Name a forgotten golfer. A forgotten golfer. These are interesting questions.  Phil Mickelson. The shark, what's his name? Australian guy. Norman, something like that. Yeah, Greg Marver. Greg Marver. Is that him? Yeah. Not forgotten, but forgotten by me. Payne Stewart, guy's a legend. He wore knickers, won the US Open. He looked great doing it.  No one else ought to ever dare wear knickers. He was the man. Except Payne. Who's the guy that died in the plane crash? Payne Stewart. Payne Stewart. There we go. Bryson DeChambeau, after what just happened. There used to be a guy named Chad Johnson, who was in elementary school. His wife was an elementary school teacher, showed one day in a Ferrari. Her husband was a golfer, a pro golfer named Chad Johnson. Never won anything big, but was just a consistent pro golfer, so there you go, Chad Johnson.


Let's start with the Dubai Open, which is the Dubai championships, which is a big, big event for the women. It alternates with Doha as a WTA-1000, so next year it'll be a 1000 event. This year it's a WTA-500 event, but let's start with the players that have withdrawn because some big names are pulled out of this one. So we've got Belinda Benchich, she's pulled out, Kerber's pulled out, Konsebate of course pulled out because she's just played in Russia last night. Pavlya Chankov is also pulled out, Pushkov is still out with that injury, Rabakina is out as well, I think she's also injured. And Sarkary also pulled out after doing well in Russia last week, so a couple of players have played well last week, but a lot of big, I mean that's a big list of names who were pulled out, but even so it's still a stacked event, let's go to the top of the draw. So here you go, we have Sabalenka, the number one seed, she plays a qualifier in the first round, winner of that match plays either Kvitova or Georgie in the second round, that is a tough start for Sabalenka, who's had a pretty sketchy season so far, especially with the serve. Then you've got a very big fireworks match between Kennan and Osta Penko, rackets will fly in that match, winner of that match takes on another banger first round between Kazakina and the number six seed, Igor Shvyontek, stacked part of the draw this one. Very, very stacked, we've got Grand Slam champions all through it with Kvitova, Osta Penko, Kennan, Shvyontek and of course Sabalenka has been a very good Grand Slam player over the last couple of seasons, so massive, massive part of the draw there, very tough part of the draw at the top. Next section of the draw we've got Podosa, number three seed taking on a qualifier, winner of that match takes on either risk or unseeded Simona Halop, very dangerous player there, Halop unseeded, that just shows how big this event is. Then we've got Goff vs. Bogula, winner of that match is going to take on either Zvona Raver or the number eight seed, Jabour, and I feel like we haven't seen Osta Boa much this season. She pulled out of the Australian Open with injury, I know she played before the Australian Open, but she got COVID at the end of last year, she got injured as well before the Oz Open or during the Oz Open, so Jabour is having a tough season, so we'll see how she can do in this one. But again, this part of the draw takes on the Sabalenka part, it's a stacked tournament throughout, WTA is already random, but man, oh man, this is going to be tough for everyone involved. Bottom half of the draw now, we've got a Lucky Loser playing against the Wildcash Shariff, now the Lucky Loser is there because both Contovate and Sarkry pulled out, so there's a bit of a second chance for someone there. Winner of that match takes on either Mertens or another qualifier or Lucky Loser in that part of the draw. Then we've got Kutumatobi vs. Azarenka, winner of that match takes on either another Lucky Loser or Muga Ruta, the number four seed and Muga Ruta over the next couple of weeks has a lot of points to defend. I think she's the one Dubai or Doha last year, let me just triple check. She's the defending champion of this tournament, so she's got a lot of points to defend and she might drop down the rankings even further because of those lost points. She's going to lose half those points no matter what because she can only win 500 points this year whereas last year she won 1,000, so Muga Ruta is having a tough start of the year because all her points are starting to disappear. Bottom part of the draw now, you've got the first time seeing the Australian Open finalist, Denio Collins, number nine seed taking on a qualifier in the first round. Winner of that match takes on either Svetlilina or another qualifier in this part of the draw. Then you've got Bogu vs. another qualifier. Winner of that match takes on either the wild card Garcia or the number two seed Kredgikova, so there are so many qualifiers and Lucky Losers because of all the upsets, sorry, all the withdrawals, Collins and Jabor were not supposed to be seeded in this event, so they've got promoted thanks to Contavent and Sarkary pulling out, but also a lot of Lucky Losers are getting a chance too and a lot of qualifiers, so it's going to be still a stacked event, but I don't know. I mean, who's in good form? I mean, Saberlenk is not in great form. Maybe Bedossa? Shriontek looks pretty good. She looked great at the Australian Open, so let me know. Let's have a look at the chat for a second. What do you guys reckon? Who do you reckon is going to win that tournament? I'm thinking maybe Bedossa or Shriontek, if we're going with the seeds, Kredgikova not to be one to be overlooked, maybe Collins, she's doing all right as well. The last couple of months, obviously Australian Open being great, maybe even Halep, Halep being unseeded. That's dangerous. That is dangerous.


It was a company called Say Now where you can create a phone number, which is like a fan number, and people would call it, and the most numbers you get was the subscribers. The most subscribers you get the more money you get.  You know what I'm saying?  I was like, God, damn. Them niggas went on to sell that company Say Now. They sold Say Now to Google for multi-millions.  Them say every artist followed them. They start putting their numbers in the shit, some two.


