Think Tech Hawaii. Civil engagement lives here. Good afternoon again. Howard Wiig, Cold Green, Think Tech Hawaii. Thank you so much for joining us. We have a very exciting program today. What could be more exciting than battery energy storage on the tip of everybody's tongue? My guest today is Ted Clothier of the Distributed Energy Resources Council, and he'll be talking about the particular company that he represents. And we're going to describe some, in my totally unbiased opinions, some pretty revolutionary concepts that are sweeping Hawaii right now. Before I introduce Ted, and he can do the techie thing, let me do a totally un-techie explanation of why we need battery storage in our electrical distribution grid. Think of an enthusiastic kid, 10-year-old Johnny, and he, all morning, has been out playing with his buddies, getting hungrier and hungrier, and he staggers into his home, and his mom says, Johnny, I got you your favorite food, greasy pizza. Have a piece. Gobble, gobble, gobble. Oh, that's great, Johnny. Have another piece. Gobble, gobble, gobble. Have another piece, Johnny. Johnny, you're hungry. Come on. Gobble, gobble, gobble. I don't feel so good, mom. Throw up all over the kitchen floor. What does that have to do with anything? That is what happened to Hawaii Electric with regard to PV energy. There was more and more PVs, photovoltaic, electric sunshine, two electricity units going up on roofs all over Hawaii, and there was this phenomenon called dim-rim, distributed energy, no. Net metering? Net metering, net metering. Net energy metering. Yes, yes. Now that means that for every kilowatt hour that that system produced and sent back into the grid that customer's electricity bill was reduced by that much. So if they use 700 kilowatt hours a month and they produced with the PV 650, they'd be charged only for 50 kilowatt hours a month. Pretty gosh darn good dollar savings. So the payback time as the salesmen were totally, totally ready to assure you was really, really quick. And that is the equivalent of jamming one piece of pizza after another downpour Johnny's throat. And just like Johnny had to regurgitate, the PV electricity energy got such in the middle of a sunny day that Hawaiian Electric could not digest it. And they had to do something called curtail, that renewable energy, because they could only throttle their power plants back so much if they shoddle in the back anymore, just like a car engine stalls, the power plant would stall. So they had to take alternative measures and the production of PVs went way, way, way, way, way, way down until, I think I'll let Ted, is this a good segue for you, Ted, to talk about something almost miraculous happened to get Johnny's stomach all ready for more pizza or Hawaiian Electric all ready for more PV energy. And what might that new technology, or not so new, technology be? You bet. Well, and it's an old technology, but one whose time has really come. And that is, that, you know, it's energy storage. I've certainly heard lots and lots of applications for energy storage proposed in my career, but never as a cure for indigestion. So thank you for that, the first. But, you know, we've got some slides here. We can, you know, show you a little bit about what we do. STEM, the company that I'm with, is a company that specializes really in the AI, the intelligence needed to operate batteries. And we really want to focus when we talk about using batteries on the electricity grid. We want to use more intelligence, more of that AI-powered machine learning driven capability set and less battery if we can. A lot of buildings don't have room. The grid doesn't always have space. So we're really trying to get the most out of the batteries we put out there on the grid. And that's why the title for my slides today was Brain Power, Not Battery Power. That's really where the focus is. Just to be clear, the basic function of these batteries is to absorb that excess electrical energy in the middle of the day or a lot of hours during a good sunny day so that the all of it is used instead of having to be curtailed because of why an electric photon stomach is all full. This absorbs all that energy so that we can make use of it when it's needed. And I think that's another good cue for you. Yeah, that's right. You know, people in the energy industry a lot of times talk about the duck curve and that maybe is where the analogy really fits, is that that battery storage does make the belly of the duck able to hold more. We can actually put more solar on a system and then we can shift it into that evening peak. So that's one of the main applications for storage, but there are a number and we'll get into some of the other ones as well. It sounds very sophisticated here. In the slides. Sure. So we'll go to the next slide. The theme that I wanted to bring out here is probably something that you're familiar with, that listeners may be familiar with. Electricity is changing rapidly. We're talking about a decentralizing of the electricity system. You know, you think of the old grid of the past as being kind of a hub and spokes model where you've got a power plant in the middle with a telescoping power line that gets smaller and smaller as it goes out along these long feeders away from that power plant all the way down to your house that's 10 miles away or whatever it is. Well, we're really flipping that model just like the Internet. You used to dial up to a mainframe computer, get all your computing done, and then it would send you your answer back down. Well, now we've got network computers and they're all over and they're all talking to each other. That's how kind of the power system is evolving is that we're generating electricity all over the power grid now, not just in the middle and sending it out. That introduces huge new challenges for the utility, but also major opportunities for the consumers and for the consumer in the utility to have a new kind of relationship where they really are long-term partners in this operation of the grid together. It's important to understand how batteries play into that because as we get more and more solar onto that utility system, we do need batteries to help manage those amounts, right? The sun's only shining in the day. And with those batteries, we can utilize 100 percent. Yeah. We can. That's right. Let's go to the next slide here. You know, we really are talking a little bit about both the time and the place here. And so, you know, when we talk about the timing of energy use, we want to understand not just, well, the sun shining in the day and we've got a lot of evening usage, so can we just move the energy? But there are lots of other factors to consider. So there might be time of use tariffs, which means that you might pay a little bit more for energy at one time a day than at another time of day. And the utility's... And that is coming. Yeah. Wine Electric is experimenting with that. Yeah. We're starting to see the rise of these or the experimenting with them. There's a pilot right now just for residential folks to show how this can really change some of those behaviors. And what we are ultimately potentially headed towards is something where the price of electricity could change throughout the day multiple times. And that's just too complicated for a person to want to deal with, generally speaking. Let's just give a real simple illustration of time of use, because in the middle of the day, there's all this sun shining, all this electricity being produced by the PVs. There's too much. Wine Electric might make that time of day cheap. Yep. And that'll encourage the customer, not just the residential customer, but the hotels, the office building, so far, to use as much as they can during that time, say from 10 a.m. to 4 p.m. or whatever.  Why not put those on a timer? Washing machine goes on at 10, dryer goes on at 1 p.m. Yep. That's right. And that's exactly what we do at my house. You know, the way that some of these prices, these time of use prices are actually working their way into the solar and the energy storage options for homeowners is through something called customer grid supply or there's some new tariffs like that where you're motivated to set your dishwasher or to run your dryer during the middle of the day because you're actually getting an economic benefit. And it's set up so it's real simple. You set that timer on at 10 a.m. and you walk away. That's not very complicated. That's right. It's a pretty easy thing to do once you get into the habit of it. So we can kind of continue on with, you know, on that same theme. There can also be a different value to the location of energy. And that's something that I think is also maybe a few years away, but it's something that we've got to start laying the groundwork for now. There could be parts of the grid where there's lots and lots of sun over on the west side of the island and there's lots of rain on the Windward side. And you could have a need for some energy in one part of the island and not the other. And we're really not quite there yet in terms of operating the grid with that level of specificity or asking individuals to think about those prices with that level of complexity. But with that artificial intelligence and with automatically driven battery systems, both homeowners and business owners will be able to really take advantage of those kinds of tariffs in the future. I live in the back of Manoa Valley and I'm downtown. It's all nice and sunny and warm and I look back there and I can't even see the mountains because there's such heavy rainfall back there. Yeah, exactly. And it might be sunny as can be Coalina or somewhere, right? So that's kind of, I think we can move on to the next slide. That's kind of the timing and the location pieces. When we think about approaching a business, STEM works primarily with business owners, so that's more my background. But we also can certainly talk more about the residential folks. But coming from a business mindset, a lot of business owners have already thought about the low hanging fruit, if you will. They've done LED lighting. They've gotten a more efficient HVAC system. And then hopefully many of them have gotten a PV system, solar PV system. And there's still going to be some energy use left. A lot of times there's also still going to be a peak that they can't control with their PV system because you have one really rainy day and you are going to, you're going to cause a peak that the utility's got to be ready for. The grid has to be ready for that peak. They don't know when it's coming. And they have to charge for it because they need more money. That's right. And that's the demand charge, I think you're referring to. And that's one thing that we can help a business owner reduce is by reducing their peaks on a regular basis, we can reduce their demand charge. Residential folks don't face that demand charge. And so you really have to think about what exactly is the business or the homeowner trying to do with storage and not just think, oh, well, I have a PV system now. I need storage. We really need to ask one layer deeper question. What are you trying to achieve? Because it's costing them money and you want to give them the best bang for their book. That's right. And we talk about batteries and one of the questions that comes up all the time is, well, can this battery back up my house? Can it back up my business? Well, if you want a battery that's going to save you money, you're probably trying to go for the smallest battery possible. And one that's just doing that function that you bought it for, or that you're getting that service from the company to do that. And you don't want to oversize it. If you want it to be ready for backup, you've got to oversize it. So it really, it gets down to the individual consumer choice. But that's a kind of a different category of functions for batteries. And on that cherry note, we need to take a break back in a minute. Think Tech Hawaii, Tad Colossier, our guest. Code green, Think Tech Hawaii, Tad Colossier is