Hello and welcome to the drum history podcast. I am Bart van der Zee and I am joined today by jazz Sawyer He is a drummer and educator out of LA and really glad to have him here jazz. How are you, man? Bar fantastic. I really appreciate the show and happy to be here today. Awesome, man I really appreciate that today's topic is something that's really cool and It's just sort of a broad all-encompassing topic that I think we we need to talk about it is an essential thing To this podcast to the world of drumming and that is the history of the drum set basically as we know it today Kind of learning how we got to the point. We're at here right now. That's right. Yeah, man So what got you interested in this? Give us give us a little bit of of your background and then we can hop into the actual history Sure, I was born and raised in San Francisco, California in the Hattasbury district so those of you that don't know that is the Holy Ground of the Grateful Dead, Janice Joplin amongst others So I grew up in that neighborhood and there was a music store down the street from me the Hattasbury music store and a couple frequent folks there was drummer percussionist educator John Santos who was a real instrumental You know helping me to Explore percussion before I kind of knew what it was. So my mom would take me down there and I just hang out and play The drums, you know, but I didn't like the loud part of drums like the rhythm of yeah, you know And yeah, so my parents were hippies during that time. So, you know people were named sky and Jade So that's that's actually my real name man. That's awesome. If you can believe that Serendipity and it's all the coincidence. Exactly. It's all a coincidence that I would end up, you know, studying jazz drumming and performing But really I started taking lessons there at the music store And my parents would take me to you know festivals and San Francisco is really rich in the Bay Area in general for You know street festivals performers, you know all year round, you know, community centers So I was always interested in music didn't have any musicians in my family It's just a big appreciation for and really what I got into drumming was I just basically started playing to Stevie Wonder records You know, yeah on the tape I go to music store get some tapes and kind of just played for fun naturally and When I got into middle school, this is when music programs were actually strong and had resources And I learned, you know percussion, but I also liked the drum set so what really hit me man is when I got a tape from my dad and Believe it was seventh grade of Art Blakey 1958 live repairs. Wow. Yeah, and and that messed me up for a few reasons one It was it was the drummers record. Okay. Yeah, number two. He's the band leader. Yeah And then number three is playing You know, so that just blew me away that I was sold after that And just to move things along in high school is really where it came together. I really started diving into Records and just listening to how they were put together You know the heads the beginnings the endings the setups how to how to accompany But I was also studying, you know, concert percussion snare drums suspended cymbal and what have you And then from there I Entered the San Francisco conservatory prep department and that's just kind of introduces you to sulfage and From there, I would study a little deeper classical percussion Tiffany now it's and so on But also I had I went to school the arts high school in San Francisco So from there I had buddies that were actually playing in the clubs and doing things in particular Playing with a lot of the Cuban musicians. So by 16 I actually, you know studied Conga's and Tambales, and I was playing in the clubs When I wasn't supposed to Saturday night making a little bread and and there's a joke. I Actually try to paint a Mustache on me one time just to get into the club the sky Yeah, they get in the club and it's just like you did good Wow, that's awesome and any and any event I just wouldn't wear a hat Yeah, keep out of the way older people Exactly, so I would place off the gigs on the weekends, but I would all day Saturday I'd take sulfate at the conservatory. So ultimately this would Bring me to further my studies. I ended up joining in 1996 Grammy Jazz Band with a few other folks. So that was a national band. I'd be at all the drummers in the land. Nice Knock I mean, I felt privileged to To be in that band so we got to go to the Grammys and you know get hang out with Quincy Jones The whole night. Wow. So yeah, all of that helped me get to the new school in New York And that's why I really got to study with some of the masters The music and really learn so by that time by 19 I was playing with with Marsalis Touring the road at 20. I was became Abby Lincoln's drummer a great vocalist master National endowment of the arts jazz master She for those of you don't know was married to Max Roach. Oh, wow. I didn't know that and that's where we get the freedom now sweet so During in high school as well. I got to see both Buddy Rich and Max Roach Amongst others performed, you know when I was early. So I would end up seeing Max Roach Few years later in Brazil when he was still playing It was kind of when he was slowing down And he wasn't walking too good and I got to hang out with him a little bit and he said Give me your legs I Borrow your legs, you know, oh man Yeah, but I got to exchange some stories and really got a lot of knowledge Fast forward. I've always been curious about New Orleans. So right around my first and second in New York I decided to kind of make a pilgrimage to New Orleans It's kind of where my name came from, right? Yeah So that led me to diving into the history of the drum set. Okay, and that's where we are today. So We got that out the way. No, I'm kind of where I I came in to the fold if you will. No, that's perfect I I deem you the right man to talk to about this topic from your background Now it's it's good to know people's backgrounds and everything that brings them to this point What we're here to talk about today history of the drum set. Why don't we just kick it off? And and you can you can start it off, man. Okay, great There's when we talk about drumming we have to acknowledge the African diaspora The African diaspora if we know anything about our history of human beings We all start out in Africa and with floors around the world. So that's number one But there's three important things that come out of the African diaspora and again the African diaspora encompasses the people the the culture every the food everything that comes with Developing the community of village. Okay, so that's the African diaspora, but there's three important things Music elements not just for drumming, but we would not be where we are today without these three elements Okay, first one call and response Call and response, right? Yep. You you make a call. Okay pretty self-explanatory, right? Yeah, the second Think of patience now as we define in Western music its accents on the weak beat is the easy way to say it but it's really that You know, no rhythm or beat is unturned, right? There's a purpose for for all of that. Yeah, okay? And the third thing is improvisation Where we get that improvisation is for example when a Jim Bay drummer is following The dancer right and that could be for ceremony. It could be for celebration It could be for a number of different things, but that Improvisation right that movement that that ongoing grip. Yeah, so those are three important elements that we we wouldn't have today in music if if Or are they still exist in music today? So that's what we get from the African diaspora So that's first important Another important element we have to understand or acknowledge is the transatlantic slave trade now obviously we know You know Africans were Exported to different countries And that's just kind of a part of our history that you know, we want to acknowledge. Yeah But what came with that is we People, you know, wasn't all bad in the sense that We all you know exchange cultures Traded commodities things of that nature. So you had South America yet the Caribbean and had Europe Okay So with that and and I'm going to circle this back together between the Latin countries, right? and the Yoruba tribe of Nigeria they would Evolve in Cuba as well Really, and this is where we have the merge we have the development of the Latin pinch Okay, so the the Latin tinge is a phenomenon that is It's just it's born out of the African diaspora, but it's its own flavor It's its own if it's own spices its own soul, right? Yeah And what we get out of the Latin tinge is the clave. Yeah, okay the clave as you know, it's bench means key So, you know, we can't really define You know African between Latin tinge. It's just they're they're both Separate but they're also both Connected as well. Hmm. Okay. So where would we be without the Latin tinge and the clave pattern, okay? The basic 3-2 clave pattern, right? Yep. Shave and a haircut five cents, right? Let's back up a little bit. So the concert snare drum Kind of developed around the 1500s Give or so, but really first rudiment the first rudiment was recorded in 1612 in Basil, Switzerland. Oh my god. This is okay. So far. Oh, yes So for those who don't know the Swiss were actually the first to kind of formalize rudimentary drum rudimentary drumming as we know it in the Western world Okay, so now let's we have don't forget we have our classical Music orchestras so you start to get the appearance of concert snare drums or concert bass drums and again bass drums are just Reflections of kind of indigenous cultures, right drums were used and for different purposes You had a mother drum Which is usually the bigger drum that kind of made the the calls or everything started ending with the mother drum You have the middle drum the Segundo, right? They kind of held that middle part Played their their role and then you had the quinto or the high drum Yeah, which would kind of do more of that call and response and do more of the talking you communicate Yeah, right. So drumming has it has had traditionally had its purpose So there's the different size in a different role. So fundamentally since the beginning there has been let's simplify it There has been a low drum the mother drum the bass drum then there is the higher drum doing more of the The talking and the accenting and all the quote-unquote fancier stuff So that is so true today, but it's just really cool to hear that it's been I mean, it's kind of obvious But that's basically always been there. It's kind of that inherent human nature to have that low note and the higher note and then the middle notes obviously the the tone but It's just built into us, man exactly and you can you can see that with Brazilian drumming the serdos right the big the big bass drums and then you have the Repaniques which are the the small little guys. Yeah, the snare was kind of snare drums. Yeah, it kind of drives the force So yeah drumming It's traditionally has its each different roles, right? Yeah Um, so again, we have to understand too with going back to the transatlantic slaves trade What you have to understand we also had a First version of youtube if you will in terms of the different people that were landing in these different parts So, you know, you had irish men you had english men Landing in the Caribbean, right? So you got to imagine that scene and believe it or not at that time there were you know peasants or street performers You know playing at the docks because you'd have mandarins You'd have, uh, you know funky kind of flutes and things like that going on So you'd actually have street peddlers kind of You know doing a little duo or trio Uh, you know kind of jamming because there wasn't really any formalized You know, that's why street music is kind of its own entity Um, but percussion and drumming again, it was more used at it as a traditional Ceremonial purpose or for like a marching like a formal type of Sure march to this beat, but it wasn't yeah exactly, but it wasn't necessarily performance a situation, right? Yeah now With all that being said There's one place in particular That was a international port So not new york Right, uh, not so much the east coast.  