Uh huh. I'm really her. Rollin. How you let them cheat and take them back? Must be your own. I get larger like my weed. I don't watch my tongue.  I'm big mama. Every time y'all build me with them hoes. Must be big drums. 20 blacks of birds. We pull up like Sunday service. I didn't want a one-on-one. Don't know why she's so nervous. Yeah.  I can switch my culture. Like I switch my pelergy. Straight up out in circles. I'm a bird at third degree. I'm trying to work it out. I'd rather make them work for me. I can't tell if it's authentic or a surgery. Please. I'm really her. Rollin. How you let them cheat and take them back? Must be your own. Must be some big mama. Every time y'all build me with them hoes. Must be big drums. 20 blacks of birds. One-on-one. Don't know why she's so nervous. We pull up like Sunday service. We pull up like Sunday service. We pull up like Sunday service. We pull up like Sunday service. I get money too. Like who gonna trick our hoes? Who? Who? What? Do you rap or do you tweet? I can't tell. Get in the booth more. yelling ho. It's going down. It's going down. It's going down, Jim. It's going down. You feel me? It's going on on these intros. We got Big Mama in the house. Big Mama. Big mama.  Big mama.  Million dollars worth of game. We got Big Lotto in the building. The biggest. Listen man, they're going down Sunday service, man.  You talked about a lot of stuff in there, you know. I caught a lot of it. You caught it? I peeped a lot of game. You know what's so funny? I just made that.  Like this is not even like a recent song for real. Like it's just my real life.  But I swear to God, this ain't even know like, you feel me?   It just, it just so happened to apply. How's it feel to be one of the top women in the game right now? You think I'm one of the top women in the game? Absolutely. It ain't about me thinking it's about, but I know it's not, it's about what you feel. Don't be humble. Don't be humble. I think I'm in a conversation. I think I'm in a conversation. I be like, I don't know. I don't like to like think too far ahead. I like to take the humble route because it keep me hungry.  You, why you scared to meet this person? And I just be like, I don't know. I just think that that's what keep me grounded. Like not thinking too big of myself. Like I don't really, I don't know. To the point where sometimes I be my downfall for real.  But that's a good thing because, you know, a lot of months between accomplish one tenth of what you accomplish, they feel like they run the motherfucking world. Yeah, see, I don't never, I feel like that be people downfall. You get to thinking you want to talk. The top going to be looking at you. You know what I'm saying? So I rather like, oh, if I am, if you think I am cool.  Thank you. Thank you. Thank you. With a capital S. Yeah. And you got to know that, you know, in this game, this is a real competitive game. The ladies is out here killing it. Killing it. Oh, Amy. Killing it. Killing it. And this is the first time in the history of rap. Yeah.  Just really like going crazy. I'm just keeping it real.  I be like, like we the most interesting thing about hip hop right now. Like we the conversation, everybody checking for us as a whole. Absolutely.  That's true. They popping all by themselves. You know what I mean? Like if you look back in the day, you know, Foxy, she was connected to Jay. She was with the firm. She was with the firm. Right. You, Kim was with the right. Little Kim was with the mafia. Yeah. Even Nikki was with, you know. Your money. Your money. Yeah. You had a meal with Rockefeller. Every girl had to be connected to something. Evil. Trina was connected to Slippin' Slide and Trick Daddy and them. Everybody had to have. Now women just coming off like, no. I wonder what it is though. I'm wondering what you think what it is. Is it like social media where it's like, you know, you can kind of like access the people on your own. I don't know. I think, I think she get old, you know. And the industry holding women back for so long unless you was connected to what that was supposed to be. I think that's, I think you just brought some new motherfuckers in and a new wave of motherfuckers in the way they think and the way, and they like, no, you ain't got to be connected. You hot. Oh God. Let's go. Let's give her a shot. Whatever way it's going, it's going. It's about 30 bitches. I can name like, that's going crazy. Who you top five right now? Ooh, top five. Like my favorite. Yeah, right now. My favorites. I love Lomeli. Lomeli hard. Shout out to Flo. I love Mellow Books. She from Chicago. Yeah, I know.  Lomeli, Mellow, Megan, love Megan. I'm trying not to like be too predictable with it though. Who I be listening to? Let me try to look at my, can I cheat real quick? Yeah, you can cheat. Go ahead and cheat. Yeah, I mean you can cheat. Oh my God. Let me, let me do it for the A real quick. Let me see and careful. Okay. I not just put them in the Sunday service video too. I asked them to pull up and they, and they did. That's love. Yeah, they're my top five. I seen them photos. I seen the photos on your page with Cara Boone. Yeah, she going crazy. Yeah, yeah, both of them is. Let me ask you a question. Ice Spice being in the back in that video, was that the right hit? Yeah, you ain't right too. No, that's kind of what I was saying earlier. Like, this not even know like song that's like, oh, I just went in the booth and like tried to, I already had this song. Bro, I'm talking about like in that video. In the video though? Yeah, like in the back on that TV. You know, on the TV. Oh, you talking about the, the TikTok that I posted. Yeah, yeah, yeah. Bro, can I speak on this? I'm glad you asked me that. That's why we here. We want to clear it up. I'm glad you asked me that. Cause y'all both getting money like. You know, and I guess a lot of people haven't been on the Sprinter before. Like when you book a Sprinter, do y'all be on the Sprinter and then the music videos just be on shuffle. I swear to God did not do that on purpose. Yeah. That's some whole like internet. You know what I'm saying? The fans be doing what they do. On my mother, like one of them can drop dead right now. But I did not do that on purpose. But like, you know what I'm saying? Like. And she took it like you did it on purpose. Okay, well then let's do it then. Like it wasn't like that. You know what I'm saying? It wasn't like that. Sort of God like it wasn't like that. It's the thing like, it don't be that deep to me. Right. Like I'm never going to be in a place. Like I done been doing photo shoot some of the songs come on. Like that I don't know.  Like we're not continuing. Like, bro, I'm not going to tell, what you want me to tell the driver? Turn that song, turn that video off. Like my job in Houston, having a bar, leaving the club drunk. Let me make a little TikTok to this song. I like, it just so happened to turn up. Might do it again for real. Cause that just started the whole roll out. Like make another TikTok. I was just making a TikTok. Um, yeah, it was, it don't be that deep.  