my guest. And we are on the incredibly fascinating subject of battery storage and controlling the electricity in those batteries to suit or to give the best payback for the homeowner or for the commercial consumer. Why don't we go to the next slide and we'll talk about different types of batteries here. That sounds great, Tad. Thank you, Howard. So, yeah, you know, these are just the battery systems that STEM offers, but there are a number of other ones out there. And I wanted to kind of give a representative sort of small, medium and large. And again, these are, you know, based on my background, these are business batteries, but there are also batteries that are smaller that a homeowner would get, maybe put in their garage or in their home and other places. So what you're seeing here, you know, both of the smaller battery systems are ones that are indoor only. It takes, you know, a larger container. It takes more space to weather rise a battery for outdoors. And so when we're going indoors, we want a dedicated indoor only battery system. They're modular. You can break those towers up, but a lot of times we're going into the already built environment. And so it's really important to have a way to go into a building and say, well, here's how much battery you need, but we've got to fit it into the electrical room that's already full or maybe a little storage closet nearby that's only got room for certain boxes. So we really, you know, want to have different options for the different environments we have and for the space that we have to fit into. And a lot of times we want to be able to bring those batteries in through an elevator or in through doorways and around corners. And that just doesn't allow, these are pretty heavy. It doesn't allow for bringing a forklift or a crane or bring something really big. So we bring them in in pieces. We assemble them in place and and a commercial electrician wires it all up into the distribution panel with standard available parts and supplies conduit and wire. And that's, you know, that's kind of how these things are installed. And that brings to mind the topic of safety. For a long time, people were concerned that this battery was either going to catch fire or blow up. We had the Kahuku fire. Are you familiar with the Kahuku fire? Yeah, I am. It's very unfortunate. Yeah, why don't you cover that and say those were the bad old days for this reason. And now we have real, real safety. And this is something I was working on with the city and the county building code inspectors where they would look at a permit. Battery, bad, might blow up, not on my watch. And there was a huge permitting problem, but we've managed to smooth that out now. We're permitting apparently is now really, really, really quickly. That's right. And the permitters have seen a lot more battery systems now. And so they know what they're looking at and they're more comfortable. And we've got great dialogue going, especially now with the city and county coming to the table with the senior fire inspectors and with the trade associations, the DEA council, the solar association. So we've all gotten together and said, hey, we want to actually share our information about these systems with you so that you know what you're seeing. When you see the next plan set, you can tell what kind of signage you'd like on there. The fire department can weigh in. They like to know where the battery system is in the building. You don't have that sign posted somewhere. But the national standards have also really gotten more clear as the industry has evolved. And so these towers that you're looking at, there are multiple UL certifications. There's a UL certification just for the battery. There's a UL certification for the inverter. And there's another one that you get when you're putting the whole package together and you get that certified. So we're really relying on these national standards that are the same as what you'd have on a flat screen TV or a toaster that you've got to go through rigorous, rigorous testing to get those certifications. And I'm a building codes guy, and we are carefully incorporating those national standards into Hawaii's building codes. That's right. And then those national standards get updated every couple of years. And we have one of our senior engineers on that national advanced storage committee that works with the fire departments to help define that code. So we're really trying to get the experts from the industry together with the plan checkers, the reviewers, first responders, and make sure that there's... Yeah. This kind of reminds me of the airline industry. Why are airplanes so safe? Because there are a Julian, Julian safeguards. And I don't think batteries are going quite through that rigorous routine. But it's a similar process. It really is.  We really are seeing just a higher level of quality coming out of these. These are manufacturers of batteries or global scale, you know, manufacturing facilities that are really the best in the world at what they do. And so there's consistency and the products coming out are safer and safer. And it's not only Americans who are doing this. I know China is going after this really, really big, I assume, Japan, Europe. Yeah, that's right. And everybody communicates with one another if there is a disaster, just like the airlines. Everybody's going to know about it and everybody's going to know what in the world happened here. And everyone focuses on it and makes sure that doesn't happen again. You know, the size of these batteries also is really on a different scale than the size in that case as well. In most cases, we're talking about if we're going inside of a building, something much, much smaller. And so following in the wake of the electric vehicle industry, where you might be perfectly comfortable having multiple electric vehicles inside your building's parking garage and plugged in to the distribution panel in there, you know, we're looking at systems that are on that scale, you know, like a couple of electric vehicles, not a, you know, a whole container necessarily. Once you get to that scale, you're typically outdoors. And so, you know, that does improve the safety for having a larger scale. Battery is typically going to be outside. And that's that, coming back to the slide for a moment, there's that third battery form factor that we didn't look at. Yeah, yeah, it was the one on the right side of the screen there. And those are, you know, boxes that are about seven feet tall and four feet deep and three feet wide. And each one of those, they're all, you know, pad mounted. So they're going to sit outside of a building and they've got a cooling inside so they don't get too hot in this, you know, humid, the tropical environment here. And that's really where you want to be with a system of that scale. Yeah, this might be, for instance, out in the parking area somewhere. Yeah, you might take over a parking spot. You might put it next to the, a lot of times, buildings have an area where the transformer is, where the power's coming in. That's usually near the electrical room. So we'll try to do something as near as we can to the electrical room. Yeah, absolutely. And then there's, you always want signage there. I think signage is required. Absolutely. It's right there with the rest of the electrical equipment. Yeah.  We've had to go back and forth a few times because different folks have asked for a different signage. And so even just getting everyone on the same page about, okay, what exactly do you want the signs to say? Where exactly do you want them to be? Took getting everyone to the table and having, you know, that we helped to drive that, that, you know, the plan checkers and the inspectors and the first responders all needed to have their say in that so that we could come up with the best solution. Absolutely. And in any endeavor that is always the best policy, get all of the different stakeholders together right in the beginning, just when you're in the planning process. That's right. Because it's, that's a heck of a lot cheaper than beginning to build something. And the fire chief comes in and says, no, no, no, no, no, no, no. Then you have to tear down your existing structure and so forth. That's right. This is a great planning process here. Yeah. So I think we're really moving into the future here with that. I think we can go on to the next slide here. Yeah. We wanted to highlight a little bit more about what demand charges are. This is a great example. So on the left, you see these, this mountain range with these peaks that can jump way up. And that's a business electricity use for, you're looking at about 10 days worth of their load there. Each one of those major bumps is one day. So right about where the peak is, that's probably around the middle of the day. And then it's around, say, four or five, it slides way, way down as everybody begins to leave the office building. That's right. And this is, you know, each business is different. So this is a business that peaks in the middle of the day. It might be an office building or it might be, you know, an auto body shop. It's going to look different for, let's say, a grocery store where you have lots and lots of activity after work when people come. The other extreme, a hotel where you have this big slump in the middle of the day and all of a sudden five in the afternoon, whatever, all the tourists are coming back. Yeah. Hotel is going to look a lot like residential. It's going to look like a big condominium building or something. It's going to have that evening peak when everyone's turning on their flat screens at the same time. And opening and closing the refrigerator and turning the oven on. Yeah. And so what a battery's got to do in every case, it's different. And so a battery has to have some kind of intelligence and some kind of AI driven control that can learn this shape is different than that shape. Or I know what a general hotel shape looks like, but I don't know that this hotel's got some differences. And so you've really got to have some learning software that's very fast. And they can then say, okay, I'm going to make a prediction about what this load shape is going to do. I'm going to respond to that prediction. I'm going to give this customer a more optimal energy profile. It's going to save them money. We have to save them more than a cost, right? You've got an economic tradeoff that's pretty important there. So we're really focused on that. There are, on the other side of the slide there on the right hand side, there's a number of different uses that we just kind of cataloged what both in front of the meter and kind of behind the meter services a battery can provide. And so we've talked a little bit about increasing your PV self consumption. So making sure, well, instead of sending my extra PV back to the grid, I'll use it. And I've talked a little more about demand charge reduction. And we spoke about time of use bill management in the beginning. There's a few other uses that the utility or on the mainland, the ISO, you know, that sort of balances between multiple utilities can get from batteries, even when they're located at a customer's location and not up at some substation or up at some grid controlled location. And we've got about 30 seconds left. But in summary, what the batteries do is look at those peaks where the, especially commercial customers getting charged big bucks. And what we call shaving those peaks down so that his bill is less. And the utility as a whole doesn't have to ramp all that up. And they use extra energy that way. That's right. So that helps us solve my problem, which is reaching 100% clean energy by the year 2045. And that's what we're all focused on. And on that cheery note, unfortunately, we've got to sign off Howard Wigg, Code Green, Think Tech, Hawaii. Thanks so much, Ted Klossier for joining us and giving us a peek into the future, the present and more so the future. This industry is going to grow like mad. I think it is. Thank you for having me on the show.