We had sugar and molasses this type of thing, but New orleans lilies the animals the melting pot. So whereas If we look at the east coast, right, we had, um, you know, pretty much africans were Distributed, you know sent to the south and It was pretty straight ahead where they were sent, you know, if there wasn't, um, that freedom And especially with uh other immigrants and people coming in, you know, they they were able to find our jobs But they kind of were recruited if you will What's the way to look at yeah to to farms and they kind of had to build their own, uh, village and kind of settling Wherever they were at but in particular in warlands. This was a melting pot where You had people from all over the world that would end up on the same Block in the same neighborhood So in the same neighborhood, you might have, you know, a chinese family. You might have an irish family You might have a native american family. You might even have an african family And what comes with that is their culture their food Their instruments their rhythm. Yeah. Yeah Okay, so I you have to paint the pictures of of of america and these different influences Because if you look at just african drumming and drums at their core, um, you know certain types of cowbells uh You know the jimbay drum and then you look at You know symbols like the turkish symbols, right? That's where we get symbols from I'll get into that the china the chinese tom tom. I mean, it's just uh, exactly. Yes, exactly And so this is this is kind of where we're at. So we're in but there's one thing that happens in the warlands Um, that's that's very important. So, uh, obviously we have the emancipation proclamation Um in the 1860s that passes by abraham lincoln, which is about slavery Obviously that took some time to get past that but in new warlands. There was a place called congo square congo square, which is known as louis armstrong park today. This is where on sunday slaves were able to Have a day of ceremony a day of rest if you will So this would be a square in the park And not not everybody was enslaved but not everybody was free Most parts were the folks that lived on the plantations or whatnot. This was congo square and they were able to practice Their african rhythms their traditions sing. So let me paint the picture for you On a sunday you could go to this park on congo square And you might have aristocrats there you'd have peasants there Right, you'd have high society folks. They're standing around watching this Um, you know celebration. Wow.  Yeah, your world is opening up, man. Yeah, your world world is opening up okay, so Now we do have uh military bands. We have marching bands in New Orleans Right and that's no secret. So what do we have that we have concert bass drums of concert snare drums crash cymbals We also have uh asian Percussion which the small tom that we see on those first drums. Yeah, little red tom. Yeah Exactly. So we have all of these we have little cowbells. We have cymbals We have all these kind of various percussion. Let's and let's let's clarify right now They're all separate. Most of these things are not really put together In one cohesive.  These are all Individual elements. Cool. Right. We have not gotten there with those. These are all percussion instruments from various Uh cultures. Yeah, we don't have a set of drums yet. We're not there. Yeah What we do have is we have a a concert bass drum, you know A marching bass drummer and we do have a snare drum. Yes, and occasionally a crash cymbalist If you will. Yeah, okay So we don't have we don't have this yet and the reason is the music's not there yet So let us look at the time Lewis Armstrong was born in the late 1800s Early 1900s. We start again this time What we have are these saloons these brothel house and the brothel houses as we may or may not know is where gentlemen would go to Find the company of a lady. Sure. And they would have Spent some time together but how they entertained or how they Kind of made this place the place to be is they had a piano player So Scott Joplin Piano players. This is where we get the birth of like ragtime music Yeah, very early americana kind of what you think of when you watch like an old Almost like a ken burns documentary about the civil war or something like that that kind of peony kind of sound That's exactly it because the piano players, right? It was a something that you could you know play but you had this mix of Kind of this marching band style boom chip boom chip boom chip on the piano, right? Yeah, or kind of theatrical kind of vaudeville. Sure. Exactly. There's another important part in the war and stick People may not be hip. See this is the mardi gras indians The mardi gras indians they kind of come into Development if you will i'm at early 1800s. Uh, and basically the mardi gras indians is a culture Really formed from native americans and african americans african free african americans and native americans obviously they Because of their history They've had a lot of commonality and those were cultures that were there that came together And again really shared The experiences and and so what comes out of that is the mardi gras indian is another type of street beat So, uh, just like you have your clave, right? You have your But this is a rhythm that just continues Kind of like a native american, uh, kind of bass drum. Yeah. Yeah. Boom. Boom. Boom. Boom. Boom. Boom. Yeah, exactly It's a little more syncopated Syncopated if you will I will. Yeah. Syncopated. Syncopated. Syncopated So you have a syncopated african beat with a native american type of drumming But what you have is a as a new neighborhood So those are also the rhythms that are happening in new yorkland at that time and and um, that's where we get kind of celebration of mardi gras Is the mardi gras indians They're chief and they have kind of different disciples and people in their crew that You know in their community and really back in the day it was a battle for the neighborhood Right, so it would get a little there would be some bloodshed But eventually it become more more of a competitive type of thing like my i'm going to make my um My outfit's going to be better than yours and what they do is they sew all year round You know to make these elaborate costumes with beads, but you have to understand with that They're actually writing songs. They're singing.  Yeah, they're establishing their own voice and their own identity Which allows them to kind of you know, uh be distinct from each other So you have this you have congo square. You have the marching band We also get the emergence of the brass band So the brass band is like a street is a condensed marching band. Yeah, yeah, yeah with with fewer musicians that are Improvising Offals these kind of marching type of cadences But they're using a little more of the blues. I was going to say all right pause for one second I have two questions for you marty grow indian Clarify that a little bit. So marty grow indian. Is that the name of a rhythm a group of people? Is it actually a native american tribe? marty grow indian like uh, Navajo indian or is it clear that up just a little bit? Yes, the marty grow indian is unique to New Orleans, louisiana Because it was really that uh merge of african-american and native american culture That shared and and uh developed into something new so the marty grow indian is just its own It's a it's a people of new or like a culture. Gotcha. Not it's a it's a culture. Exactly. It's a culture and out of that They established tribes. Okay, you know, they're kind of like uh, honorary tribes in the neighborhood. So for example You have the trimé So donald harrison great saxophonist. He's big chief Donald harris Man, that's awesome. We'll also play with art play. Yeah, and then so you have these big cheeks and that's what they're called. Wow Also christian scott Who's his nephew? He's actually a big chief now. And so when you're a chief you have the responsibility to kind of oversee the neighborhood um, and that's again the marty grow indian is new orleans unique Culture that is a very much part of new orleans just like beignets and dumbo and brass band So you can't have new orleans without the marty grow indian Cool. Okay. Thank you for explaining now We are at brass band before you continue. I want to ask you now is the brass band because we have our marty grow indian We have these different categories Would the brass band who's putting these these together like is this some sort of an official Like it's not a military band How do they get together and then you can carry on but i'm just curious about that like who's organizing the brass band That is an excellent question. It's all kind of simultaneously Happening at the same time. Gotcha so Again have congo square You have the emergence of this type of uh, piano type of ragtime music and again, that's that's a generic name But yeah, you have piano players actually kind of experimenting with You know traditional or what they're hearing from the south the blues With the classical technique with the kind of marching band, you know to keep things rolling So, yeah, the brass no one's really organizing these small street brass bands But you have uh, young musicians picking up the instrument Learning from watching so these big military bands would come through town and and whatnot But maybe a few of them stray off Right It may be the and so what we get from the snare drummers and the bass drummers is you have boom tick boom tick boom tick boom tick Boom tick, you know, I kind of the straight military beat, but what happens now here's the kick This is what makes new Orleans drumming and and really a big contribution to music It's called the big four The big four is what now we get Brass band, ragtime jazz, Dixieland. This is where music changes in american music forever So the big four so we have our boom tick boom tick boom tick boom tick, right? Now we're going to accent beat four on the bass drum one two one two three four two one two three four So kind of every other bar we accent that beat four and what it does is it puts in A syncopated breath it puts a jump and it puts a jolt in the rhythm So we're not playing we're not playing in the lines boom tick boom tick. We're doing something funkier Yeah, yeah, yeah, it's more interesting and now that and now the snare drum is not just playing eights and 16th notes They're playing a little more syncopated. So instead of Chat chat chat, you know a bunch of slams, right? Now they're going And they're using that latin tinge crowning Shacket And everything that's going on in new Orleans at that time and the iris jigs, you know the guitars The asian Collectives that are doing their performances Right. So there's all these rhythms going on. So the the brass band, you know, to your point, they didn't really organize per se They're just kind of forming. It's just jamming. Yeah, you're getting together in your playing. That's that's makes perfect sense. Yeah Exactly because the military bands, you know, they're huge and and not everybody's, you know in the army It's fairly assigned up. So they just they kind of, you know, and that's where you get the formal outfits, right? They want to, you know, uh still have that dignity But they're not necessarily part of any, uh You know country or regimen if you really just started their own bands But really those are the folks that start to come jam with the piano player So now we start to get a combo We start to get a combination of uh Piano players and trumpet players and this is where the after hours the jam session comes up. Yeah Well, hey, what about the drummers the drummer's got to get in on some of that So but the drop there weren't any drummer. So you had these concert bass drums Uh, you had these snare drums. There weren't any snare drum stands. Okay. You know, we we have lug wig that comes in the picture Um, and not until 1909 with the first bass drum pedal. Yeah, but before that we have, um, okay We look we now we have our piano player We have our uh, you know our horn player And so we don't want to do the brass band thing because that's something that's played in the street It's a little more party century. We actually want to put, you know a combination because i'm a violinist of