When you say it don't be that deep, elaborate more.  Like, I'm not thinking twice. I don't know why people think like it's so in depth. Like, oh, I'm going to make sure this is right here at this part of the song. I'm going to make a TikTok. Oh, my mother was on shuffle. A lot of people videos was going in. And then we was just drunk, leaving the club. And I made a TikTok to a song that I already had, that I like. Right.  All right, so it ain't nothing there. So before she came out and said she was talking about you, did you know she was talking about you?  Oh, no, I didn't know that song was about me till she said it was about me. But it ain't that deep. No, it's never that deep with the women. What we gonna do, man? We both get money. We could see for me. It ain't that deep. I don't mind the rapping sport of it. This is a sport. This is like basketball.  Take these bars with you. Rrrrrrr. Now let me hear what you got. That's all this is. This ain't, I think that the male rappers take this too far. Yeah, like, bro, what we supposed to do? Like shoot at each other? Right, no, no, no, right.  Four years ago. Oh my God.  This is fresh out the runway. Ready? Yes, ribbon is on you.   But like you said, like, baby, I come from a rap competition show. So like, yeah, if it's gonna be that, let's do it. I'm gonna say what I got to say, right? Babe, I ain't running from no smoke, you know, so.  Nah, it's not that deep. Speaking of Sunday service, cause I was saying earlier, like I already had the song, let me speak on the fact. I went back in on the song and changed something on the second verse.  But, but, but the song was already done.   Bitch want whatever you want, I'm gonna give it to you. What type of smoke is you talking about? Like, well. Pin, rock. I'm just saying. What you talking about smoking the blunt? I didn't know what she was talking about.  What? You passed me the blunt. He's slow, slow. Okay. You got a, he got a GD and prison. I got it for her times too. She could be talking about hookah smoke. I don't know. I'm talking about hookah too. Come on, pass the hookah. So how's life been treating you? Just like in the industry, like industry wise, you know, cause it's ups and downs in the industry.  Do you find yourself battling with your creativeness, trying to just be a part of what's going on? Or do you just say, it's some time? Because I know you got some hot on that hard drive somewhere. This episode of $1,000 worth of game is sponsored by Mango RX. Better sex, who doesn't want that? Mango is clinically proven to help you get and stay rock hard. Our fastest acting ED formula contains the same active ingredients as Viagra or Cialis in a rapid dissolve tablet for optimized bedroom performance and takes effect in only 10 minutes, not an hour, like other treatments.  Then after an hour, he goes, ah, no. In 10 minutes, you're like this, Superman, da-da-da. So get a free online consultation and if you're prescribed, Mango will ship discreetly right to you. So it's no awkward doctor visits or none of that. It's affordable and it gets you more bang for your buck. So man up right now and visit mangoRX.com to start performing. It's giving you your best performance in the bedroom. You hear me? If you're not working or out, you're not performing. Man up, visit mangoRX.com right now, right. I do, I do. I think I'd be like, I'd be, as of lately, I've been trying to just like stand out. Like it's a blessing that female rap is where it's at right now, but I think it's like so over saturated to where it's kinda like, if you're not in tune with what's going on, you gotta figure out a way to stand out amongst the rest of those people who not in tune with what's going on type shit. So I don't really be like, oh, where do I fit in? Whatever, what you saying?  Yeah, like the TikTok and stuff, like I just go in there and really just do me.  Because I'm going in there just talking about my real life. Like in real life, everybody got haters. I'm popped all my haters. I got a home that treat me right. I'm popped like that. Yeah, which I was like, come on, you sound perfect. Like I'm really just in there just popping. And it just so happened to work. In the bottom line of you see perfect. That's all it matters.  What y'all saying, baby? What cameras minds? This one, if you ever to learn about what another field is on the ground with you, I said you're perfect. But it is ups and downs for show like. What's the downs? I'm talking about the industry. Just period. Interviews, I get nervous. You ain't nervous now. You ain't nervous now.  No, this is not.  I'm trying to think for real for it. What's the downs?   I'm just leaving the club posting the TikTok and now it's this whole thing.  Like, you know what I'm saying? So probably like the over like thinking of social media, comments, whatever. Cause I still being in them comments. You being in them comments? Hell yeah. You big like. Hell yeah.  Why do y'all get so much power to comments? Cause this could be some chick that ain't got nothing going on. Oh no.  But it's like, I'll read them. It's not going to change like how I rap or my next beat choice or like my next rollout. Like nah, but for whatever the reasoning, I be wanting to know what they say. I be wanting to know what they saying though.  Two different things. Right.     We all there for the comments. Yeah, that's what I'm saying.   I be seeing it though. Like I might laugh with you.  It be funny, I'm laughing with you. Decretive people.  You got some real life comedians in the comments. Yeah.  But a lot of people don't have that tough skin. Yeah. No, they see them comments that yeah. I ain't always had tough skin though. Well, how did you grow into that? Probably like trial and error. You know, I've been doing this for many now. So like, it ain't really nothing else you could say about me that I ain't heard before.  And then this is the thing too. My life's so lit now.  Every call I want. Talk heavy. It didn't go I want. Talk heavy.   Talk heavy.   You're mad. You're mad.  I don't know. Was it ever a point? What was it ever that time was though?   But what, what, what, what energy and what did you connect with within to make you keep going? What made you keep going? Cause you was like, man, this looking rough. Man, I don't know if this is gonna be my path. I might be, I might be that cute girl that a target, the manager. I don't, I don't, I don't. It's funny, it's funny now, but I was in those places before. Like, swear to God. When was you working at? No, no, I ain't never had a job. Oh, I was really saying you were in a target.  I was beefing with my parents before, like, cause when I had graduated high school, they telling me I'm finna go to college. I'm like, go on to college. So you don't believe in me? Like, I'm finna be a rapper or what you talking about? So like little mommies like that where you just be like, oh damn, wait, what if this don't work out? Hold on, what, what pulled me out of those places? I just be telling everybody like confidence, like you just gotta really believe in yourself. And I think people as such followers, like if you believe in yourself, they just gonna follow something. Yeah, I think. You gotta really believe you that, man. If you don't believe in you that, man.  