So, continuation of the concluding remarks on entrepreneurial marketing, it is also emphasized that beginning with the new technology and product application, an entrepreneur can search for the optimal environment and optimum target segment to enter the market for growth. So, if your product is good, if your technology is good, then you will survive and using marketing activities and sales capabilities, you will take that survival towards growth. This is not a simple sequential process, but an iterative and continuing process that requires involving potential customers as soon as possible. Simultaneous application needs to be developed so that the product is also developed. You have a good liaison with the customer, you are discussing that concept with them. When a prototype is developed, it is used. So, the simultaneous application of capabilities, production capabilities as well as commercial capabilities, they can ensure that not only the firm will survive but also would keep growing. Many complications and mistakes can be prevented by discovering and validating demand quickly. If your interaction with the customer is continued, then many mistakes that you will be able to correct after the product is finalized and launched, you will be able to identify those mistakes in the beginning and you will be able to correct them. So, before making serious investments in developing an actual working prototype, and this launch is very far away, you have to do a lot of investment series to reach the prototype. And to reach that prototype, the product you have made, it is necessary to save the investments on the concept and the different stages of development. The interaction with the customers you have to use can save you from serious financial investments. So, although some startups survive using a business model, relying on sponsors, some government funds, some seeding money, some startup funding. But it is important for startups to look for paying customers as a key to their survival and growth. So, if entrepreneurs want to be successful, they should initially reach their potential customers. They should co-create the product and the process. And the relationship in that market, in that industry, especially with those who are the users of that technology or the product, they should increase their feedback and knowledge and develop the product. And then they should launch the complete product and bring it to them for use.


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me personally um this practice today was very highly anticipated because i was wondering all right is lamar gonna return i mean i thought he was gonna return last week so this week he certainly got to be back right and we had heard the reports from ian rapper for saying all right lamar jackson the ravens they're gonna test out his need this week because he's been on a treadmill and everything's been fine but they're gonna test out his need this week and see if he's good to go to make those football cuts and moves and whatnot and i'm like all right let's get let's go baby so then uh today he rolled around and it was 103 p.m and i tweeted out man what time does practice start because i was wondering if it started at one if it started at 130 if it started at two because i just didn't know and one of my guys meach he replied to me said it starts in seven minutes so he was saying it starts at 110 p.m eastern time so i'm like all right cool sounds good and because i didn't know um but then a couple of minutes after i had tweeted what time practice starts i saw that lamar jackson he tweeted uh he tweeted out that he was laughing at some meme that some prank some dad tried to do on his kids and whatnot um and i was like oh okay well i guess lamar jackson is not at ravens practice then it came out all the reporters they went and confirmed that lamar jackson was not at the media's viewing of practice today lamar jackson was out i was like all right so i guess this sunday night it'll be tyla huntley versus kenny picket uh for ravens versus dealers on sunday night football but lamar jackson being out of practice that wasn't even the most concerning news uh that we got today um and you know what's crazy the the news that we getting ready to talk about it it wasn't even just news from today but it got brought to a lot of people's attentions including myself today um somebody in the comment section over the past couple of day i might it might have been yesterday somebody in the comment section talked about hey you heard that lamar jackson that he he hasn't been um going to the treatments from the ravens he hasn't been reporting for his treatments and i was like no i said i think i heard something like that but i haven't heard anything official about it so i i don't know i don't know um and then somebody on december 22nd today is the today's the 28th so somebody back on december 22nd they had tweeted about it too they were like oh you heard lamar jackson he ain't going to his treatments from the ravens he ain't been showing up to his treatments and i didn't even catch that but then today i know my guy uh spencer he's he tweeted it out and then i went to go check out uh the 1057 the big bad morning show to listen to the clip where they talked about it uh in detail how one of them felt like uh he don't he doesn't think lamar jackson is going to play again this year at all at all um and he said his reasoning was because of that is something going on behind the scenes uh between the ravens and lamar jackson he said he doesn't feel like lamar jackson is going to play at all this year uh even for playoffs even for play like play at all this year period um because if he has scheduled treatments for his injury then you would think all right well he's going to go to his treatment so he could come back and whatnot but allegedly but again i don't know if it's true or not but allegedly they're saying that lamar jackson hasn't been showing up uh to the treatments for his knee so this would take us but if this is true if it's true we don't know because i know this week like i know people's opinions can be swayed very easily and and that's cool it's cool because we talked about how we feel like hey it's not looking good for the ravens and lamar jackson i i i just think it's going to be a mutual parting of ways i don't think they'll let him walk as a free agent but i've been saying for a while i just i don't see it happening uh with ravens and lamar jackson this offseason i don't see him re-signing and we've we've also talked about uh what we hope that we hope that they do re-signing we've talked about both sides of the fence here but i just i don't see it happening for a lot of different reasons and recently i think a lot of people when they saw the hold the the clip from the wired or from wired i think that's actually going to be coming out tonight the clip where ravens showed john harbour lamar jackson hugging it out everybody was like look look see everything's fine guys they're hugging they love each other tell me this have you ever worked at a personal experience too have you ever worked at a job where you absolutely you love the people that you work with you love them love them you may even love your manager too but it's the people that would determine if you get a raise or not you may have love for them but that's where things can get ugly you can have all the love in the world for your co-workers hey i'm down my co-workers cool we hang out we joke we laugh we party we eat to get whatever we have a good time but the the issue doesn't have to be with them when it comes to your money when it comes to you trying to get a raise the issue is with the higher ups so if this is true then yeah this is big that whole hug he don't have to have a problem with hobo to have a problem with the money now um i don't anticipate uh lamar jackson um doing negotiations during the season said he wasn't gonna do negotiations during the season but this might not even be in the whole negotiation thing this could be maybe he maybe he could feel like you know what they don't value me like that maybe they told him so i don't know like even today listening to the things are just weird and you know what things have been weird for a while people have talked about it people have brought out how lamar just he don't look as happy as he normally does and whatnot um the but things have been it's the ravens and lamar jackson have been in such a weird place for a while so obviously because of this whole contract thing um but if i take you back the day of the bucks and ravens game skip balas skip balas put out a report that a lot of people didn't like and they were like skip balas that guy he doesn't have any credentials he don't know anybody you think he knows somebody in the ravens locker room oh please but skip balas put out a report saying that allegedly don't know if it's true or not but he put out a report that lamar jackson just what the heck now some people thought because of the timing which i could see they thought oh because of the timing he's putting this out right before lamar jackson goes up against skip balas beloved tom brady oh he's just trying to distract the ravens he's just trying to distract lamar jackson and i could see why people would say that i could see that but skip balas put out that report and he said that lamar jackson was unhappy he said that lamar jackson had been showing up late for meetings and stuff he said lamar jackson just wasn't into it like he had been before um and he said that lamar jackson seemed as if lamar jackson had sort of checked out and that's a phrase that's very powerful if it's true i always think about times in my work life when i went through the same obviously i don't know 230 mil 240 50 mil scale like lamar could be but i think about personal experience from when i worked very hard at a job felt like i did a pretty good job too helped other people around me uh and just really did my thing of that job really gave my all to that job and then when it was time to get paid when it was time to get compensated i did my part i did everything on my end but management the higher ups and whatnot they're like well we don't know well we're not sure uh well it's like man i really just did all of this and i've proven myself i've continued to prove myself i have so many people so many other employees and stuff that trust me they got a lot of trust for me and they respect my work too what's the hold up and when there seemed to be no progress i checked out i checked out i will still show up i will still be there but i wasn't all the way there because it was just like man like what's the point of me giving my all if they're not even like they're not even checking for me they're not even like trying with me on their end and some people could be like well you you still should give your all because you could try to go to another department another department they may be watching they may be seeing your your numbers and whatnot and seeing your stats and stuff and looking to see if they could bring you on if you try to leave this current department that you're in that you checked out from so with Lamar Jackson if if he is checked out that could be the reason why or maybe something maybe something may have changed maybe he could have had a conversation with the right i don't know because i i just the