classically trained Uh, i'm a trumpet player. I have the same thing. I I know how to play trumpet read music So again kind of organically and by default you have these people starting combinations So as these combos started uh with a stand-up bass or a tula a violin The percussion started to become Had to have a seat at the table if you will it's a natural progression, right? So exactly so now when we're bringing the Drum set or percussion inside Right, there's not any really formal setup So we have a concert bass drum. That's why when we look at all these early Uh pictures, there's like 26 inch bass drums. They're all marching bass with no feet. Okay. Yeah No feet So we we we put the bass drum there on the ground. That's kind of like okay. This is where our area is Uh, some of the first snare drums were put on chairs. Yeah, exactly. They weren't in it, you know, they were if there was any concert snare drum Hardware it was the concert so you couldn't play it standing up. This is the double drumming at the entrance of yeah This is where double drumming comes in. So now we have two drums, right? We have a we have a concert bass drum and a snare drum. Well, how do we play the bass drum, Bart? I you know I we obviously know where it's going to go. But but how did they do that early on would they just kick it Would they hit it with a stick with one hand? I mean, what happened? Hey, exactly. So, um, baby dodge who was one of the Original drummers and he's on the iconic Lewis Armstrong photos and whatnot, but you would play the bass drum With the stick With your right hand So you would you do a boom-chick boom-chick type of thing, but your bass drum you would be playing with the stick Okay, and then And from the double drumming from your snare drum bass drum. Guess what? Well A lot of folks are like sound of the asian tom Right. It wasn't a tom Forgive me. I don't know the actual name but those kind of small drums Served as toms because they you know, they were great for ensemble playing. They weren't too loud They had a great tone And that's where we kind of get the tom tom attack the situation Where now I have another tone. So now i'm beyond double drumming, right? I have a snare drum I got my bass drum and now i'm putting bells and You know adding cymbals and blocks to add little things to that Right, so I don't really have a set of drums yet. I have a contraption a trap kit. Yeah, right I have a double double drums and I have all these other stuff. So I have a contraption and a lot of people May or may not know right. That's why hey, you play traps traps come is the abbreviation of contraption. Yes so we also have to understand that Okay, so now we have this kind of Preventing music. So we got this ragtime music, which is not necessarily it's syncopated And a more performance type of thing So for example now that the the contraption is set up We're playing with the bass drum. We're playing with the snare drum But we're finding new ways and techniques to like play a bridge section or an intro And what that comes with is playing on the rim, you know playing with uh, You know trying different things out writing the cymbal Right is trying to uh, you know choking the cymbal trying to cope with different ways to do that Yeah, um, and then obviously there's something called the low boy Now the low boy was uh a concoction of basically Two small crash cymbals right with with a foot pedal. So it would you would think you'd have the the Bass drum pedal before a low boy Uh, and that's what it was called a low boy. Yeah, which was basically two crash cymbals in a pedal contraptions or Figure that kind of made those chop and that was a way to keep time Yeah, and then people should uh people should look that up too because low boys or sock cymbals or I think sometimes called the charleston cymbal That in itself, which we'll do an episode on is just fascinating to see The the development of that.  It was before the bass drum pedal. It's also it we're getting there We're we're getting to it's naturally happening Exactly, and you know now we we know gretch right here in willensburg and and those guys are starting to You know, um, kind of hear what's going down in the waters, but don't forget in new york at that time You know, there was ten pen alley. We had the kind of birth of uh broadway And it's kind of live bobbill Right, and this is where the percussion pit cut, you know kind of comes in there So there was a market and guess what else happens there the industrial revolution Right, so we start to get automobiles. We start to get manufacturing And so this is where gretchen and mudwig and you know ford You know chase and yeah, right carnage. All these guys start You know developing things to to create industry and this is where we start to get that hardware And and start to get the set of drums so so the double drumming essentially You know becomes more Common and so this is why you have the lewis armstrong, you know the hot five and everybody has their Their names, but really how it got out of there is They would take these combos on the steamboats another innovation at the time They would go to chicago And get in the city and go up to new york going on the road. Well, yeah on the river Gretsch Right, we know gretsch listening to you know, you're on the wonderful episode with your guest there Gretsch. Yes, they did have the You know the company and they were ready to go but now with the introduction of the Contraction or the set of drums now we can actually Do something to evolve it and here's one more very important to be the chambers there So papa joe jones one of our faves. Yeah, yep Started playing a good his friend count william count basey Right um of kansas city and he started very young with him. I think 12 or 14 And he grew up in this time where now the drum set Was actually a little more formalized But this may or may not be true But this changes everything papa joe jones had a friend that was a plumber Okay, you with me bark. Yeah, I'm with you plumber Okay, now we have a low boy And he would he asked his friend to maybe experiment with how can we raise this low boy up? Really so I could you know, maybe do some more things with it. Yeah, and so he built him a prototype And this is kind of where we get the name hi hat because We have raised it from the low boy And and my assumption again is it's you know, the The hi hat is kind of shaped like a hat. Yeah, exactly blend if you will. Yeah, but we've raised it up so the hi hat it's still the sock symbol, right, but The historical name is the sock symbol, but it's because it came You know from that, but it's the hi hat now. Yeah But from the hi hat we get now a way for drummers to keep time and chick web William chick web and hardly and the cotton club would push this along. Yeah. Yeah, right along with sonny greer duke ellington Yeah, they the hi hat changed everything, but guess what bar if we didn't have the hi hat We couldn't get into rock and roll. We couldn't get in the funk. We couldn't get anywhere where we are today. So uh each generation and You know Period kind of introduces a new innovation or something that moves Something along so just kind of by coincidence that We had this formation of the double drumming in new Orleans in particular Because of these combinations These groups will go up and down Uh You know the coast they'd go and travel then in when new york gets a hold of it gretz. Guess what gretz has a whole You know now We can start manufacturing sets of drums a drum set Yeah, because we see it and and honestly everything you're saying so I think it's cool to to to look at the forms the tools the drummers would use as the time keeping instrument meaning that um We think of it now as your right hand on the hi hat or on the ride, but back then The snare would be the time keeping that you'd keep a steady rhythm on the snare And then that would develop more into uh doing it on the ride like we man, we take these things for granted We think it's just automatic, but that's what I love about joe joe papa joe jones and uh gene krupa is I think that there's the debate about like gene krupa or buddy rich and I always talk about gene But gene krupa or buddy rich buddy buddy's obviously a monster But it was a different time where you're pulling this stuff out of thin air You're just inventing it because you saw someone play it on a steamboat coming on tour from new orleans And you see their sock symbol and you say Man, what if we raise that up joe jones gets a plumber friend to help? I mean Man, it is just the it's the advent of the drum set. This is how it all came together. It's so cool And and and just to break that myth bar Gene krupa, buddy rich. I mean all of these guys were Fascinating with each other. Yeah, they studied each other. There's no battle and and then and just to put this out That it could be a whole nother topic Louis bells Yep, a lot of people don't know the double bass drum the exactly. Yeah That came from him being inspired would buy everyone else and his dad was a Uh worked on cars and things like that. So like dad to build him a prototype on two bass drums Wow, you know putting a set together like that and that takes it to a whole another thing. So Where we have it today the drum set is still evolving because now you see people using, you know, three or four snare drums Or three three bass drums Right, so the possibilities for drumming are endless as it's, you know, only over 100 years old But it's very important to know that without the development of the drum set We would not have any of the music today Again, the african diaspora the three important elements sync a patient call response improvisation It's something that's used in music today and uh, you know, I I implore everyone all the listeners and that listen to this great show to just dig in a little more And into those periods check out a brass band Right. Check out the marty gar indian. Check out the early jelly roll morton and lewis armstar mcquinnon and hear what that was like And then from there you check out chickweb gene krupa who brings in soloing and phrasing into drumming Right. Leap making that the drum set a leader. Yeah, the gene krupa big band. Yeah, okay You're turning drummers. And so I I just want all our drummers to know out there. You can be respected as a musician And a band leader just as anyone else. That's very true. I just want to say too You're talking about the different drum sets and I just love how Joe jones papa joe jones not to be confused with philly joe jones, but papa joe jones with the floor tom two is left I mean, that's just like Right now you think oh, whatever you just move your floor tom. You have fun experiment. You think you think dennis chambers Are you think dennis chambers you think? Yeah Yeah looking at the african diaspora where he's the improvisational style Thinking about where that came from and just jazz in general is just bouncing off each other and just And then syncopating and again you you don't think about the elements that make these things what they are So when you go back and listen to gene plane gene krupa plane sing sing sing and that revolutionary floor tom riff That's not That was not like just a that was a big deal That was not heard before now. We kind of take it for granted, but This is it was a special thing I mean to to play your bass drum with your right hand because you didn't have Ludwig hadn't invented the bass drum pedal yet, which i'm sure that's up for debate on who actually invented it or As far as I know leading inventing the snare stand. It's like it was a chair It was a chair before that Like literally a chair. Yeah a chair man and and a suitcase playing on double drumming double drumming. Yeah Man, that's jazz. You you really know your stuff, man And I I'm I am excited to go research the marty grau indian Brass bands look up all this stuff and and I always post old pictures and videos and stuff And it's just neat to to hear more and it's it's it is endless Fantastic. Well, I and you can tell I get excited talking about this stuff and and and any period or any drummer or Uh innovation you can go and and really just dig into it. It's just fascinating to because uh, yeah, it's just fun I mean, we love the history of the drum. Absolutely. It is an essential episode to understand Everything else that we talk about on this show revolves around this topic It we wouldn't have anything without going back to africa and the latin rhythms and everything so I can't thank you enough for for Filling us in on what it's all about and and the whole, you know, putting it all into perspective Great bar where I really appreciate you appreciate you having me on the show and uh, I'm a big fan and uh, I will continue to listen on and All the drummers you can do anything you want to do So, uh, don't don't be intimidated by People that say you're not musicians. Absolutely. Anyone who says that, uh, they're not my friend Okay, well, maybe they'll still be my friend, but I'm not I'm not happy with them but uh, I I want to tell everyone they can you can keep up with jazz find his website. It's j a z s a w y e r dot com jazz Sawyer dot com And from there you can link to his facebook and see what he's up to and hear his music and and everything cool And I'm sure jazz would want to I'm sure you would want to talk to anyone who is who's interested in this topic And uh, people can reach out and they can tell you what they think about, you know The history of drums and we can get the the conversation started wonderful. Yeah, I'll send out any references or recommendations for any of you guys So again, appreciate it. Awesome. All right, jazz. We'll keep it up, man. And uh, thank you so much for talking with us today drummers world If you like this podcast find me on social media at drum history and please share rate and leave a review And let me know topics that you would like to learn about the future Until next time keep on learning This is a Gwyn sound podcast