Like, I can tell you don't think you that. Like, I'm not finna, but you'll see them up on Instagram, like he really think his music fire. You might listen to it. I don't know. You gotta really believe in yourself. You gotta really like go full throttle. Like I ain't had no plan B plan, Steve, nothing like that. It was baby, I'm gonna rap. You know, whatever. I had my little times like to myself where I'm like, damn, what if this don't work out? But I don't show nobody that. Yeah. So how's, I know you're working on something. You working on an album? Hell yeah, I'm working on an album.  I'm coming to hardest.  I'm saying it.   What? I'm gonna pop it baby.  This is some big features on it. It's just you just. Yeah, some big features. I don't wanna like get caught up in the features though because I think like, I'm also just wanna let people know like, baby, I like big energy with number three solo. Bitch from the south. Talk heavy. You feel me? Bitch from the south, I dropped that solo. That got me my recent deal.  But I do got some of the fucks on there too. But I don't wanna get too like, I don't know. Y'all don't see the track list one day. I'll tell y'all, Kim. Yeah, I need you to get my track list off camera. No, I got some hard stuff like crazy. Like I been locked in. I feel like I'm going the hardest than I ever been. Like I'm the hungriest I ever been. You know what's so funny though? They say like some click when you turn 25. I feel like that happened to me.  And I've been getting it ever since. Now that you're here in this space right here.  Bitch ain't the manager at Target. Yeah. Hey, you're talking about. Where is it? Like where you see you taking it to in the next five years? Ooh, five years, so I'm be 30.  No, no, no, no, no, no, no, no. You want to know what's funny though?  Man, y'all was washed. Y'all was old.  Now you old, huh? What? I'm looking at, I'm like, bro, them 19 raw girls, but I think I'm granny. Like, what?  So I don't be with none of that.  She was 19, talking about them old bitches. What's that? She like me, I'm 25. What? I'm the bitches I was talking about. One blink of an eye, I'm 25 now. That's how I worked though, ain't it? And there's going to be another blink of an eye, you're going to be 30. That's what I'm saying. Then two more blinks, you're 40. Yeah. In a way though, I just feel like, I don't know. I'ma be, I'ma be, hopefully I'ma have like a Grammy. But no, that don't validate you. No, for sure, for sure don't validate me, but I just know like, ever since I was a little girl, like for whatever reason, I just always wanted a Grammy. So that's a personal thing to you.  So like a Grammy, something like that. And really just like, you know what's funny? I want like a farm. Okay. I want to have a dog pound. I just text my business manager and that I wanted a dog pound. Get some money, it's the craziest. They come up with it. Yeah. She is sitting out. What else you want to have on the farm? She's sitting in a house like this. I need a farm. No, look, I text my mama like, I want a dog pound at like three o'clock in the morning.  Like what? Your mom? Yeah.   All my goals don't be music goals.  But you know, you might want to get into a little acting or you might- See, that's why I'm saying like music. Like musically, like there might be my little goals, music, but I just see way bigger than music. Like personal goals, outside of music, like acting, brand campaigns, like I've been telling them, I want something like, I do my own makeup. So I want like a makeup campaign, something like that. Yeah, just bigger than music, but music- Well, that's gonna come this year though.  They see it, and then they say, oh, she needed the makeup. Hello, get at me, we don't mean I was- I'ma say this, I'ma say this, I'ma say this. Make sure you had a means.  Come on. It's gonna happen. Manifest it.  Speak on it. She popped in, me and I was with the gang. I said it. How you know all about that makeup, though, man? What's up? You know for 20 years, man. You know about all of makeup. Contour, highlight. Spend a lot of money in there, man. You know what you're dealing with, man. It's a prison makeup artist, man.  I was getting Ricky Minaj and Kevin Estal, you done that. Stop! Stop! Stop, stop. Stop, stop. Stop. I'm not engaged in this. No, he ain't saying what you think he's saying. No, no, no. No, I'm just saying the answer. No, he was a Pippin' Jill.  He was a Pippin' Jill? Yeah, you didn't know that?  She said, oh, for real, I believe it, though. He had 300. You wouldn't believe it. Three? You with this bulls**t, like. Ricky, man. You want some bulls**t? You want some bulls**t? Yeah, he on, say. You want some bulls**t? Ricky Minaj. Ooh. And Lil' Him. Lil' Him, crazy. Lil' Him, crazy. Man, listen. This is a lie, man. This is a lie. Everybody knew this, cuz. This is a lie, man. This is a lie, man. This is a lie, man. The fact that she said Lil' Him is crazy. Yeah, that's good. Lil' Him? That's crazy. No, man. This is a bad. I might run with that.  I told y'all I'm cold.  See, she vicious. She wrong. Damn. She said, oh, she funny. At least she telling the player. Most of my **** still my **** online. Baby still, man. They ain't telling ****. They just, everybody running around. Free game, free game. Free game, like.  Yeah. Hmm. Speak on it. Type game you gonna give us. Problem. How to capture a monkey? Hmm. Come on, man. How to visit Chimpanzee Creek? Come on, man. This is crazy.  I'm just keeping it real. Stop. Because a woman is the easiest thing. But what is she real? Come on, man. A woman is the easiest thing to get in life. I was coming over to Ben Franklin Bridge from Philly, from Jersey to Philly, and I pulled up and there was a bum out there with a sign. And guess what he had? A bum chick sitting on the ground with him. That's the easiest **** to get in life.  You wake up to this. You want breakfast? What do you care?  This look like me. You want breakfast? How long has it got some money? See, women is different. Yeah, women is different. Women ain't got that ****.  Because we broke the cycle.  We broke the cycle. Oh, for real? You see my kids? Oh, ****. Oh, look. Look at him. See my man on it.  