ravens are winning the ravens are in the playoffs but again all this talk came way before way before i told people to watch i told people to watch and pay attention to the media this report about him missing the um his uh the treatments y'all know i know all of y'all know y'all know that stuff like this it doesn't get out unless somebody wants it to get out especially with the Baltimore Ravens are such a tight-lipped organization man y'all know that Lamar Jackson is super super private y'all know that y'all know his camp his circle half of people don't even know who's in his camp or in his circle because it's kept so private ravens are private Lamar Jackson his people they're private who let it out the bag who put this out there i've been telling people to watch the media because listen to the reports read those articles look how they're worded they've been setting this thing up trying to show you that a Lamar Jackson is on his way out this has been going on all off season and then all throughout the season they've been trying to paint the picture and what it seemed like to me what it seems like from all these different articles that i see the the wording of different reports and whatnot it really seems like they're trying to sway the public's opinion on one Lamar Jackson so when if it seems like when but if and when but if the ravens do trade him then it can make them look better like hey we should have done this this this is the good thing that we're trading him it's best for both parties that we both move on and go in a different direction that's what it seems like that's what it seems like pay attention man again the articles from back last this past off season oh man some stuff going on that can make your head spin oh man the ravens they don't like uh Lamar Jackson some stuff that he's doing like off the field they don't like his work ethic then oh Lamar Jackson oh you you heard you don't work out heard you don't like working out where'd you hear that from sources sources and i remember i remember laughing at that interview i remember laughing at it like this guy not even trying to say who who told him he said sources but he ain't saying who said it wonder who those sources were i wonder then the whole thing would would skip bail is dropping that and the timing of it too so oof oof then then you see the the way some articles are written and stuff and about Lamar Jackson and some stuff that he said trying to make it something that he didn't say and then people uh paint oh bring enough joe flacco and his injury history versus Lamar Jackson his injury history it's like they're trying to plant these seeds they're trying to plant these seeds to people and sway the public opinion that's what it seems like that's really what it seems like and now this one again stuff like this ain't gonna get out for no reason then you even heard hardball today in the presser that that's the only part of the presser i wanted to hear and that ain't no shot at rome quonsmith or jk dobbers or even tyler linderbaum uh could we love the three of them but i just wanted to hear what hardball said about lamar jackson and he said uh we because somebody asked him about the the pcl so i think it was codale um but i think codale asked him about the the pcl sprain is it a sprain or is it a strain like what is it he said i really i can't comment on that it's not my place to comment on that or something like that even though he's a head coach of course it is a place to comment on it but we know how hardball is with injuries so that wasn't a surprise but then the way he said we're gonna talk about the people that are here we're gonna comment on the players that are here that are present and the way he said it i said oh okay now what i see you big dog but again i just whatever happens i just want y'all to pay attention to the seeds that are planted i know a lot of people um some people thought that people that caught this were reaching that they were looking too deep into it because the ravens put out a picture i think after the falcons game where gusts driving the bus think justin tucker was in there roquan smith was in there um jk dobbins was in there too but there was no lamar there was no lamar and people saw that they were like hmm but then some people didn't make a really good point they were like oh no no that picture was just of people that played in the game against the falcons on saturday and i was thinking oh but at the same time hmm that picture was fired up and ready unless they just got an editor that's just quick with it that's super fast and ready to go hey i don't know i don't know but again pay attention to what people are trying to tell you and some of y'all might even steal at this point right now some people may say oh engraving you're reaching right now what are you talking about okay cool if you feel that way it's fine i respect it i respect the y'all know i respect how you feel i mean i agree and you may not agree with me but as long as there's respect it's all good but it just really seems that way it seems like this relationship is coming to an end it seemed like this relationship is coming to a close especially if this is true if this is true because why why would he skip the uh the treatments why wouldn't he show up for treatments wouldn't you do you want to get better so you can get back out there on the field if you were planning on getting out there and playing for this team again wouldn't you show up for treatments i would think so i would definitely think so right but if you had no intentions on playing for this team again what would you do sit out not show up not come to work but he's been there on the sidelines so like oh he's cool hey he's there hugging hardball hey go tell snoop you love them oh yeah i will for sure but what about behind the scenes what's going on and again just put yourself in that position and think about what it would mean if you were doing that think about what kind of message you may possibly be trying to send to your employer to the owner of your company or really to whoever the one is that's cutting the checks but again all this is alleged we don't know if it's true but it's just the fact that it's so much alleged stuff but it's it's a lot of it it's a whole lot of it and then so again look at what people are putting out about Le Mans reporters media analysts and all that stuff just look at it it's the game within the game pay attention please


Speak louder.  Partly DC, I have to do... What's your name? Lucia. My name is Lucia Puzina. My name is Lucia Puzina. P-U-Z-Y-N-A. Were you born in Lithuania? No, I was born in France. When did you go to Lithuania? I did go to Lithuania in... ...31. 1931. Did you go with your husband to Lithuania? Yes, I went with my husband. In 1954, you have been living in Lithuania. Yes, I... I lived there until the time of the party in Lithuania. And the important way, why did you leave Lithuania? Why did you leave Lithuania? I wanted to go back to my country. Since 1946, I asked for the exit visa from the USSR. It was granted to me only now. For eight years, I wanted to go back. Since 83 years, since 1946, I have tried to return to my native country, France. And I asked to get the visa to go back to France. But only now, recently, I got the official permission to leave Lithuania.  Yes, I lived on a collective farm after 1941. I worked on a collective farm for four months until December 24, 1953. I worked four months on a collective farm at the end of 1953. Where were you living? The workers are not paid enough, the waiters are very low, and that was their earning, it's not sufficient to further living. To prevent the spread of communism. Would you say that this is true, that one way to start communism is not to collaborate with it? In a way. And it was about true that if the Western powers took a firm position, whether it's in Geneva, Berlin, or anywhere else, when they deal with communism, they would not only be raising the morale of the people behind the Iron Curtain, but spreading the idea of communism elsewhere. I think this could be the main curtain. And if we talk about actualities now, isn't it true that one of the best things this committee could do would be to create in the United States an understanding of the fact that any attempt to compromise with communism must result in a gain for communism, and eventual control by communism? And isn't it true that that is the story of Romania, that is the story of Poland, and practically every other country behind the Iron Curtain? And if the people behind those Iron Curtains were convinced today that the United States and other Western powers cease to try to compromise with communism, it would be an upsurge of spirit in those countries? Yes, very much. Mr. Chairman, could I make this comment regarding Mr. Tresca's testimony? The Congress of the United States, as you know, Mr. Tresca, in 1951 authorized the creation of a special committee known as the Coutine Massacre Investigating Committee. And I happen to be chairman of that committee, and Congressman Makovic, who was a member of this committee, was also a member of that committee. And testimony was introduced at our hearings during that investigation regarding the prisoners that were taken in the fall of 1939 from Poland, and also the early 1940s, in the early 1940s. But of course our committee did not take testimony as to all the statistics regarding Polish prisoners, which you've just presented to this committee. And I might state that testimony was presented stating that in 1939, right from also alone there was 150,000 or more prisoners taken by the Russians. And in the fall of 1939, especially in the early hours of the morning, the Soviet police separated the leaders of Lithuania. By both, she would be unable or would be stopped from leaving Lithuania. She would be stopped from leaving Lithuania. If she were a Lithuanian, she couldn't get out, is that it? Yes, that's correct. She could not leave if she were a Lithuanian. I could not leave Lithuania if I would be born Lithuania. That's awesome. Mr. Piel, are you reporting people from Lithuania to Siberia and slave labor camps? Do you know anything? Do you still report people from Lithuania to prison or forced labor camps? The last report I've seen was in September or October 1951. The last report I've seen, witnessed with my own eyes, was in September or October 1951. Before you proceed further, Mr. Latin, I'd like to have a word with you about this. Oh, why don't you strike my question? I'll repeat the question. Mr. Chairman, I recognize among the officers and witnesses of the Polish Army and the Polish Foreigner Free Poland gathered here today some of the witnesses who testified two years ago when the Cateen Massacre Committee, which was created by Congress in 1951 held hearings here in London. I want to state that the experiences and the valiant fight that you, officers who are gathered here today, put up for Poland back in the beginning of World War II will go down in history as one of the outstanding examples of the historic fight that all Poles back through the centuries have demonstrated through their patriotism for a free and independent Poland illustrates to my mind that the people of Poland will never cease fighting and working as long as Poland is held in communistic slavery that fight will never cease until Poland