Cryotherapy, cryotherapy, sometimes known as cold therapy, is the local or general use of low temperatures in medical therapy. Cryotherapy is used to treat the variety of benign and malignant tissue damage, medically called lesions. The term cryotherapy comes from the creek cryo, meaning cold, and therapy question marky question marky question marky meaning cure. The most prominent use of the term refers to the surgical treatment, specifically known as cryo-surgery or cryoablation. Cryo-surgery is the application of extreme cold to destroy abnormal or diseased tissue and is used most commonly to treat skin conditions. Cryotherapy is widely used to relieve muscle pain, sprains and swelling either via soft tissue damage or post-apertive swelling. It can be a range of treatments from the very low technology application of ice packs or immersion in ice baths generally known as cold therapy to the use of cold chambers, cold body or partial body cryotherapy and or face masks or body cuffs with controlled temperature, sometimes called felid firm. While cryotherapy is widely used, there appears to be little evidence as to its efficacy that has been replicated or shown in large controlled studies. Also its long-term side effects have not been studied.


One of the most concerning consequences and an indicator of global warming is sea level rise. Sea level rise has the potential to displace coastal populations throughout the globe and consequently allows storm surges from tropical storm systems to penetrate further inland. This causes damage to places previously untouched by the sea. Sea level rise is not uniform and some areas will see significantly more rise than others. One reason sea level is rising is from the thermal expansion of sea water as the oceans warm. When water gets warmer, it expands. As a result, warmer water takes up more space than colder water. This effect alone has been responsible for a lot of the sea level rise we have observed so far. Thermal expansion is pretty straightforward, just basic physics. Another reason sea levels are rising is due to the melting of ice that sits on land, such as glaciers and the two ice sheets, Greenland and Antarctica. When sea ice melts, it doesn't add to sea level rise, just like melting ice cubes in a cup doesn't make the water level go up. So as far as sea level rise is concerned, it's melting land ice that matters. We have some awesome satellite technology and other observations to keep track of ice loss, but predicting future ice loss is what gives our model projections of sea level rise the most uncertainty. This rate of melt of glaciers and ice sheets is complex and changes happen quite quickly. What sea level rise have we observed in the past? Well, by stitching together the tide gauge record with the recent satellite record, we have found sea levels have already risen about 20 centimeters since 1880. We have also observed that the rate of sea level rise is increasing. In other words, sea level is rising more quickly now than we've seen over the past century. We expect global temperatures to continue to warm, so we expect thermal expansion's contribution to sea level rise to continue. This also means we expect land ice to continue to melt. It's very likely that the rate of sea level rise will increase more and more over the 21st century, although how quickly sea level rise speeds up depends on how much carbon dioxide we emit. For a middle of the road emission scenario, the IPCC report projects a rise of about a half a meter or one and a half feet by the end of the century. Other studies predict as much sea level rise is twice that amount. The answer will depend on how much ice melt takes place on the ice sheets. So that is what we know about sea level rise, but some myths distort the observations of sea level rise. One myth related to sea level rise is that it is exaggerated and it is actually slowing down. This myth uses the technique of cherry picking. This means it picks out a short-term change in sea level and exploits it while ignoring the long-term trend. For example, look at this graph of sea level rise. Notice the dip around 2010 when sea level actually went down temporarily. One of the reasons for the dip was an incredible amount of rainfall and flooding that year in Australia and South America. You might remember hearing about the devastating Queensland flooding that year. If the water cycle produces flooding rains over land and the water doesn't drain back into the ocean right away, this can temporarily affect sea levels. But eventually the water did drain back into the ocean. Sea level rebounded and continued increasing along the trend line as expected. So in summary, we've seen that all scenarios point to continued increasing sea level rise. We expect more sea level rise in the 21st century than we did in the 20th century despite the myth that distorts the science of sea level rise.


Hello everybody and welcome to another hobby-cheating video and today we're gonna talk all about ghoul flesh and bat wings And we're gonna use some very different methods of painting at least for part of it. You'll see let's get into it The strict techno man sir that is Vinci V. Let us get to the technique and learn it Vinci V So I love painting sort of undead things I think it's just really fun because you can really use any color use you want and It sort of combines one of my favorite things are just painting skin and using lots of wild colors So boom the perfect center of that particular van diagram is undead creatures So the new flesh-eater quartz release was right up my alley Now one of my favorite models from this new release is the gore warden It's a cool flying bat guy for whatever be the lack of a better term And so today I thought we'd explore sort of two different methods of painting And how to get some cool effects with ghoul skin and bat wings and make this model pop So if you're working on your own flesh-eaters, hey Hopefully this gives you some really good ideas for both some paints some colors and even how to apply those paints for some Really cool effects. So let's head over to the desk and see what we can do. All right to start out We're gonna use this unusual selection of colors now. You might think this a bit strange at first I have basically a purple a couple greens a very very light purple and then some some reds Now trust me This is all gonna make sense in the long run One of the things we're gonna do with this video is show how we can put together these purples and greens To make a chromatic more interesting gray Rather than using sort of traditional mid-tone gray, which is quite boring and uninteresting Chromatic gray integrates colors into it I've talked many times in this channel about how if you're gonna use a gray color try to use a gray that has some color in it This time. We're actually just going to mix our own We're gonna start with the skin and so with the skin We're actually just gonna go ahead and lay down through basically a very heavy dry brush this sort of dark plum base purple now this is from pro krill and really one of my favorite colors, this is part of John and I signature series and This just gives a wonderful base tone for us to work up from nothing's actually gonna stay this color or at least not really But we're gonna use this to work over top of I didn't want to use an airbrush in this video because I wanted it to be very Easily followable by everybody, but there is sort of no reason you couldn't just airbrush this on as well If you want to go that direction and speed this up now from this point my journey is really going to be mainly through layering and As I'm working on the skin and shaping the light all I'm doing is I'm going to integrate more of the green But here's the key as we work with it. I'm never going to use just the green So as I begin I'm combining that darker green with my purple to get a more interesting chromatic dark gray and Then as I continue to layer up and apply that over the miniature I'm going to eventually integrate more and more and more of my light green But I will always still mix the purple in and One of the tricks when you're doing this is that you have to be controlling your ratios What I mean by that is as you'll see me building this up I'm using very very little purple that purple is so intense and strong and the green so weak and Tin and highly tinted especially in the case of the brighter when tinted just means more white content higher value That it doesn't take much of it to like completely push it into the purple tone So it's just a lot of mixing But all I'm doing is just slowly building up layers of this And hitting higher higher and higher highlights higher values and covering less and less and less space This is traditional layering. I've done videos on this before The important part about this is this is how we ultimately shape the light on this model and get this really interesting tone the cool thing about it is since it's built out of this green and This purple is that later when we tint more into the purple for our shadows It's going to feel very natural and as we're continuing to push this layering Eventually what I'm going to do is push all the way into just the tiniest touches of that pure bright Green which is going to appear almost white here in our overall composition when put next to the gray It won't actually feel very green at all With because we're only using it in very small areas and we're using it very thin So I continue just layering up until I get to a good overall position and feel confident about sort of my values Are where they are now a word of warning when you're layering like this Especially when you're working into these bright colors you often end up with let's call it a bit of a clown show Don't worry. We're going to fix that Our next step on this journey is then to begin to smooth it and so to do that I'm going to work it back down now I went up to a little bit of that very pure green as a high highlight which might have seemed too bright That's okay when you're initially working especially with these layers It's often okay to go a little higher than you think you want to go Ultimately because when you glaze back down you will be bringing that color back down with it Now I know glazing can be scary. I've done it several times or I've done tutorials several times on this channel You can go check those out But ultimately there's nothing too frightening about it We're just taking the previous mixes we made and then adding a couple more brush loads of water and apply and then wicking off That excess water into a paper towel very important. We go to the we dip the brush we touch it to the paper towel Then and only then do we touch the model and I'm actually working in reverse order So I start basically with one step below my highlight or two steps down and then glaze down and then glaze down And then eventually ending up at something close but not completely to the original put dark purple It still has some of that mid green in there because I don't want to work all the way back down But I am going to allow some of that purple tone to show through very thinly in the shadows and This is Ultimately what this does is adds a lot more visual interest because now instead of just trying to create this dead flesh Through you know a regular mid gray that I then build purple into and I had doesn't quite feel like it works because the colors Not exactly there now. I have this chromatic expression Running from green down to purple two colors that work very well together as Lex Luthor will certainly attest But also that have a bit of more color harmony a bit more visual interest all those kinds of things are Happening so as I just continue to glaze. I'm just smoothing and smoothing and smoothing now I did some of this off-camera. It took me maybe two rounds of glazing across the figure to get it looking You know relatively decent this isn't for competition.  