And by playing this you might think that I think that I'm hip or with it. We're going to play some rock and roll. Do I look hip or with it? Hopelessly out of touch with popular culture. And nobody knows this better than I. And to prove this I've chosen a piece because there's a little story with it. I like this piece because it does something. And I've used it in previous years. And I put it on and I would announce. I'm now going to play out of the doc. It's an album called Document by Rem. And put it on and Rem, that's fine with me, that's what it says, Rem, put it on. About two years after I was doing this a student came up and said, oh Professor Wright, it's really not Rem. Oh. Okay. So that's how distant I am from all of this. But let's listen to a little of this. It's in a straightforward four. Rock really comes forth, not so much in twos but in four. So we'll call this a four-four. And you can kind of beat a four pattern to it. Or you can beat a two pattern. It doesn't really matter. But notice that whenever the chords are changing they're changing on downbeat. So let's hear a little bit of this and then we'll stop so they don't sue us for copyright infringement. And then we'll go somewhere else and take another chunk. But listen, change. So that's all they're doing there. They're just taking, every time they're changing, you notice every time I said change and eventually you'd be hearing, you'd be saying change too. Every time they're changing your hand is going down, your hand is going down. So chord changers may be the most powerful, powerful of all of these aspects of where the downbeat is. Okay. I had intended to give you just a little bit of a rhythmic quiz but let's just do one of these things. Here's something else we have to do in here. We have to hear a rhythm and recognize it. So we have a series of rhythms on the board up there. You can choose rhythm for excerpt one. You can choose rhythm A, which is da-da-da-da-da-da. Or you could choose rhythm B. Da-da-da-da-da-da-da-da. So I'm about to play a piece. It's by Chopin. Which rhythm is in play here? Which rhythm am I playing? Is it A or is it B? So what do you think? How do you think A? How do you think B? Okay. So that's not too challenging. We'll be doing some of that. Then Chopin is sitting here and he modulates. He changes key. What about this? This is number two. Is it A or B? It's by Chopin. How long did it take old Chopin to think that up, do you suppose? Two seconds? Three seconds of white hot inspiration. I'm 64 years old and I haven't had one second of genius in my entire life. This is really depressing. It's discouraging. I soldier on but it hasn't come to that. You're younger and I'm sure that your moment of genius is out there. It's really the difference between perseverance in my case and genius, pure, unadulterated genius in the case of Chopin. What a beautiful melody. In any event, the answer is what? A for two. Is it A or B? What do you think? A. Yeah. So that's his rhythm A. All right. We're going to end with one final exercise. It's a fun piece. I think it's fun to do. It's a piece by Maurice Ravel called Belaro. It's a unique piece. Maurice Ravel was a French composer writing in the early 20th century. It's a unique piece because what he does is take some very basic patterns and simply repeats them over and over and over again for about fourteen and a half minutes, depending upon the tempo that the conductor is taking the music. So let's listen to a little bit of this music. And I want you, maybe as a group, to tap with your foot, your hand, whatever, just the beat as you hear it. You don't have to pay any attention to this. We'll come to this in just a moment. But just tap. It will all, maybe eventually, altogether the beat. Here we go. Most of you are not tapping, so everybody start tapping where you think it is. Good. All right. Let's just pause it right there. Let's just pause it right there. Gentleman out here in the orange shirt. I'm going to have you be a conductor. You were doing really well and you were conducting correctly early on. So good. Here's what we got. We got most people going bum, bum, bum, bum, bum, bum. Some people are going dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot, dot. And in this course we would know whether you're hearing duple or triple based on some other information. So don't worry about if you're going dot, dot, dot, dot, dot. That's a little bit fast for a beat. What you're doing there is actually subdividing the beat into two. But don't worry about that. That's fine. You're doing eighth notes. The rest of us are doing other people are doing quarter notes. Okay.  Now what music have we been hearing here? Santana. Where are you? Okay. Come on up here. Take a look at this. Linda, come on over here and take a look at this. We should have rehearsed this in advance. We did not do this. These are two ladies that are very experienced singers. I want you to stand right up here, please. But they have not been forewarned about this. Take a look at this. Ya, we're going to do it together. Here we go. You're going to sing that top melody one, ready, go. La, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la. Okay. And we're just going to keep, yeah, it'll be fine. It'll be fine. And we're just going to keep going in that once you get to the end, when then we're going to repeat. Okay. Here we go to sing. La, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la, la. Okay. So you're going to keep going over and over and over like that. I'm going to be this thing here. It's just going, this is the percussion. Okay. There is no pitch to it. It's just rhythm. Up here we have melody and rhythm. Here we have just rhythm. Underneath we have bum, bum, bum, bum, bum, bum. We have basically harmony. Harmony. But it has a simple rhythm to it. It's a rhythm with a couple of different patterns. You, students, are going to sing this. Okay. So here we go. Everybody together ready, sing. Bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum. Okay. Now. All right. So here we're going to go. The gentleman in the orange shirt.  Stand up. You were doing a great job. Stand up. And that's fine. You can face me. We'll coordinate it better this way. And just conduct this in three. I'll start conducting with you and then you take over. Here we go. One, ready, go. Okay. Great. This is actually terrific. We're going to take it to Hoboken and Sheboygan.  Okay. Thank you very much, ladies. The point here. Final point, and then I'll let you go. This is a melody with rhythm. This is pure rhythm. This is a harmony with a very simple rhythm here. Who is playing the beat? I ask you to conduct the beat, or to tap the beat. Most people, when everybody was tapping the beat, just fine and dandy. But notice up here, nobody is playing the beat. There's nobody up here that's playing the beat. The brain perceives all of this complex information, and it processes it, and it extrapolates from it. It extrapolates from it the beat. But again, nobody in music except the bass drum player in the marching band, nobody in music ever does anything except just play the beat. Okay. So I'll see you starting this evening in sections.