is free. And I want to commend this group here today for being one of the many leaders in that fight that has been going on and will continue to go on until Poland is free. Mr. Chairman, if I could just add enough witnesses that we had and who testified at length on the Cateen Massacre investigation and I don't know, I understand he's to fear here as a witness of the great hero and leader of the Polish Army during World War II or General Andrews, I understand he's to fear. That's correct, Mr. Chairman. Mr. Councilor, will you proceed to examine these Polish officers and we are very happy to have with us this morning. Yes, Mr. Chairman. And Congressman Batty, Mr. Chairman, in addition to your statements regarding General Andrews, I might say for the record that two years ago last month the Cateen Massacre Committee which was authorized by Congress in 1951 held hearings in London. The officers of the Polish government in exile contributed so much in unraveling that international crime where 14,000 more Polish officers, military officers, judges, lawyers, doctors and Polish leaders were massacred by the Kremlin. And I will add to your statement in commending General Andrews for the outstanding cooperation and work he not only gave the Cateen Committee but is also giving the committee of which Congressman is chairman. Company is weak. I think the same is today. If they unite directly and thanks, all people will go to the United States. But if the United States speaks only the word and there are no facts, all people are weak. I think that the United States military went through great his leadership. This is my opinion. It's minimal. The fact that these communists accepted them to a coalition government. The Prime Minister? In March we went to Moscow. But the coalition with the communists lasted since the time when Russia went into the war. When Russia went into the war, the communists, four communists in London went into our national council. That was before you and then it went to Moscow? No, the government was accorded in Moscow. Before Moscow the communists had no posts in our government. No posts. They didn't want it. State council, yes. No, you didn't ask about the positions of the communists in the state council. In the government. They had no posts before going to Moscow. Then we didn't have any communists in the government in 1935? No, no, no one. Why did you and Dr. Belich believe that you could get along with the communists? Yes, I see. In that time the Russians for us were friends and they assured us that they will grant all democratic liberties. Of course, if we had judged the communists after their program and their literature, Marxism and so on, we couldn't believe it. But we tried to believe. It was the situation which did us try to believe the communists. Now, Mr. Spicer, yes, I would like to just get one thing in the record. During this time the Russian army, the Communist army was at the very gates of Warsaw since 1939, is that correct? No, the Russian armies came to the gates of Warsaw, they approached to the gates of Warsaw in July 44. July 44? Yes. When did they really start their take away to bringing about that day we're all looking forward to? When Poland will again be free, as promised Poland, under the Atlantic Charter, and that you men will be back in command of an army in Poland that is on a free and democratic basis, like I know each one of you would like to have it. It was not too high being completely on a tile. The man has only one idea, to have a rest, to have a rest at all costs. That is exactly what the nations are brought to, to the stage when they will be so overtired by the general atmosphere, confusion, and... Poland, more than the people, the agreement. You think that the forces of communism everywhere or anywhere in the world will be effective to him of the fire. Now with the advantage of our hindsight, rather than force-eyed, do you believe that the force of that time was a wise one? I see it, but I can only answer. Dr. Benes did what in his opinion was necessary to save the democracy in Czechoslovakia. I understand that, but if he had knowledge then of the true tendencies of communism, which evidently he must have had some openings up, he probably wouldn't have done this. Of course not, and maybe he believed that the Moscow government would help him in getting the communists to reason. In other words, he thought a little communism was all right as long as he didn't get mad too much of it. Yes. He didn't know that once you start with a little communism there is no end to it. Yes. Now you mentioned the fact that Mr. Mikolajczyk of the Polish government, under much worse circumstances, acceded to the desires of the British and the American government and did enter into the so-called Lublin government. Yes. But it's a fact, is it not, that Dr. Stanislas Mikolajczyk did so individually, but not the rest of the Polish government in exile. Yes, but he was not, I don't think he was alone. He has, he's party. He was a certain party of the Polish, of course. The Ukrainians. It was only that one group. Only that one group. The rest of the Polish government in exile resisted the efforts. Yes, yes. And as a result of their resistance, the British government and the United States government eventually withdrew the recognition of that government. Yes. So as I, what we're trying to find out, as I understand our past, is what happened in these countries after the communists took over. That's our purpose. Yes, yes. Since we've gotten into speculation, I, I think it's fair to bring out what unbounded me that was in your mind and in the mind of Dr. Benish, not only the fact that the Western powers were pressuring you to cooperate with the communists, but also the fact that in 1938 you had been abandoned by the West and the Nazis practically. Now the Western, well, it's by France. That must have been in your thinking, wasn't it? Yes. And you'd suffered under this terrible Nazi occupation, as you've indicated. Now if I understand my situation correctly, the people of Czechoslovakia were about ready to take anything in order to get away from the Nazi tyranny. And they had a bad experience with the West in so far as helping them out with concern months before. But actually they had very little choice to make, isn't that right, yes. I talked to Dr. Benish in Prague. I spent two days there with him in 1946. My recollection is that... You ran under the conquistment from then to Prague. No, I wasn't, nothing, I wasn't kind of doing that. But I was down there and seen some time ago. My recollection is that he told me that really he didn't have any choice.  That's accurate, isn't it? Yes. And also I had the impression from the people I knew in Czechoslovakia, that you were hopeful that you could somehow, by getting back there, work this thing out. And then if you... So now we do know that that was not possible, but nobody knew it then. Also I think it's fair to suggest to you that... And I'm sure all of the members would agree that Dr. Benish didn't make any more mistakes than the rest of us made. The only difference is that we... That we could not come to an agreement with the communists before we went to the liberated part of the republic via Moscow. Because in our London State Council that... We continue. In Moscow, where we arrived on March 17, the Soviet government didn't directly interfere in our negotiations. Some kind of pressure was implied in the fact that we, the guests, were given to understand that eight days had been reserved for our visit. What date was this, Mr. President? What date was it? I did not consider that our government at the time was such. This is just to show you that the slightest sign of encouragement from the West, we did our best to show the world that we did not wish this communism. So after this declaration to the United States, I called Rosa and told her... What's the name of Mr. Braziano's party? M-A-N-U. I spell it. M-A-N-I-U, I believe. And the other person? Mr. Braziano, B-R-A-T-I-A-N-O. So the government was the same except for these two people. And this government was there to prepare... To make some profitable things for my country. Under the condition that I will tell something which nobody would trust outside the world, so that relatively the price was put for me. Well, you raise your right hand, General Boer. You do solemnly swear that you will tell the truth, the whole truth, and nothing but the truth will help you back. I do solemnly swear that they will tell the truth, not only the truth, but also the truth. General Kalchinsky, you do solemnly swear that you will tell the truth, the whole truth, and nothing but the truth will help you back. Yes, I do. General Montard, do you understand English? Yes. You do solemnly swear that you will tell the truth, the whole truth, and nothing but the truth will help you back. I do. Colonel Permian? Thank you. Dick? Mr. Chairman, I wish to join in the comments that you made in reference to the anniversary of the uprisings in East Germany to the three people of the world. They appreciate the significance of that movement, and I sincerely believe that as time goes on, we will find that in other parts of the world, where people have the desire to be free, we will actually demonstrate in a similar manner when the appropriate time comes about. Would you tell me, please, what subject or subject you talk to the children? Mr. President, I mean, I think it was all far. Professor de Français, de langue française. French language. You didn't teach any history then. No. Did the other teachers teach the children that Russia is protecting the Lithuanians from the capitalist world? Do you know? Is there this propaganda also that Russia is protecting the Lithuanians against capitalism, against the coup d'etat of this side? Yes, it protects and frees the Lithuanians. First, the Russians are saying that they liberated us. And secondly, that they are protecting us and will protect. What were some of the reasons that the children gave for going to church when they were called upon before a group to explain the fact that they had been at church? Did you hear? What were the reasons, for example, when the children were called to say why they went to church, as you said before? What were the reasons that the children answered? The children had been rather troubled and didn't know what to answer. Are the children taught that they are now, since so-called liberation, a part of Mother Russia? Or are they taught that they are still an independent nation of Lithuania? Do you know? They are taught that we are independent Lithuanians. With the communists. He didn't participate in our conversations with the communists because he was the president above the parties. Well, he was there for the ride, then. For the ride. No, he had to return. He had to return home. He did not perform any official function there except the social function. Is that correct? Yes. You ask about 43? No. Of course, 43, he was there alone. Yes. Then he discussed with... General, you're speaking now about those 16 men who were invited to Moscow together with Stipokosky, about which we've had two monies. Yes, that's right. He was one of them. Yes, yes, from this group. At that time, he was chief of staff. At this time, he was my chief of staff. After a very long meeting. They do that here as well as in...