It was you know, maybe 30 minutes or something But ultimately if you were going to go for competition You could spend another six hours if you wanted glazing this go nuts. That's that's the end of the road Of course, the other thing you can also do is then come in with very gentle glazes of just or even filters Of some of the very thin red now I'll really end up touching that later But that interference color of a little bit of red can help make him feel more alive I don't put even though he is a dead thing, but like a Mobile moving organic creature.  He is a vampire after all so a little bit of a interference color like this Red color can ultimately work well in our favor All right, now let's turn to the wings the wings are a big part of this model and so this is going to be a little bit of talking about how you can do leathery bat wings in general and Also, if you made it this far, thank you because now we're going to talk about a really cool way to paint That doesn't require blending I took you through the basic layering and all of that and you glaze back down and Sometimes that can be a little challenging and annoying and time-consuming Frankly ain't nobody got time for that, right? Let's get to something more fun So these wings are just base coated with a sort of standard the base red that I'm going to use here But what I'm going to do from this point now is all through stippling So I grab myself a small round brush and I just start stepping up values and Jabbing and attacking the miniature like I like it owes me money. I'm just just just get at this miniature. Just stab it, okay? and I Like though the key here is to work just think just like you're layering. All right, what I mean by that is You're covering less and less space like shingles on a roof every time The trick is instead of trying to do these careful controlled layers and stuff like that You're just repeatedly stabbing the miniature now a note about how much paint is on my brush I dab my brush into the paint then I wipe a lot of it off, but not all of it Call it halfway to what you would do if you were dry brushing, okay? You don't want a lot of wet paint running around anywhere You want just enough that it transfers over to the miniature and in fact as I'm working it around You'll see how I work a lot of it off and Then eventually it ends up thinning and I kind of will start going outside of that layer area so the application and the method is the key here as I stab and and just sort of dab the miniature I start in the center hottest area of where I want the color because when the paint is fresh It's going to apply the most it'll still have that that sort of stippled texture look But it'll I'm getting the most paint transfer off of the brush And I work and work and work in that area and then as I pull the paint off the brush Then I start spreading out from the initial area I'm covering and blend it in and overlap with the other areas and I just repeat this process covering less and less but then like we start small expand out start smaller Expand out start even smaller than that expand out again Now you could stop right here. I'll just say that it gives you a really cool texture and it feels very much Like these leathery wings I really like it in in the case of sort of leather type wings because it gives them a natural texture that Sets them apart from the rest of the smooth skin and you want there to be some kind of Delineation there some contrast of texture not just of color contrast can exist in many forms But of course we can go a step further and by the way if you ever jump too high in your value you can always just simply Stipple back go take one step back grab your mid-tone Wipe most of it off again and then stipple around the edge of that You can keep going back and forth and stippling over top of each other Multiple times to create even smoother blends that still have that cool stipply texture to it Ultimately the end of this road is the same as it will be for almost anything I do end up doing a nice quick glaze over the entire surface This time when I'm glazing over the surface It's very thin and I'm just doing one or two glazes over the entire surface of the miniature Now from there I do go in and actually just draw down some shadows very quickly because I want there to be some darkness in the Wings as well so towards the center of the folds. I just glaze in a little bit of this This is just black in play here nothing more than a thin black glaze and it's very stark when I glaze it on there But again, we can just use stippling as I go back to my original mid-tone What I started with over the whole miniature and I then just stipple over the edge of that line smoothing that back out and creating a more natural transition between The area of the mid-tone and where I've stippled and that area where I've glazed So you can keep you this this stippling technique and these you could you know If you if you don't have a brush like this just take a regular round brush and Snip it with some scissors and you're good to go. Ta-da you have the appropriate brush for this task You can also just buy small round dry brushes like makeup brushes is what you want They they sell them in very very very small Versions what this then allows me to do is one final glaze to draw the darks and the lights all Back in together one quick thing just running over every wing one time and boom there we go So there you go. He's all done. You can see how we use two very different techniques I'll be honest. I really do love the crazy stipply stabby technique. It's fun. It's relaxing. It's not hard There's no careful painting to it if you get a little paint up on the wing bones or anything like that as I did It's no big deal. You just go back and I cleaned those up took me maybe five minutes to just quickly reapply a nice layer there over those little over the phalanges, I guess is what they would be and The what it's just really a nice way to paint that looks cool and is a way to use texture and What would traditionally be thought of as like brushstrokes to your advantage rather than being something You're constantly trying to get rid of it makes the model look cooler and it's way easier to me That's a win-win. There you go. If you liked this. Hey, give it a like Subscribe for additional hobby cheating in the future. Don't forget. We've got new videos here every Saturday If you've got a question about any of these things I've covered in the video drop them down in the comments below I always answer every comment then question that I get If you want to support the channel, hey, there's lots of ways you can do that You can share this video that doesn't cost you anything if you want to pick up some of the tools you saw me use here You can find a hobby supplies link down there that'll take you to Amazon You buy it there doesn't cost you any extra money But gives up me a little bit of a kickback helps us keep the lights on if you want to really support the channel There's a patreon link down there That's that patreon is focused on review and feedback and taking your next step on your hobby journey We'd love to have you as part of the community. This was a lot of fun Thank you so much for watching and as always We'll see you next time


YouTube team keep it clean. What's going on the same grave in here with another video and in this video The rich get richer they get richer Kansas City was like man This is what it's like to lose. We haven't lost him so long. So you know what? We got to make up for it. Let's go get Levy on bail let's go get a baby on bail and This is a good move for the chiefs. It was not a necessity by any means Levy on bail is strictly a luxury for the chiefs But the chiefs he's going to the perfect situation and we of course We heard all the rumors about different teams being interested in him And then a couple of a couple hours ago It came out that it was down between the bills the dolphins and the chiefs. So we knew Then then the bills got eliminated the bills got eliminated from contention And then it was down to the dolphins and the chiefs So this is how you can tell because I know a lot of people say Levy on bail is a diva a lot of people say Levy on bail is all about the money. This is how you can tell he is not strictly about the money Reason being because the dolphins they could offer way more than what the chiefs could offer Levy on bail way more Because the dolphins have a lot more wiggle room. They have a lot more cap space I believe the chiefs had like six mil and the dolphins had like 14 mil something like that But the dolphins could offer a lot more than the than the chiefs can but he went to the chiefs So this is how you can tell he's at the point in his career where it's not all about the money It's not he just wants to win He wants to be back in a winning environment a winning culture and he picked the perfect place to go to I mean a team that's literally fresh off the Super Bowl fresh So now he he goes from Pittsburgh where they had a winning culture over there for the majority of his career and Then they of course had a whole little fallout where they tried to pay him But he ain't like deal his agent and it was a hell with that whole mess He sat out end up still getting paid a good amount of money from the Jets But then fall out there big time losing culture and that's no disrespect to the Jets at all It's just that's exactly what it is. They have a losing culture over there So Levy on bail and the Jets they just both felt like it was time to move on so they did they did and There it goes, he's headed to the Chiefs. So now he joins Clyde Edwards a lair Who has just been he's been great? That guy he's like he doesn't look as strong as he is But he joined he's in the perfect place for him to succeed Because a lot of people call Evian Bell washed. Oh, let me on Bell's overrated. Oh, let me on Bell. Sorry.  See Sammy Watkins. See Travis Kelsey and then sometimes it's gonna be oh, I Got levy on bail coming out of the backfield. Oh This is great. This is sweet. This is smooth And he goes to a team where he has the ultimate motivation to be a team player again Because they can let him know from jump levy on bail. We love you. We respect your game We appreciate you, but we do not need you. You are not a necessity We don't need you.  