We breaking the cycle. Ugly ****. She's like, yeah, yeah. You're real, isn't it? He's crazy. I don't know about ugly ****, but I just like real ****. I don't be like. This episode of me and all is worth a game is brought to you by no other than New Amsterdam Vaca. Now, life ain't going your way. Shout out to New Amsterdam Vaca. Call your wife cheating today. Shout out to New Amsterdam Vaca. You thought you was getting paid and the check didn't come your way. Shout out to New Amsterdam Vaca. It's to steal five times, filthy three times. That's one, two, three for a clean Chris finish. Now you can drink it straight up on the rocks, juice, soda, or you could do what? Make a classic New Amsterdam Mule. That's up to you. But when you out and about at your local liquor store, do you not walk past that New Amsterdam Vaca? You scoop it up like a fumble in a Super Bowl. And you run it to that register because New Amsterdam Vaca is also very affordable. So what are we talking about? The best Vaca on the market, New Amsterdam Vaca, and it's just like that. Right? What is real? What is real? I want to know that just support me and just love me. I don't want you to just fall in love with a lot of old 777 on Instagram. I want you to ask me about my childhood, how I came up. I really just want to get to know me, like a real going to support my dreams and like do he can to uplift me, help me reach them and be loyal, you know what I'm saying? The money is nice. But I got that. So it's like what you really bring to the table, motherfucker. A lot of times your partner man help you build up that confidence. For sure. For sure. You know what I mean? Because I'm the real conversation. Because two used to give a about what everybody said and thought and I don't give about nothing.    You're right.  Yeah, but at first you'll be you'll be like, right? Don't tell me what we're going to start teaching. You're going to start listening like, hold on. Yeah, for real. They're like, what? At first, you're going to be like ladies. Y'all know what I'm talking about. You'll be like, you want to tell me? Rolling your eyes and cocky on it. Then you start being like, wait, hold on. That makes sense. People like what?  Real talk because I used to wake up first thing in the morning. You know, jump right on live. She's fresh waking up when you put me on live. So I wake up. Oh, big, no, no. Wait, wait, hold on.  He ain't going the way else after this. After me. You talking about. It's me. That is heaven. Yeah.  I know after me. Yeah. We're gonna go after this. Yeah. This is just the last stop on the train, baby. I like that. I like that. Get me on my man. Tell me. So you. Baby ain't going nowhere but heaven after this. Right. This is my stop on the train. Last stop. This baggage claim. I love that. Yeah. I love that. Yeah. I went when I make a little bar out of it. Keep it up. You know, I still hot rapper. That's the second thing she said. She was still. Yeah. She was still. Yeah. When I get in my credit. Yeah. Too. Too good. Right. That ain't bad. That 2% off her. I'll be there. Like we got a four hundred thousand dollar check for you. What? Yeah. All the strings. No cap. For real. For real. But wait a minute. You want to say something about Jamaine Dupree or something? I heard you talking. No. Like I was in jail when I first saw you get in the game. You know what's so funny? A lot of people be saying that. That was a major show. I watched you in jail. That was a major show. And to see you come from that to this is like major.  I ain't got the last of them. You know, cause you'll get that stigma. Oh yeah. That's the little kid rapper. Get out of here. Yeah.  I know it. I know it's just feel good. But who out here you want to get? You want to get in that studio? What? Hmm. Hmm. Who is urgent right now? Hmm. That's a good question. I tell you one thing. The youth is way different from us.  You asked us. We was coming up. We were so hungry and thirsty. Everybody. J.C. Biggie. Tupac. Mom. You named the whole rap game. Yeah. These mother could be like, hmm. It's 11,000 rappers. Hmm. Let me see. That's a hard. It ain't. It ain't no shade to it. It's just like whoever want to work with me like, I don't know who ever want to work with me. I sent songs out. Like I'd be sending. I don't have. I didn't send songs out. Say no. Say yes. Wait. Who am I? No. Or not even just no. Just awesome. Like, oh, maybe send me another one or like, I don't really like that one. I do that to people. Yeah. Yeah. That's that's all. Yeah. But a lot of times you don't keep it all the real. A lot of artists up a great moment doing that. I don't like that one. That's the one. Yeah. And then the one that go. Yeah. What? You want to be on the album filler, huh? Okay. Cool. Man, it'd be like that sometimes. It's hard to call that. It is. It's hard to call that. Did you think that your that what was the record that the first record you named?  Um, beach from the side. What did I say? No, no, no, no. Not beach from the side. No. Energy. Big energy. Yeah. Yeah. Did you think that was going to go? As soon as you got like, you know, some people feel like soon as they record them, man, listen, they like. You can feel it. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. like, I really feel like, yeah, that's me. You know what I'm saying? But big energy, I knew it was bigger cause it had that like commercial appeal. But I just was like, yeah, I know it's gonna be, it's gonna be, I ain't know if Mariah Carey was going on remix, you know what I'm saying? That's major. Shit. But I knew it was gonna be like, something that people would pay attention to. I ain't know it was gonna take me that far.  That's why they don't even like me choosing my own songs.  I'm like, man, yeah, that's the one. And they like, yeah, cause you put your heart in it. It's personal. So it'd be different when it's personal. So I don't know it, I might, that's why they really don't like when artists have a say so period because we writing it. So we have like emotional attachments to certain records. Certain records is like, people gonna like, cause you have that like, oh the production sound like it could be for radio. Like, you know what I'm saying? But them type records don't never turn me over.   They be like, all right, shout out baby. Yeah. You don't know what you're doing. You don't know what you're doing. Jose, what you think? Jose, let's knock it. Johnny, Johnny tells the truth. What you think, Johnny? I don't really like that one. They don't, they don't, I was just in the studio with my brother Rico last night and I was playing him some music. I was like, don't pay attention to this one.  That's why I'm like, you know what? I'm just, I'm just done. I'm just having a little small list in the session. I'm gonna invite y'all.  You just know what I'm saying? I can't do it myself. I can't.  I think I believe that was a song.  For real. But I believe it though.  Right.  Million. For real? That's on one platform.  That's a lot. That's a lot.  That's a lot. 24 million? No.  You know what's so funny?  It was beautiful, wasn't it?  I hate that. Cause I'll be wishing, yeah.  You be wishing? I'll be wishing I could still have that same like. And you gotta think about this. Excitement. You know, like, it's just naturally get old to you. Not that I'm, I'm still grateful for everything. Like every nomination, every award, every interview, every, everything. But you just naturally, it just become like every day to you.  When is now it's your first movie role.  