Education is for dickheads, that is shite, dead to height, he has his own ethnicity, extra white.   You know what I've said, better start thinking about changing the subject. How about we talk about the Myverse battle when you said that you came on your son's head. You're calm when he's starting to cry. Eggs more in his face, it's just the last one to apply this fucker inside. You're something like Harry Potter, because what you left on his forehead scarred him for life.  There was no point in flicking the coin, because with own shit, the post seems to end up on heads. European teacher, you, all surprised by this whole election in the states, forget President Trump, this guy's teaching year sevens to run. What's he touching them on springing days? Slow and steady wins the race. Don't forget to finish eighth. Hello? Shuffle who? Shuffle tea. Dude, man. Ah, yeah, spit that. We've been following him. Yeah. Shuffle who knows that. Oh, you know that? No, we don't. Come to talk to you. Still your phone out there, bro. You called me. The bomb on you ain't rabble or an afghan. I see through you pussies. Why try to win when none of you cats can? If me and my bro are gonna fight, a bro on site. Get smacked back up, back with a bat. I'm coming back with a bat. Stand up. Me, I'll make the mood darks like a flashball. You, you get tumbleweed floating in the backdrop.  Don't take offense. When sheep can't sleep, they count your scheme. See me, I'm a PG, I'm a BG. Believe me, this is easy. Doing breezy, breezy. Get the win now. Who can beat me to beat me? Not with your job. CC stock, gonna drop with a spot.  B block, gonna shot us in town. GZ, you just wanna beat me to the L. You can win shield, you feel the wheezy. Swim still. Get him a pimple from the Z. You can beat me to the D. You can feel our truth for real. Poppin' in the cake. And then you break on the tub.  I'm good with angles. Rebuzzles that I think of as nuts.  He's a straw. I've been training in all the Rocky Green. Right along the beach. I'm knocking speed back to the Puddle Creek. Now I'm a, I'm a lock chore that I know up is.  I need a title that let's go champ. Shining bricks. I didn't even want the title yet. But Trump's become president. I'm not sure how much time we have left.   Jen, I'm waiting for you to bring history for the blue flag. Bill and Ted. What you doing? Can you compare us in the way that we grind? I'm 12 hour coaches. 10 hour buses and 8 hour coaches. And you ain't able to rhyme.  And a waste of their time. Take what was mine. You live in London. Swing a snake. You got a place you can rhyme. You got a pack on your back.  You know mine. When will they learn to stop picking favorites? See some swear, solely stating situations and stipulations. And initially it sound the same like alliteration. Sure he's a little cold. And it's a bit contagious. But I'm cancer. I'm even more deadly on the biggest stages. See you unheard of bro. So king of the dark hole. You only gave your voice. You don't need to put one on. No. See the rocker from the conning clash. They wanted that rock to rock. The same rock to the kill. Tony and I were pop. Classic of the drowsy match. The very same rock to the human. It is a champion's back. No excuses. No excuses. No excuses. No excuses. I'm out of my gym at night. It's not. It's power out when I'm a rock. Spots in that rock. And stop when the bottle rocks.  Cut a bottle in the stage. But when I'm still with the diamonds. Cops at the drop. She's like a boss. I be talking zombie top rock. Yeah. I know these fans might cheer. When you rap it fast.  And you like tagging ads.  So rapid. That's mad. You dial it. This is the only place that you work the damages.  Cause math is universal amongst the languages. You're gonna get free oil. And then debug. But still go up from side to side. Like a speedball. No. And if you still give it a shot. It'll be like giving vodka red bull to a laureate. Oh. It's chino gets smashed. I remind me that. Shotty pat. Murphy twat. We go round steaming trash. We the last clean out of that. Slappy. Slappy rapper.  And he's proud of that. High the amount of my attacks. A thousand stabs. Power my jazz. In and out of the jazz. In the front. Out of the back. I be clapping then. I be clapping then. Slappy. Slappy. Slappy. Slappy. Slappy. Slappy. Slappy. Slappy clapping.  Calm down. Relax. Relax his lips. And then goes into his clowning act.  You can bring them all out for scrap. You get X after they name that. Now come out. Before we go. Before we went to meth room. We came by the couch. You see. You see. Come on. He's stuck drunk. We could unbreak it. Call the cops.   Wanna battle or match a dorm in a fuckin' flat.   Hey, let's be a drunk. I need a shot to make you stumble back.   On the sidebar, the first suggested video is YouTube. You're not my type of guy.  Stopping Australia, now they call me Chalaka Boomerang. These house is caramelized. And when he's standing outside, there's no sign of animal life. They forced me to sit and wait because I didn't want a little name. Now they're giving me big tea so I'll cap it alive. I'm just doing this to act in the pocket I'm paid. I'm handing out sweets like it's Valentine's Day. So I get two like a partner might play. So I get two flying fox. What these baggots might say, brother. In the zone like Chilla Jones on Valentine's Day. On Tuesday they have a candlelight date.   I got a question though. Y'all know where I'm going with this, right? What do you think a snake would dance out of those if I played a fool out of them? Two tools would go. You losing those? Nick Dundee, motherfucker at corks dangling round. He said when he boarded the flight. He touched down in England and went for a walk in the night. Tourism at four in the morning. He saw all the sights.  It didn't cause him a fright. He should have just handed over his wallet but he was all for a fight. Now most people would have saw their old life flash before their own eyes but he just stood there and went, you called that a knife? And if you believe that little story, well you're slacking. Because if you'd have been like, you called that a knife, you'd have been like, yeah, and stabbed him. I don't have a why. It can be hard when you're broke and depressed.  If I do that tough decision, do I play for coke or for wrench?  Looks like I'm going homeless again. And you think it's okay because you're known as a vet. No motherfucker. You're just known as a mess. You are known as the bloke at the end of most the events with his nose in the air like he's broken his neck trying to, catch on a line that went over his head. Any proof since you took that win from evil? Well I've been levelling every battle because to me, the feet don't feel right. Like I've got pins and needles. Senegal, beat five, press one. But you fought that really hurt then? I didn't lose, I beat myself that night like I didn't have a girlfriend. I don't shake hands with you. Winning in since you fell for that handshake or went by unanimous decision. Bro, if you want we can keep doing this and we can keep feeding the lines. We use that again, it's Laura Tarzan and the villain, you're not supposed to recycle lines. Let me tell you this for the benefit, it's only a freestyle if you freestyle 100% of it. I mean that is kind of fact and he just keeps saying that he thinks I'm retarded. I usually don't recycle but it seems cool when I'm dealing with garbage. The one that he said, pop to come here to Britain. I wonder how much come he's popped here in Britain. He hails from a land where all foreign is man. That's true. That's right here. That's official.  That's a special issue. Pop somebody. Like this the don't fly party, I finally got somebody. If you had to pay to get an event, you think you are not somebody. Err, who is this guy? Frisk, please quit, stop somebody. You gave this wiener a voice like Seth Rove in his sausage pop. He's a waste kid.  One thing's quite certain, G. We look like we should be on the perspective of my uni trying to showcase diversity. You'll get hurt, partner.  He leaves up a lady bird. Slaughter a beast challenge in that performing in these caliber. He just looked like a cross between the Lord of the Rings fan and the Lord of the Rings character. Grant D. Don't flat out ten punch signs of the month honorable mention. Maybe you can convince Krueger to do a top twenty-seven. Cos you've got a naturally beggy persona. School careers, they're enthusiastic. Like I want to be wet on the motor. Whenever you boner, she doesn't want to lay near the wet spot. So you just slept on the soap bucket. That's a hundred percent true. Let me expand on the imagery. We're in the pub mixing potions like we're practicing wizardry. We're going back and forth with each other and the banner is killing me until he goes, you're not like me, bruv. You don't get girls with your wrapping ability. Don't get girls with my wrapping ability. You're right. You're right. I don't get girls with my wrapping ability. I mean, all this time I thought he was good looks and financial stability.