Oh, I'm I'm levy on bail. So yeah, I'm good here. I'm straight new He can't do that while I wouldn't expect for them to cut him I'm not sure what the details of the deal are yet I haven't seen that yet as of when I'm recording this video, but he cannot go there like mr. Big Shot Because he's just he's not he's just another weapon on that team And while they can do a lot of a lot with him they can get they can get two running backs in the backfield Who's the ball gonna go to who's gonna catch the pass out of the backfield? They can move him around put him in the slot You and you of course, he's a running back so you can run with him as well And now we'll see how they perform without Kaleche or similarly But now he's behind a better offensive line, too Because that was another a thing with Levy on bail why a lot of people said that they felt like Levy on bail fell off Oh, Levy on bail ain't got it no more Levy on bail overrated Levy on bail washed Well, let's Let's reanalyze this in a few weeks now that he's on a better team better offensive line Andy Reed and Eric Benamy to crazy offensive-minded coaches Again somebody neat. I don't care that he ain't got no experience as a head coach How do you get experience without getting experience? Somebody needs to pay this man egg Benamy this off. They need no they need to pay him now They need to pay this dude right here right now They need to offer him whatever he wants give this man a blank check and say please come be our coach Oh, you ain't got no experience as a head coach. We don't care Just come bring your knowledge of offense and every and your creativity And we'll see the thing with Eric Benamy and that offense and Andy Reed is that like I said They they are extremely efficient with all of the different weapons that they have But they while they do run there some trick plays and some nicely designed plays and whatnot You can't even say they get too cute You can't even say they get too pretty with it because they just don't because everything works Everything works Everything works So it's whoo again like I said earlier man Rich getting richer rich getting richer, you know Patrick Mahomes He got his baby on the way. He got his fiance. He like oh man. I already got two rings a Superbowl ring and in an engagement ring He he probably thinking about a third, you know, he's got to be And I mean this was even before This was even before they got Levy on bail The chiefs they they prime to make a run. Will they though? Hey, we'll see We'll see only time is gonna tell only time will tell Cuz it's gonna be a fight man But they are definitely one of the top AFC teams But this is just again Levy on bail He gets to sort of try to revive his career Because over these past couple of years It certainly hasn't been hasn't been pretty for him at all, but now he gets his opportunity To bounce back and this opportunity again, I don't know what the details of his deal all yet I'm sure somebody's gonna put it in a comment section because again as of this recording I haven't seen the details of the deal But it could possibly I would think that it would be a one-year deal because I don't think there will be any long-term Commitment to Levy on bail from the chiefs. I think it would be a short deal on both ends Because I wouldn't expect them to give him a long-term deal And I wouldn't expect him to try to get a long-term deal from them because he wouldn't be able to maximize his earnings there Because they're already a bit strapped for cash and while they have shown that they can play around with that salary cap The salary cap don't mean nothing to the chiefs. They are still a little strapped for cash So and extending a running back giving him a long-term extension. I don't think it would make sense Especially when you got Clyde it was a letter there But anyway, I would think that it would be a one-year deal So it gives them a sample size. It gives him a sample size and then a if the two sides can't work it out after that Which I don't really expect them to But it gives him a chance to revive his career and hit the open market again and then boom you could possibly cash in again So we'll see what happens with this whole thing. Congrats chiefs fans. I know y'all are happy I I was a between the chiefs and the dolphins. I was thinking okay dolphins got a chance now But if he's really about winning Then he won't even look twice in Miami But is what it is anyway team keep it clean appreciate y'all and just like the bills are and now the dolphins are too with the levy on Bill Race, I'm out


Hello everybody, I'm Faustal Baglisi from Cybertrain University. I'd like to thank you all for listening in and want to talk a little bit about a stock that we're in right now in the after hours and a stock called NKLA. It was a stock that we've been trading for the past week and the stock has really taken off. I'm up about, you can see here on the bottom, I'm up about 13,000, almost 12,500 right now. Stock is doing really, really well. I want to talk a little bit about and show you why it's going up after hours and basically what we do as day traders, how we know when to day trade and how we know how to swing trade. Now, NKLA was a day trade and you could see it right here. I'm going to bring up another room right here. This is actually my day trading room. It's actually the first one out there since I started it about 25 years ago. And I want to kind of show you right here. A lot of you have been watching me, I've been a big fan of DraftKing and DraftKing really wasn't doing too well for me. We did really well. We owned it at 20, ran to about 47 and then it backed off. And there comes a point where things start moving and you say, you don't want to move some money around, want to start trading a few different stocks, especially you want to get, listen, things move and things don't move. So it kind of like died off and it broke through a major support level. How do we know it broke through a major support level? Because we saw a lot of buyers getting done. So what happened here, I got rid of it and I moved it all into NKLA. This was right around 1048. So you can see it right here at 1048, let me bring up the daily chart, let me move this over here, this is the level three. So right around here, right when we bought it and right around here, this is actually where it was, right around $44, the thing just basically took off and it shot all the way up to a price around $61. And then the stock went down, nasty shake came right down and then shot right back up all the way up to $75. Now you probably want to know what does this company do? Why they up? Well, everyone heard about the stock called Tesla. So I traded Tesla when the stock was about $60 and then it went to $66. Who really thought about Tesla being the next $900 stock? Well, this stock actually is like Tesla, but they make trucks. So you know all those 18-wheelers out there? Beautiful trucks, gorgeous, they've got great technology. And so now what happened, the stock became a day trade and all of a sudden became a swing trade. Now I know we have a lot of day swing traders out there and we have options traders. Well I'm telling you right now, you could never really be a good option or swing trade without learning how to day trade first. So this stock obviously became a day trade and now became a swing trade. So you can see how much money we're up in that position as of right now.   So what happened, you can't do more than three trades in one week so I got nailed for that. So they won't let me trade it and I'm like, damn it, that's why it's important to have multiple accounts because it wasn't geared to more, because it's more of my IRA account, my swing trading account, sudden end up owning my day trading account, which is fine, you know, listen, there's a cash account, the other one is an IRA account. But the thing I really want to show you, which everyone really wants to know is like, you're probably asking why is this thing going up, you know, obviously it's got a great story. It has really not that much to do with it. I want to bring this up. A lot of you probably watched me on Nasdaq and I talk a lot about, and let me just write here, I talk about Nasdaq Book Viewer.  And I talk about how the Book Viewer works on Nasdaq. Actually, if you go to our website or you look us up on Nasdaq, you'll find I'm on there, a frequent guest on there, I talk a lot about it. This is how Nasdaq works. This is about 20 times more data than you'll get with level two, a hundred times more data than level one. So what now the way we use it is we saw the buyers kept bidding it up and there was sell it obviously as buyers. You can see right here your buyers and you got sellers. So sellers kept getting executed. They kept getting to hit execute over and over and over again. So the thing is with Nasdaq, it's one book. There are multiple books. Now you probably heard about another company that I'm very big with. I do a company called Book Viewer. Now Book Viewer, I call it level four. Now if you look over here on level four, this is a little bit more advanced. And I'm actually going to be doing another event this week with them.  But I'm not here to teach you about the platforms. I'm here to teach you why we're up, you know, why we bought a stock at 20, 25, you know, and the stock on a swing trade. No, and then the stock right now is at 74. And then as a day trade, why we know to hold that at 53. And now it's at, what that's high is 77. It's all about these orders right here. Now you see these big line, these hot bars right here. These are, these are orders that were out there that make resistance. Now these orders you could see. There were several hundred thousand shares orders out there on the bid and offer. These sellers got executed. Listen, I don't care who taught you how to trade, but I think we all could agree on this. How does stocks go up and go down? Supply and demand. That's it. That's all you need to know. Supply and demand. If you follow the buyers and you file the sellers, it would just make things that much easier. So if you want to go out there and be, you know, a technician, an analyst, if you want to learn and pretend to learn how to refibonacci's and MACD's and 200 moving averages and everything else, then you know where you are.  It's still being a leader, which makes you a best trade. How you become a leader.  It's you following them. Do you ever feel sometimes you feel like somebody's like, they're trading against you. Do you ever have that situation where you thought as soon as you buy it, the thing goes down as soon as you sell it, it goes up? Honestly, it's not, they're not watching you. I know it sounds ridiculous. You're probably thinking of big bros watching. They're not watching you. The problem is you're not watching them. That's the problem. So the thing is this, if you want to learn how to find stocks like NNKLA, or, I mean, I can go down the list. Stocks like, these are stocks that we traded. You can see them all right down here on my account. My account hurts today. $3 to $6. NYMT, $3 to $360, not the greatest. OAS, $1.40 to $2.20. SRNE, $4.20 to $5. VAL, $1.20 to $2.20. Will, great stock. $1.50 to $4. And then last but not least, those are all day trades, by the way. That's why they're zeros. And then you have the NKLA, $40 to almost $80. If you like to find stocks like this, and you want to know how we find them and where they go, and they're going to continue to go higher and lower, then all you have to do is stop pretending and subscribe to us now, like us on YouTube, and get into my live trading room every single morning, every morning at 9 AM, and see what real professionals traders are. And you'll see why I've been doing this the 25 years and why most of those schools that you're seeing out there, a lot of them are my students. So it's not too late to learn. We know what's going on with the coronavirus. We know what's going on with the riots and everything. Are there opportunities to make? Is it a crash, whatever? Some of you are like, I don't understand. Why is the market up? We're literally almost 2,000 points. We jumped. You could see it right here, we're up 460 points. We literally went from 18,000 in less than a month and a half. We're almost back to where we started. And we got 13% unemployment. Well, you know what? It's probably time for a new career. So if you're worried about getting that stimulus package at $1,200, well, guess what? How about making $1,200 a day? That's why people love this job. So once again, you want to learn how to trade, ladies and gentlemen. You want to learn how to play the game of day trading. If you want to learn from the original day trader that I've been doing for 25 years, subscribe to us, like us, and come and join us live every morning at 9 AM. Thanks for watching and happy trading and be safe.