I'm nervous.   Oh my God. Oh bitch, about to blast out. Give me some water. I'm nervous. Bro, I hate that. That's how I be. So, you know, because she could never get that first feeling again of getting a million followers. Getting your first show for 60,000. What? Doing it. What?  Oh, the back end coming. Bitch. Listen, I remember when I got my first 50. I got my first 50.  Like, still youngest. And I remember being like, bitch, I'm doing it. B-I-G. Yeah. You can't tell me, Nathan. And now I just be like, 50, man, I ain't waking up for no 50. What? Humbley, humbley, humbley, humbley, humbley, humbley.  I got 50,000 for you to come stand on the couch and spend like 15 minutes on all the bitches that's looking at you. I'll be like, huh? I don't want that 50,000. I'll be like, what?   You turned it down to some 1,000. It depends what they're asking though, I've been turned down. What's the most you turned down? 250. Oh yeah, actually just the other day, like. 250. God damn.  How do you do that though? How do you do it? To explain that to me. Like now I'm cool, I'm cool. Oh, I don't ever, you know, I don't gotta. I know you don't do it, but you telling your people, nah, I'm cool. Yeah, I'm cool. How do you say that though? About 250. What the?  No, it's a little ignorant. Not even when you say it out loud. When you just think about it on.  When you like 95% of the world don't make 250,000, you turned it down for 45 minutes. Nah, I can't do that. Shit. Why? I just be telling them like, nah, that's too many Instagram posts or like, that's too long of a set. Oh, let me make this clear. Wait, who she told that to? Let me make this clear. Let me make this clear. What? 250,000. It's the truth. You called my Instagram for a week.  You know what I'm saying? Shout out to UTA. I'm Queen Brand deals over here.  Yeah, they coming. 250 for the little Instagram post though. Come on. Nah, if I'm, you know, like Christmas coming up, like it catch me on the like, let me just pay for Christmas. She really like a drug bill. You know what she on point? I ain't got to pull this out of the bank account. Bet. I got all y'all. I'm gonna take care of you. If you want to get at me, get at me during December, my birthday in December and Christmas. So, you know what I'm saying? We gonna make some shake in December. I'm not trying to go in that bank account. I'm sure she told the listeners. She hustled. We got to do Ghillie Fest for December. We only got 175. We just need half a song.   And my mama birthday in December too.   Every year, every year, at least half a million. At least half a million just for December.    I don't even like this. But it's real though. It's real. At the end of the day, this is the life that you work for. Hell yeah. You're not borrowing nothing from nobody. You don't own nobody. This is your life. You gotta see, a lot of times when we come from the hood, we'd be ashamed that, no, no, no, no, no. This is the life that you work for.   You wouldn't want to work hard. You wanted to be laid. You wanted to be entitled. That's on you. Me over here doing all I need to do, putting all the hard work in for me to get these millions. Please.  Please, I'm going to pop it every time. You want to see these Ferraris and Lamborghini? Yeah, Ferraria. You want to see this shit? See, I wouldn't go tell you about this for long. You want to see this? I wouldn't go tell you about this for long. Who is it? You want to see this? You want to see this motherfucker's house? You want to see the layup of them? You want to see the baby? You want to see this? You want to see the 63 beds? I didn't show you all that the Nali pickup. All the beds, it's the gay cars. You want to see this shit? Cause you be too humble sometimes. I don't know why I'm doing it. Because you know what happened? And you're all going to see this, this two million dollar house get built from the ground. But what I'm going to say is this, what happened is we come up and then we feel bad when we living out our dreams.  I want to eat. I'm going to fly, how I want to fly. You know what I mean? I'm above, if I go in the store and I feel it, I might, he didn't build me. We going to store, they talking about something. You know, they looking at us cause I got a hoodie on.  Hey man, what I love doing it.   What?  What? Come on, get all this. Listen. Oh, I love doing it. I love to go to the store with this. Yeah. Cause you want that? Why wouldn't I? Why wouldn't I? Oh, you giving?  Y'all ain't got 41 millimeter.   I'm in, I love it.  For no reason. No, because. Come to the studio cause God damn, oh.  Yes, he like, he parking. He know, but no, what happened is we be feeling the shame to spend our money and enjoy our money. Listen, we gonna be out of here.   All right, cool.  Turn up now, baby.  So don't be afraid. If you turned down money, that's how you feel. That's my value. I want it to. Oh, you spent a million dollars for your people that you love in the month of December? A year, you spend a million dollars a year?  And it's rough out here. You have family members that's hoping you die so they can cash out. Man, what?  What? This episode of me and I's worth a game is brought to you by Super Cuts. Want a free haircut after this year's big game? If the big game final score meets or beats 75 points, you could win a free haircut at Super Cuts. Why 75? Because Super Cuts has been cutting America's hair since 1975. That's something to think about. I was born in 76 so they was cutting hair one year before I was born. That's a long time to be in business. So shout out to Super Cuts for that. And 75 is just happens to be the highest ever score of the big game. And that was the Eagles in the Super Bowl against the Chiefs, I believe, right? So if they score over 75 points in this year's game, Super Cuts is giving away free cuts. So we need some points on the board because there's a bunch of people out here that need to get lined up, shaped up, trimmed, slim, all on the side, tied and died. So let's score some points. So if you're looking for an over on a Super Cuts high score of 75 points for the chance to catch a free cut at Super Cuts Salons nationwide, head to supercutshighscore.com to register, read the terms and conditions, and for eligibility. I can't count. Down the south, you don't know. Down the south, there might be a lot of them, man. I don't remember. How many friends you fell out with? Oh my gosh.  