Knowing how to program drum patterns is a great asset in the studio and in this video we're going to learn how I do it. Hi folks I'm Mike and I hope you're well. Creating your own drum patterns is a great skill to have in the studio. It means that you remain in control of your composition rather than it being directed by some presets which came with your drum plugin. Now this is going to be my method of doing it. It doesn't mean you have to follow it exactly. There's many different ways you could go about this but if you're just starting out I recommend you kind of follow this method and then adapt it to your own needs later on. Now I'm going to be doing this properly rather than quickly and those two things are not always compatible so I'm going to start off with a couple of key pieces of background information that I think really help you to understand why you're doing things. Now notice I say key pieces of background information rather than theory because if I'd said theory a number of you would have run away already. In fact some of you have. Anyway let's get started by looking at drum rolls. Now I don't mean drum rolls I mean the rolls of drums. So let's take a look at the typical roles of the various parts of our drum kit. Starting off with the kick drum and the snare. Now these two are often used together to form the basis of the beat sounding something like this. Now they're often used in combination with this over here. This is the hi-hat. Let's have a listen and see how that beat sounds now with the hi-hat, the kick and the snare. Now this is the most common combinations of parts of our kit which are formed to use the core rhythm or the core beat. Now there's a slight exception to this which I want to mention. Often the hi-hat is swapped out for the ride symbol over here. Sometimes within the same song a drummer will swap from one to the other to create a different feel to the beat. Let's have a listen to the same beat but this time with the hi-hat swapped out for the ride. So we've got the ride symbol there but we've got a whole bunch of other symbols. Now the other symbols are often used for accents rather than being used as a main part of the rhythm. Let's just have a listen to the selection we've got here. Now they can be used in any way you wish to accent certain parts of the song. However they're often used right at the beginning of sections to sort of punctuate the beginning. Let's have a listen to that in action. So that's the key drums there, the kick, the snare, the hi-hat, the ride and then the symbols. What about fills? Well more often than not we use a combination of toms which you can see here. Sometimes also the kick and the snare for fills as well but let's just focus on the toms for now. Now they're often used to lead up to the beginning of a section. Okay and to sort of punctuate those in combination with symbols as well. So let's have a listen to those as they lead into our section. Now of course I have just talked about the very typical roles of these drums but there's lots and lots of examples in famous pieces of music where they're used in different ways. For example actually especially the floor toms can often be used to hold down the core rhythm. Okay and sometimes some of the other symbols are used to keep sort of a regular rhythm as well. They're not just used on accents. So there's all different kinds of ways these drums can be used but these are the most typical uses in contemporary music. So here we're going to create two drum rhythms both at the same speed so 70 beats per minute and both with four beats per bar sounding like this. One, two, three, four. Okay let's get rid of that click track and just add a hi-hat to each of those beats. It's going to sound like this. One, two, three, four. Okay so let's do something different to each of them now. With the first one I'm going to take each of those main beats and divide it by two. With the second one I'm going to take each of those main beats and divide it by three. You can see the grid lines here to reflect that. Now I'm going to place hi-hats on each of those grid lines. So the first one is going to sound like this. One and two and three and four and okay. Now the second one sounds like this. One and then two and then three and then four and then. So it's kind of helpful to count along in that kind of way with the two different rhythms. So one and two and three and four and and then with the second one one and then two and then three and then four and then. That may become a little bit more important later on. Okay so moving on let's now add a snare drum to the second and fourth beat of each of these rhythms and then let's add some kick drums or bass drums depending which part of the world you come from and we're going to add those two different points but we're going to make sure they're on the grid lines. Okay that's important. So the first one has those eight different grid lines. The second one has 12 different grid lines because we divided each of the four beats by three. So let's have a listen now to the first one and the second one. So you can hear they sound distinctly different. Okay well let's add some instrument to that. So we're going to add to each of these a very familiar sounding guitar pattern which fits each of them. So the first one sounds like this. And the second one sounds like this. So even though they're both in 4-4 and they're both at 70 beats per minute they sound quite different yet in terms of their rhythm properties. Have a listen to the first one again. Okay and the second one. So what if we took the guitar part from the first one and swapped it with the guitar part from the second one. So we're mixing up the kind of rhythm properties of the instrument and the actual drums. First of all let's listen now to our first rhythm. Can you hear how it almost sounds in time but not quite. It's as if the rhythm is kind of loose and a little bit out of time there. That's because we've taken that guitar part which is been divided basically into three parts for each beat and we've mixed it up with the drum part which is being divided by two parts for each beat. Okay they don't quite fit together. Now let's have a listen to the second one. Now this gets a little bit complicated because that doesn't quite fit together but you may sometimes creatively do that. It's not unknown for someone to be playing a straight rhythm and then for a drummer to play in triplets over the top. So you may want to do it creatively but let's just say simply at the moment it doesn't quite fit together. Now it's important to understand the difference between these two types of rhythms and for most contemporary music there is that basic difference. There is four four rhythms if you like which have divisions of two and you can subdivide by two again of course and there's those which have divisions of three. Normally instrument parts which have that division of three and drum parts which have that division by two don't quite fit together. Now how do you know when you're first starting out with that guitar part or that piano part you've already written has those divisions? Well I find it helpful to do that counting we were doing earlier. So with the first one one and two and three and four and with the second type of counting one and then two and then three and then four and then if you count along with your instrument part which you've already written if it doesn't seem to quite fit with one or the other then that's a good indication other than that a little bit of trial and error. Now that's important in terms of constructing your drum parts but it also becomes important to have this little bit of knowledge when you come to quantising something that we're going to cover a little bit later on. Oh by the way if you're finding this video useful could you go ahead and hit the like button for me do it right away so that you don't forget and if you do like this kind of content make sure you subscribe and ring the bell so that you're notified about my other videos. Now we're going to move on to a real-world scenario I've got a guitar part and I want to create some drums for it and this is a key thing in my approach the drums are working with the existing composition this is what makes this method so cool. Now I know that some of you can play whole drum parts on your keyboard or on drum pads and I'm not that skilled at that so I like to break it down into different sections that just makes things easier to manage and I can treat them a little bit differently so we're going to start off by adding the hi-hat. So I'm using Cakewalk today but it doesn't really matter which door you use the principles are just the same it's just some of the details about how we go about things which are a little bit different. Now you can see here that I've got a guitar part loaded up this is my reference for my drum pattern now I don't always go ahead and record things like a guitar part up front sometimes it's just in my head and I use what's in my head as a reference but assuming that you're not mind readers I've put it here for you today so you know what I'm referring to. Now before I play I just want to point out there's some distinct sections to this right at the beginning here there's a sort of fairly repetitive pattern then it changes here for a little while in this section here then it goes back to the original pattern here and then again changes towards the end. So let's start off by listening to it and listen for the first change which is here and it's those variations in a piece of music that really makes me want to write custom drum parts it then feels like the whole thing is sort of cohesive and a real piece of music played by a real band.  So I'm going to start off by recording the hi-hat now you can record all of your drum parts in one track but I've elected to actually record some of them on separate tracks it makes it a little bit easier for you to see what I'm doing and also I do sometimes do it in that way. I'm going to start off with this hi-hat so I'm just going to back the play head up to around about a bar before I actually the guitar starts there and I'm just going to go ahead and play the hi-hat notes from my MIDI keyboard. So that's a successful take or good enough for now. Now you can see that the main thing that we can see in terms of variation I mean the beats will be slightly on and off the beat but the main thing we can see in variation is the velocities there that's really important I think that's a part of what gives it a more natural feel. If we just recorded some small section here and then copied and pasted it across it would all sound very familiar to the listener as the song goes on. So I actually like to record large sections like that even though it's a little tedious or sometimes I even record the whole song just on the hi-hat like that just to make sure there's no real repetition now you don't always hit the right velocities when you have your performance so you may want to go ahead right away and adjust some of the velocities. I think just here where that guitar did change I think this note could just be a little louder just like these four here they match the pattern of what the guitar's doing there yeah. Now you could go ahead and fiddle but I think that's going to be good enough for me for now. The next thing I want to do is just make sure the timing is nice and tidy especially for the hi-hat. So you can see the notes here are sitting pretty close to the grid which means my timing wasn't too bad today but some other days it really isn't that great and also if you're dealing with things like latency it can be quite off. So it's a good idea at this stage to tidy up especially with the hi-hat which creates a kind of a framework for the other drums to sit around in most cases. So I'm going to go ahead and tidy things up now I could do it manually so I just could grab notes like so and just start to drag them around closer to the grid that probably wouldn't help that much today since they all are pretty close to the grid but sometimes that can be a good way to approach it just when you've got the odd one or two notes which are just you know more off of the grid than you want them to be. The other thing you may want to do is deal with things in bulk and most stores have what is called a quantized feature for that. So a quantized feature will tidy up those notes and put them on the grid or close to the grid we'll talk about that in a moment but first of all let me just select all of my notes here like so and then in cakewalk here I press Q on the keyboard to bring up the quantized dialogue box. Now the first thing that's important is to select the correct resolution over here. Now I did play one eighth notes on the hi-hat meaning each bar was divided into eighth so this is already the correct resolution but I may have played faster notes or slower notes in which case I would pick the most suitable resolution. Now remember earlier we talked about things being either divided by two or divided by three this is where this becomes very very important. If you have a basic division of three then you may be wanting to use the triplet selections here. Now in cakewalk it says triplet in some other doors it may just have a little letter t or be symbolized in another way but that's why understanding that principle is extremely important when it comes to using the quantized feature. Now you can just go ahead and experiment sometimes it won't go well and you'll just have to undo and try a different setting. Now the other setting which is really important is something called strength or at least here in cakewalk it's called strength. This is a setting which controls how close to each grid line it's actually going to push that note to. Now if we have it on 100% like so and I click on okay you'll have seen the notes shuffle around there and now they're all exactly on the grid line. Now you may or may not want that depending on a genre of music and how natural you want it to feel. I like for this type of music to use something less than 100% so I'll open the quantized box again and I'll go to a strength let's just go to say 80 that should be fine. So I'll just click on okay for that to happen. You saw them shuffle around now they may look as though they're exactly on the grid but they're not. I could try different settings but I'm happy with that for now. That's really important stage I think with the hi-hat in making sure it's nice and tidy. So next I'm going to add the kick and the snare this is where our rhythms really going to start to come together. Now the snare part for me is pretty obvious if I listen to the guitar part the accents are on the second and the fourth beat. Now that's very very typical for contemporary music. They don't have to be on the second and fourth beats and some of the most interesting rhythms don't have them there but in this case it does seem the most suitable thing. I'll play the track and I'll show you what I mean by just playing the snare. I think you'll hear what I mean there that's just where it's naturally going to be sitting. Now the kick isn't quite so straightforward. The kick is certainly going to be on the first beat of each bar but beyond that there's lots of different variations we could do.  