What's going on guys, today I am back with another Destiny top 5 video and today we have top 5 power weapon plays in a week. But before we get into the video guys, do you want to win some silver? If so, simply drop a like and a video and leave a comment down below. Ok so let's get straight into this top 5. In at number 5 we have a clip sent in by OG Bobby Johnson A. Worldcliffcoil makes easy work of everything in its path. In at number 4 we have a clip sent in by Echo33CW. The tractor cannon looks like serious fun. Better pull mine out of my vault and give it a go. In at number 3 we have a clip sent in by MysticShadow43. This reminds me of the foul win todays. Damn! In at number 2 we have a clip sent in by JediGuardian08. How long will it be before people start calling this thing OP? Thing is brutal though for sure. In at number 1 we have a clip sent in by QC.  Jesus. But guys that is the end of this top 5 power weapon players of the week. If you enjoyed the video leave a like really does help me out. If you've got anything amazing to send in, send it into the email, I'll just link to it in the top of that video description. But hope you enjoyed the video and people, I hopefully will see you on that next one.


So that's great. That's great. Okay. Come on. Don't be dramatic. Stop. Okay. Sorry. I'm sorry. Okay, guys, just a couple more minutes. I went ahead and hit record just because I was able to help with that one item. Thanks for all the confidence in me, Laura. No, I'm just kidding. Thank you for doing that. Just about another minute. Good evening, Jim. Thank you for joining. Give us about another minute. We should get started. I'm sorry. Good evening. Good evening. Looks like he has joined. Who's joined with the RTC? Good evening. This is Peter Torres with the RTC. Said Peter Torres. Yes, sir. Very good. Peter. Thank you for joining. We may have some questions folks may have for the for the contractor. Thanks, Peter. No worries. Yeah, yeah, we can go ahead and get started. I was just going to let you know that don't see anyone on the call from the council member's office. So just letting you know that. Thank you. Okay. Okay. Well, thank you everyone for joining as a reminder. If we can everybody mute that would be very helpful. At the end, please feel free to unmute yourself and. And we can have we have some questions and answers at the end. So, thank you everybody for joining the free construction community meeting. We're going to be talking about the traffic's new traffic signals and pedestrians improvements. At forest park Boulevard and West 10 street again, that is council district number 9. The city project number is 1, 0, 3, 9, 9, 7. I am Seth Cooke see with the city of Fort Worth. I am the project manager. We have the program manager here as I mentioned chat. He's on the call. We also have the design engineer, the consultant with Binkley barfield Derek Sweeney. He's on the call and finally we do have with that is the contractor. We have Peter Torres. Quickly go over the agenda. We're going to be talking about the project scope and goals of the project. We're going to be talking about the project location very briefly. We're going to be spending a little time on project details. We're going to talk about the typical construction process. The construction schedule and finally show the contact information. You might want to take a screenshot of that slide when we get there. Project scope and goals, we're going to install the new traffic signals, pedestrian signals. And we're also going to be doing a little bit of modification of the nose in forest park Boulevard. We're going to be restricting the entire intersection and doing some modifications to those sidewalks. And again, thanks for muting everyone. Thanks for muting. If you can please mute the objectives, including improving traffic flow at the intersection during peak hours. By reducing stop delay and improving side street access to force park from West 10. This project will improve pedestrian safety at the intersection because we're installing pedestrian actuated signals with push buttons. And then, of course, we're installing the complaint per ramps. This project was funded by the 22 bond. I think everybody's familiar with the project location. We're here at the force park and 10th over on the west side of downtown. You can see the 7th street is here. You can also see the Trinity River in this little. In this little map, but close up we have a we have a close up of the intersection at force park and West 10th. So right now. Um, this we have just the stop sign. I think most people are familiar with this and we're going to be doing some some improvements at this intersection. What are we going to be doing? Well, we're going to be adding the big things we're going to be doing. You're going to be noticing is traffic signals. Everybody's familiar with those the configuration. If you care, it's on the left side there. We've got traffic signals at the northeast corner. Of the intersection, we have traffic signals on the south side of the intersection also on the west side near the park. So, those are the big traffic signals going in. I just want everybody to really get a good understanding of the traffic signals and where they're going. Also going to be doing full pavement markings. We call it striping. We're going to go to all new striping at that intersection. The entire intersection will be restriped and we're basically redoing the striping. There is that striping now, but it'll be all new striping. But a big thing I wanted to talk about here is the idea that we are not changing any traffic patterns here. With the striping, so everything that is there, what you're normally used to it, obviously, except for the stop sign. You will be continuing through that with that traffic flow. And that's what we're doing here signage. As you can see, you can imagine a new intersection improvements here. I was going to have new signs, we're going to be putting all new sites, making sure that the, all the traffic, all the cars and all the pedestrians in the area know what the cars are supposed to be doing. The cars will know what they're doing and it'll be very clear. And you can see on the left side, the, the new signage going in traffic control. I, you know, we may want to come back to this slide, but basically the contractor will be preparing and submitting a traffic control plan. I and my bosses and others will be looking at that from the city's perspective to make sure the contractors kind of dotted all his eyes and crossed all his teas. That meets the city standards and there's obviously safe and keeping the workers safe. Also keeping the pedestrians and the vehicles out of the construction area. You know, it's important to note that the traffic signals are outside of the roadway. But just because they're outside the roadway does not mean there will not be a construction in the roadway. So, we will have some temporary lane closures during active hours, even short term, sometimes short term lane closures can be expected, especially when that we're working on that median nose modifications. But again, I want to make it very clear that the idea here is that we are, and I know that the contractor will be is on board as well. We're keeping the plan on keeping a 1 lane open in each direction.  Obviously, there are situations where we're moving certain things across doing that. So, very briefly, there could be additional lane closures, but the idea is that for the most part, we are going to keep 1 lane. At least 1 lane open in all directions on this project during the entire construction phase of this project. What does the typical construction process look like? Well, we start with door hangers all the businesses in the area. There are quite a few will go out and we will hang the door hangers to let you know that the that the construction is about to start. There will be a large project sign placed on the at the site. It gives you more information about the project and what's going on. The traffic control then starts to be set up. You'll see those cones and those those barriers going up those big orange ones. And you'll know that there's construction in the area. All of a sudden, you'll start seeing the big signals and the mast arms, the poles, I should say the signals and mast arms being delivered out to the site and then installed that that that median nose will be some construction in the center of that of the of the at the median there working on that nose modification as those are being put a fixed up as those are being completed. You'll see some landscaping sautting. They'll be fixing things up starting to make it look pretty again. And then the moment of truth almost when you have the traffic control is starting to be removed those cones and those barriers are are taken away. And then finally, the cleanup and I'm sure the contractor is going to do a fantastic job with the cleanup and everyone's going to be very happy. I'm very sure of that. And that is the process. What's the schedule look like the design right now is obviously complete. We're talking about construction. We're hoping to go to construction end of may could be early June. I wanted to remind everyone that we this project didn't require additional right away and there was there should be no utility relocations that should help the project go along very smoothly. We're figuring it could be up to 6 months for this project. So, therefore, we're looking at the end of the year for complete or very early in 2025 to be complete working hours are standard in this project. We don't see any need to adjust those 7 to 6 Monday through Friday. And if requested and required and approved 9 to 5 on the weekends again, we will have those project science door hangers. We talked about earlier. I just wanted to, as a reminder, and it's underlined here, the 6 schedules can always be affected by unforeseen events such as utility conflicts or weather. Yeah, we've had bad weather in this area in the past, as I'm sure. Most people know, but we're not, we're hoping for nothing, nothing too severe on this 1, nothing to hold us up. Finally, this is the contact information. Feel free to take a screenshot or take a photo of this screen. If you have questions, you can contact myself, Seth, I'm the project manager and the design engineers, Derek, our contact information is here. Please feel free to call or send an email. I think emails are probably a little easier for us, but. If you see something out there that does not look right, please feel free to give us a call. We can handle that quickly in in in that case. This slide again, feel free to take photo of this slide. This is talking about the app. You know, with this app, the my for worth app for Apple or Google. There's a lot you can do with that. You can actually report different things. You're seeing. You get more information on different things that are going on with the city and this project and you could download that app from this from the app store for Google or Apple. Also, the city call center. If you have other questions, this can be quite helpful and that's it for the presentation. So feel free to unmute and ask those questions. If you have any. If not, no worries, that just means I did a great job and I answered all your questions already. But please feel free to feel free to ask any questions. So, folks can also input questions into the chat. I muted everyone earlier at the beginning. It seemed like we were having some problems with that. I don't know if I should unmute everybody or people can individually unmute themselves. I hope they can. Okay, yeah, it says it says people can unmute themselves now. So, if they have any questions, they should be able to unmute themselves. They can also enter questions in the chat set. I'm monitoring the chat and right now, I do not see any questions in the chat. No problem. Do you have anything to add to this presentation, the contractor? Is there anything you'd like to add or anybody at all, Derek? No, as far as you know, everything's pretty well stated. You guys have any questions for us and we're also here to answer anything you need. Thank you. Same here. I think Seth, what you did looked good. You covered all the high, the high, the high points. Happy to dive into the the the the weeds. If there's any specific things that come up. Thank you, Derek. Seth, soccer soccer from transportation management. Also joined. Thank you for being here soccer to answer any questions. We always, we always get questions about other intersections that are closed that we can't answer or technical questions. We can't answer. So thank you for coming. Sure. Yes. Good evening. I have any questions I'd be happy to answer. I think we, I think we owe soccer lunch because this is the second meeting in a row. We've asked him to attend at the last minute. So lunch is on me when you're available. I have an 830 PM meeting. I'm going to send him an invite to tonight as well. I'm kidding. If you don't have questions, if you feel like all your questions or answers, you're free to go or just sit and listen. It's no problem. And we may have some late commerce.