Oh my gosh. I was talking about you. Like, no, dead ass, I can count all my friends on my hands, like, for sure. And half of them work for me. Damn, okay, that's cool. It ain't no friends love. But the friends that I do got, I've known them since like second grade. Oh, that's love. I'm beefing with one of my, I ain't beefing. I love you, I love you, sis. I ain't beefing with her, but one of my friends got like, she mad at me right now, because I couldn't make it to her birthday. But tell her you love her right now, I apologize to her. What's her name? What's her name? Right there. Say her name. Say her name. She's so private. I'm gonna go tell her name. Say her name. But she don't know who she is. She don't know who she is. Say her nickname. Sister, sister. Say her nickname. What's her nickname? She gon' try to put the turd on it. She's turd. Like that matter. Turd. I didn't say her nickname, cause I can't say that. But you know, when they start doing like this, she start felling herself with no reason to do that. I did apologize to her though. I did apologize to her. I'm just, I'm just gonna see y'all take off. I'm gonna get her something real nice for her birthday. I couldn't make it to her birthday vacation. She been, she had been planning this for like months. So I felt like really bad, but something came up last minute. Like I really out of my control, and I couldn't come no more. I was only gonna be there for like a day and a half or something. So I didn't want to take that flight to only be there for like a day and a half. So I had to test her. How long ago was this? What was this? How long ago was this? What's today? A week. Probably like a week ago, yeah. And she was mad at me. Like respectfully, I get it. But I also had to explain to her too. Like people don't be looking at it from our standpoint. Like a lot of people be mad at me. Like if you mad at me, imagine how my grandma feel. Like I ain't seen my grandma like a year. Hold on, hold on.  I know, I know, I know. See you out of pocket. You get too out of it. You gotta stop for nanny. It's just so much, man, listen. People don't understand.   So boom, trying to like stay like for myself like mentally afloat with that. I got a, I got a n***a at home. Like my personal like, like bitch, I don't even be feeling my n***a now.  It's to the point where like I done fired two managers like my team this, this little, like we doing everything just us. Oh, you're the fired managers. Still on.   Who, even not even just management, whoever y'all let close to y'all period. It ain't no friend of a friend.  Recording.  Like, you know what I'm saying? Like not even saying that that happened to me with that situation. I'm just saying it in a room.  But with the, with the management shit, just a plethora of things. Like I done lost deals because of management, like, like multimillion dollar deals. You won't see that. But be, whoever you have speaking on your behalf. Cause when, when we doing these deals and shit, we not speaking for ourselves.  What I tell him. He said you ain't got no manners. I said, why I need a manager on my DM me man. My trying to get exactly to me, man.  Oh, he went 30,000 to do this.    Hello. So have you ever made a mother decision without talking to me? So many I'm gonna execute you damn. Oh, you're done. Yeah You're done. Hey, you see what that is. What's that right there? I'm glad you know what it do is Because at the end of the day you I don't care if lotto charge 200,000 if a muffin said I got one 10 for I gotta come back and say they said they got She might be a Thursday and she like, you know what A lot of things the negotiable Money, but he wanted me to post three times.   What if I fall off next year?  Absolutely. This mother that started with me. They they still with me They my friend for real When I was broke when I ain't had nothing Come on, they not around for it soon as I get cold you looking for the next lot. Oh, hello These labels management all these big name of us stick it out with your team Mm-hmm, cuz they love you like what you was looking for Hmm. Oh, what's what I'm trying to add some sum summing up real quick. What? Yeah, I'm really had the people I Catch on the one-tenth day See if this ever the 10th is open don't don't don't say that too literal She she said she said the only time she give out this couch is My sister birthday my man birthday My Christmas like my mom birthday my birthday Yeah, mother's day. Oh, I go crazy. I'm mother's day. Oh my friend Well, now my friends my friends got kids my auntie's grandma's all that stuff.  Oh, no. No, I see she's on point. Oh What's that though? I ain't know that. Yeah, we gotta add uh-uh. They got a little thing.   We could talk we can know it's up, but I'm just saying that might be all right Come on, but that's still a lot for Instagram. No, hell. Yeah That's why we got to catch one on once in December What's your birthday?   You got my sister a gift in July She Right now for Christmas, but I'm getting one for my birthday anchors.  I say I'm off dad. I'm up for my son the camera Don't don't do them shades like that.  No, he didn't Say come on. Oh, dude. Don't do that. Do it.  He's in jail I Argue all the time. He got a culinary arts degree. Yeah, I'm a chef in jail.  I'm going there. I'm going there mac and cheese multiple cheese color green multiple cheeses cheddar Mozzarella Kobe Jack smoke Gouda. Come on. Stop Collar greens good ones. I make the best color greens. No cap. I've never tasted nobody color greens that tastes better than mine I love you Mimi, but they not better than mine That's my grandma Let me tell you I'm gonna tell you how it is and I'm cornbread, but that's a jiffy like I don't know how to make cornbread from Yes, your question.    Don't say that don't disrespect nanny in it.  Oh But between my mama tick tock and then just try to error so you you got a degree on tick tock you want Partially, you know, everybody thinks that they mama make the best food You grew up eating your mama Growing up my mama didn't really have time to cook so she just now starting to like Teach me how to like. Oh, this what you doing That's good Like we was in like I mean she had time but like hamburger help I ain't cooking for real I just tell you that's what my mother's grew up off these kids getting all this good-ass food these days Southsbury state Southsbury state meatloaf Shepard's pie. Shepard's pie! That was the shit!   They got it too good. I need to try to make some Shepard's pie. I ain't drink Kool-Aid though They made it like my mama You I always liked water better than everything. I don't drink like coconut water. I always like water as a blessing I don't drink soda. I'm a Kool-Aid demon.  That's so much extra calories.     That don't mean that yes It don't mean that hold on you just explained a good time to us. I was leaving out the club. I was fired up She went crazy but viral what you had some hurricane in it, which he was drinking Exact I'm just saying that's what he was a jail niggas drink old E. L. English You know, they used to be more bigger, but now it's just a crazy-ass drink.  I be like can I get a lemon jar with Tito's? I like Tito's cuz the lowest calorie. Oh, I can get drunk Keep trying to tell a boy cut the chat.  Um, shout out in me Management a meet with Tito's yet.  I get I get you. I get you Because I'm gonna be on five times it's filtered three times for a clean Chris fitness You can drink it straight up on the rocks.  What'd be talking about new Amsterdam This way one full call away at me Rip out the plastic This too, it was a lot of us doing that rip me out.   