In this case I would also be thinking about what my bass guitar part is going to be and either I will try and write a kick pattern which is going to fit in with that or I'll write a kick pattern I like and when I write the bass guitar part I'll fit in with the kick somewhat. You don't have to be exact. Now I'm going to give you a demonstration on some of the things I could do with the most basic one first. That's one of them. Let's try something different. You get the idea. There's a few different things you could do with that kick. I am going to stick with the most basic one for now and we'll look at some variations later. Let's record them. Now that was very very basic. Sometimes I will record things more complex than that rather than go in and edit but just so you guys can see what my approach would be in terms of adding some embellishment to this. I've recorded the most basic version and I'll add the embellishments in a moment but the first thing I'm going to do before I do that is tidy things up again so I'm just going to click on my track there where I've just recorded click on cue on my keyboard bring up that quantizer window and I'm just going to leave the same settings yeah one eighth notes and on 80 strength click on okay and then we're some slightly shoddy playing in there so that may have helped me. I'll just give it a quick listen. Yeah I think that's working quite well but it would be nice to have some more sort of human types of variation in there. Let's take a look at that next. So this stage I just want to make that kick and snare pattern a little bit more exciting or a little bit more natural by adding in a few notes which are as quite as important as these other ones but they're going to play a nice role as I say in making things sound a little bit more natural and have a bit more variation. Let's start off with the kick here okay now you may have an idea in your head where you want those extra beats to be or you may just want to experiment that's what I'm going to do now I'm just going to throw in a new kick beat here on the grid just on that second note there you can see that and I'll just make sure with this that the velocity is down fairly low with these sort of extra notes there's sometimes called grace notes you want to make sure that the velocity is down pretty low okay let's just have a listen to that okay that's fine a little bit boring actually so I'm just going to move it to a different spot up here let's have a listen to this that's fine I could copy that and make it the same I guess over here maybe add another one in here and I'll just bring the velocity down a little bit let's have a listen to those two bars that's okay again I'll just adjust the velocities there you get the idea you can really just experiment it here now sometimes of course less is more and you don't need all of this but if you do just want to create that little bit of variation in your rhythms this is a fun way to go about actually drag that one up there instead of keeping it there let's have a listen to that bar you get the idea so it's not quite so monotonous now you could create regular patterns out of this or you could as I say just go ahead and randomly put some things in there I'd leave that up to you in your creativity but it is fun to experiment in this way now I can do the same thing with the snare in fact this is it's even better with the snare in terms of grace notes so let's just try something here I'll just put one in here okay make it a little bit louder let's see how that bar now sounds it's okay but it's not exactly what I want to get what I want I'm actually going to have to increase the resolution so I'm going to change it from one eighth notes up to let's try this one sixteenth notes here and let's just shuffle that little snare beat over there just by one step now let's have a listen yeah I love that sort of thing I'm just going to do that again down here let's have a listen okay that one was a little bit okay maybe maybe not with a lower velocity maybe it could work for different songs don't really like it that much but you know you get the idea play around with it experiment with it and just put those extra little sort of beats in there to create that nice bit of variation as if the drummer is just not doing the same thing every single time now another thing that you can do which does work quite well with snare beats is what they call flams this is where again you have two beats but they're close to each other but not on the grid they're much closer together than that I'll just zoom in here I'll just move along a little bit let's take this extra note we had here and I'm just going to drag it so I'm just going to turn snap off I'm just going to drag it back so it's right next to this note here let's have a listen I don't know if you heard that there but that's called a flam you need to adjust the velocities a little bit to get the right effect but usually they're going to be really close together like that and you'll get that sort of sound and that's another really nice bit of variation that you can put in there to make your drum sound a little bit more natural I'm going to go ahead and do that by myself now and I'll catch you in the next segment okay so I'm now going to go ahead and add some accents with various symbols starting off with actually the hi-hat the hi-hat has another option to it normally which is the open hi-hat sound and this is a special sort of note within most plugins for drums where they where the note actually interacts with the other notes which control the regular hi-hat sound what I mean is you can play an open hi-hat yeah like so but if you play that and follow it up with a regular hi-hat sound it makes the sound of that hi-hat closing you don't hear both at the same time yeah one kills off the other so I'm going to let my original hi-hat play but I'm going to play some open hi-hats in there just to add some accents let's go ahead and do that now okay so you heard what was happening there I'm just going to grab what I did there and I'm just going to right click here in cakewalk and go to bounce the clip so that they're all on the same line you can see those open hi-hats there okay now I could go ahead and quantize those I suppose I'll just I'll do it do that now I don't really probably need to but hey let's do it anyway so that's that done the next thing I'm going to do is add in some accents for symbols I'm going to do it right at the beginning I'm going to have a symbol crash in the first beat but I'll do it in some other places as well now I'm actually going to record this on the same track where I recorded this hi-hat there's a reason for that which I'll explain in a moment but I have renamed the track over here to hi-hat and symbols so let's go ahead and just record those symbol crashes that's starting now okay so again I'm just going to grab all of those in cakewalk right click bounce the clip so that they're all there together we can see the symbols down here now the main reason I've put this on the same track is I actually don't want the symbol crashes and a hi-hat to happen at the same time I'm not sure if you can sort of do you can do that on the drums but it doesn't feel quite natural to me so I usually get rid of hi-hats where a symbol is playing so I'll do that now I'll just delete that hi-hat there where that symbol's playing I'll delete it here now I have to be a bit careful because this open hi-hat which we can see here is going to remain open so I've got a couple of choices here I could get rid of that or I could move this one closer let's just see how that sounds it could be interesting no I don't like that at all let's not do that instead well I think I'll just get rid of both of them okay so I'll get rid of that I'll actually get rid of the open hi-hat let's have a listen okay that's all good and again I'll do the same thing down here get rid of this open hi-hat get rid of this hi-hat and I'll just leave the final crash there at the end okay that's working just fine for me so that's the general idea with symbols and as I say the main principle that I follow is I just don't have them playing at the same time as the hi-hat you don't have to follow that as a rule if it sounds okay to you keep it like that now if you remember earlier I talked about the fact that the hi-hat could be swapped out in some cases with a ride symbol I just wanted to give you a quick demonstration of that I've got our same part here in the first half I'm using a hi-hat in the second part I'm using a ride symbol I just want you to appreciate the difference in feel when you do that let's have a listen now it's a bit beyond the scope of this tutorial to talk about the really fancy parts the frills and the fills if you like if you'd like me to make a tutorial about some more advanced things to do with beat making or drum beat making then let me know about that in the comments down below now I have added a couple of frills and fills to this mostly using a combination of kick and snare for some fills and tom-toms for others so for example just as an intro I've used this a little beat between the kick and the snare here something typical for me at least I don't know how many other people do it sounds like this and then a little further on if we go down here and I scroll this around you can see there's some toms here now just as a rule of thumb when you do tom fills they normally go from high to low of course there's no rules with this if you can make it sound good with different variations but as a starting point if you're just starting out generally we start off with the high toms and work a way up work our way down now with toms I try not to quantize them at all personally I like those to sound really natural and being a little behind or ahead of the beat can sometimes sound really good with tom fills so I generally unless they're really really bad I don't quantize them at all and if they are really bad I'll just generally adjust them manually that's the very quick guide to those fills and frills now obviously in this video I've used a lot of generalizations in terms of the rhythms and also the roles of the drums of course the world is your oyster in terms of creativity and indeed outside of contemporary music with other forms of music some of this stuff doesn't quite apply if you'd like me to make a video about some of the more advanced techniques and particularly how I get these drums to sound even more natural could you let me know in the comments down below if I get enough of you asking for it then I'll definitely go ahead and make that video now while you're down there check out the link in the description for my patreon.com where for as little as one dollar per month you can help me help you by making more videos like this and I'll see you in the next video


The study found that a specific group of neurons in the brainstem, called CRH neurons, play a key role in regulating rapid eye movement, REM, sleep and the spike-like pontomidullary waves, P waves, that occurred during it. These neurons are also responsible for triggering theta oscillations in the EEG, which are thought to be involved in memory processing. The researchers were able to manipulate the activity of these neurons using optogenetics or chemical stimuli and found that they can induce either prolonged REM sleep or shortened P wave frequencies. This suggests that the CRH neuron network may serve as a central hub for regulating both REM sleep and P waves. This article was authored by Amanda L. Schott, Justin Baig, Shin Jae Chung and others.