Hello and welcome to this session. In this session, we will discuss the banding of symmetric expressions of the roots. First of all, let us discuss what is a symmetric expression. Now an expression f of xy is said to be symmetric, f of xy is equal to f of yx. Now let us discuss an example. Now here, the expression f of xy is equal to x square plus 2x square y plus 2y square x plus y square and the expression f of yx is equal to y square plus 2y square x plus 2x square y plus x square. See that the expression f of xy, that is this expression and the expression f of yx, that is this expression, are equal to symmetric expression. These are the symmetric expressions of the roots. Now we know that the standard form of the quadratic equation is ax square plus bx plus c is equal to 0 where a is not equal to 0 and a, b, c are the constants, b are the roots. This is the equation and now we will find out the value of the functions and for this we will proceed with the following steps. Now the first step is the product of the function that is the given equation. Then in the second step, express the function in terms next step, substitute plus q and pq. From the given equation let it be equation number 1, the values of the functions of p and q, we do not find the values of p and q separately. So for finding out the values of the functions of p and q, we will only follow these steps. Now let us discuss the following relations, p plus q square, that is if we have to find out p square plus q square, then it can be written as pole square minus 2pq. Now the value of p plus q, that is the sum of the roots from the given equation and also pq, that is the product of the roots from the given equation and then substitute those values and this equation will get the value of p square plus q square. Now it can be written as pq. Now again we have expressed this relation in terms of p plus q and pq and substituting the values of p plus q and pq here, we will obtain the value of p minus q whole square. Here we will express the other relations also in terms of p plus q and pq, that is the next relation which can be written as p the whole, q the whole, into, now from the second relation it can be solved, which is equal to q the whole, p square minus p the whole into pq into p plus q in terms of p plus q. So by putting the values of the sum of the roots and product of the roots, value of pq plus qq. Now next we have to find pq minus qq. Now by the formula it can be written as p minus q the whole into p square plus pq plus q square the whole, which is further equal to e minus q the whole into p plus q whole square minus pq the whole, which is further equal to, this can be written as square root of e plus q whole square minus 4 pq into, now this relation is also expressed in terms of the sum and the product of the root. Now let us discuss q raise to power 4, which can be written as p square plus q square whole square minus 2 p square q square, which can be further written into pq p plus q and pq. Now the next relation is p raise to power 4 minus q raise to power 4, which can be written as q square the whole into p square to the formula for this it will be p plus q the whole into p minus q the whole into plus q square the whole equal to, now we have the value of p and from this we can find the value of p minus q. All these values here this will be equal to p plus q the whole into p minus q square root of the whole is also expressed in terms of p plus q and therefore whenever we have to find out the value of the roots in terms of p plus q that is the sum of the roots and pq that is the product of the roots and then by substituting the values of p plus q and pq we can find out the value of the given relation. Now let us discuss one example a quadratic equation x square minus 5x plus 4 is equal to 0 and if a and b are the roots of the given quadratic equation then we are doing symmetric expressions first we will see b plus, now for finding out the value of these symmetric expressions first of all we will find the sum and the product of the roots from the given equation. Now given the quadratic equation as x square minus 5x plus 4 is equal to 0 so here plus b as a and b are the roots of this equation is equal to minus x that is 1 so a plus b is equal to now the product of this is equal to a b is equal to 2 which is 4 oh which is 1 so this is equal to 4. Now in the first part we have to find a square plus b square now by using this first result square in terms of a plus b and a b so this is equal to a plus b whole square minus 2 a b. Now putting the values of a plus b and a b here this is equal to minus 2 into 4 which is equal to 25 minus 8 which is equal to 17. Start with the second part now again we have a b plus a b cube in terms of a plus b and a b. For this taking a common it will be a b into a square plus b square whole is equal to now a b is 4 into therefore this is how we can solve the values of this metric expressions of the roots. And now let us discuss formation of equivalent q are the root equal to q, b is equal to 0, b is equal to 0 this b the whole into x minus q the whole is equal to 0 or we can write it as q the whole into x not the roots therefore we have x is equal to p and x is equal to q are the roots of the equation. We have got x minus q is equal to 0 and x minus q is equal to 0 and for formula the equation we will multiply and form this we will get a quality equation in n that is x square minus now b plus q is the sum of the roots so it is the product of the root to find out an equation whose roots are given to us and product of the roots and then the required equation is roots the whole into x plus product of the roots is equal to 0. Now let us discuss it with the help of an example and this we have to find the equation whose roots are 2 and 3. Now find the solution the first step we will find the sum and the product of the roots so the sum of the roots and the product of the roots is the whole that is 5 into x that is plus 6 is equal to our equation whose roots are 2 and 3. Next let us learn how to find the condition when a relation between 2 roots. Now before starting this first of all let us review that for a quality equation a x square plus b x plus c is equal to 0 where a is not equal to 0 the sum of the roots is equal to minus b over a that is minus coefficient of x over coefficient of x square and product of the roots is equal to c over a that is 10 over coefficient of x. Now let us discuss the procedure to find the condition and the relation between 2 roots is given and in the second step write the other rule and condition that is the first rule which we have supposed in step 1 and the second rule which we will obtain by using the given condition. Now in the next step write the sum using the sum and the product of the roots from the given quality equation of an example this we have to find the condition that 1 root of a x square plus b x plus c is equal to 0 may be 3 times the other. Now let us start with the solution. Now in the first step let the quality equation be alpha. Now according to the given equation the condition is 1 to us that is 1 root 3 times the other root. So we have supposed 1 root as alpha root of the given quality equation will be equal to 3 alpha. Now for the given quality equation will be equal to minus b over a. Now we have supposed 1 root as alpha the quality equation is 3 alpha therefore sum of the roots that is alpha plus 3 alpha is equal to minus b over a is equal to minus b over a. So that is equal to minus b over 4 a. Now the product of the roots of the given quality equation is c over a roots alpha and 3 alpha of the given quality equation the product of the roots will be equal to alpha into 3 alpha which is equal to c over a which implies that is equal to c over a. Now put in the best implies 3 into minus b over 4 a whole square is equal to c over a which further implies that is equal to c over a we have eliminated alpha and that the required formula is equal to 16 a c which is the required relation right which is the required condition when 1 root of the given quality equation a square plus b x plus c is equal to 0 may be 3 times the other session we have learnt about the values of the symmetric expressions of the roots formation of equations as to find the condition when a relation between the two roots is given. For fashion hope you all have enjoyed the session.