I'm like, bro You should be in the strip club. The strip is passing out plastic bags.  This is what I do Into a whole month of the battle right now She don't want that what I would R&B. She don't want that.  No, thank you Respectfully That's Well, listen, man Stop playing Well, listen, man, Sunday service It's out right now Sunday service We just want to you know, give you flowers Thank you.  We gotta give you donations because it's Sunday service We got to make sure we put something in the plate. Oh I mean make sure they got that He look for a way Hello No, I appreciate it and I'll be I'll be watching y'all like I'm happy to be here We feel the same Where's my camera? We know Y'all know I drove here, right? Y'all know I drove yeah from LA. It was that seriously. That's what's up, man I was gonna take a flight, but I just I wasn't feeling no flight.  Oh my gosh. Come on new Amsterdam hit me make me richer. So I can fly private everywhere I'm trying to fly private everywhere.  Like I was so much rather drive like so you still be going to the port That's a good thing. You're stacking that money. You said I ain't spending that 30. Come on My bank account 30s and 40s, baby. I've been getting money since 16 for real. I ain't asked my mom for nothing Since I was probably 15 by my first car first house everything like yeah I don't I'm so cheap But what is it? What's the policy?   No, baby. I built myself. You know, I'm saying that's part of the reason why I'm just like Y'all don't need to know Y'all don't need to know that baby. I'm I'm doing this on my own. Like just know that I don't Build everything on my own. I can't take what I built Baby, I was passing out mixtapes Before social media like yeah, I came up in a social media era, but I also caught the tail end of like baby I was standing on the block with my daddy hustling CDs like mixtapes like cd burners Like we would be sent up till 2 a.m. Burning them on the top.  Bitch. I can't hate me as much as you want to I'm not going nowhere because I wasn't built on social media. You can't break me down on social media It's all heavy. I was strong Well, we appreciate you.  I don't need you She didn't got her own bag. But I won't choose Eddie Listen man, we appreciate you for pulling up though.  Hell yeah, man. You feel what I'm saying? Sunday service keep going up keep doing your thing. Huh, we just get these people mean dollar every game for real for a million And it's just like that


Hi and welcome to the session. This is the body question. The question says, find the coordinates of the foot of the propellicular drawn from the point A having coordinates 1, 8, 4 to the line joining the points B having coordinates 0, minus 1, 3 and C having coordinates 2, minus 3, minus 5. So this is the propellicular to the line B, C and we have to find coordinates of M. Let's now begin with the solution. We will first find direction ratios of the line joining the points B and C. The direction ratios of line joining having coordinates 0, minus 1, 3 and C having coordinates 2, minus 3, minus 1, R 2, minus 0, minus 3, plus 1, minus 1, minus 3, that is 2, minus 2, minus 4. Now vector along the line B, C let us denote by vector B, minus 2 j cap, minus 4 k cap. Position vector point B having coordinates 0, minus 1, 3 on the line is 0 i cap, minus j cap, plus 3 k cap.  Appendicular B, C, therefore position vector of M will be 0 plus 2 lambda i cap, plus minus 1 minus 2 lambda j cap, plus 3 minus 4 lambda k cap. The A M is equal to position vector of minus position vector of A. Position vector of M is i cap, plus minus 1 minus 2 lambda j cap, plus 3 minus 4 lambda k cap. Position vector of A is plus 4 k cap.  Since vector A M is equal to vector B C, therefore we have denoted vector along B C by vector B. So we have vector A M dot vector V equals to 0. This implies vector A M plus minus 1 minus 4 lambda k cap, minus 2 lambda into minus 2 minus 1 minus 4 lambda into minus 4 is equal to 0. Now this implies 4 lambda minus 2 plus 18 plus 4 lambda plus 4 plus 16 lambda is equal to 0. This implies 24 lambda plus 20 is equal to 0. And this implies lambda is equal to minus 5 by 6. And let's name this equation as equation 1. So now we will quote minus 5 by 6 in 1. Minus 5 by 6 we have 0 plus 2 into minus 5 by 6 plus minus 1 minus 2 into minus 5 by 6 k cap minus 5 by 6. Here we will have j cap and here we will have k cap. This is equal to plus 1 plus 5 by 3 k cap.


out really establishing your fastball early on just how much of the game plan was that for you and how did that allow you to become successful and effective? Yeah, I think all the other pitches got better because of the fastball command. I was able to command both sides of the play today, go above the zone when I needed to, and everything, and it made everything much better. Had success against this team, what is it about the matchup that seems to be favorable for you? I really don't know. I can't answer that question. I just, I go out there every day, every fifth day like I do to any other team, but for some reason I have more success against the Orioles, so it feels good to do that. Aaron started walking out and you immediately put your head down. It seemed like you thought you were definitely coming out. What did you say to him to convince him? I kind of looked away until he got to the mound and said, somewhere along the lines, do you have one more in you? I go, please, let me have this one. We're up five runs, pitch time was kind of decent still, so I wanted to finish that one really bad. To piggyback on Meredith's question though, they're usually known as a pretty aggressive hitting team. Does that play into what you do pretty well or not? Yeah, I thought, obviously coming in, we knew what the game plan was. I think we attacked really well, hit two cutters pretty good off me inside part of the plate, but didn't deviate. I think going with the game plan that was set before the game and attacking those areas were the key points to the way I pitched today. Do you like thinking in this heat? It reminds me of Miami, so it wasn't too bad, but it was really hot out there. I remember going out at re-inning and sweating instantly right after the second pitch of warm-up, so stayed warm, but tough.


these different interactions we would have in a protein, both the electrostatics and van der Waals. We have some very strong interactions, we have bonds, angles, we have some intermediate definitional strength and torsions, and then we had some very weak ones such as these van der Waals interactions. The only way to properly handle these weak non-bonded interactions then I would need to describe this as this 1 over r6 attraction at very long distances, dipole-dipole interactions, and then an exponential repulsion at very short distances. This is a potential form called the Buckingham potential and this would actually work pretty darn well and it is used sometimes in computer simulations. The only problem here is that calculating the exponential function can take hundreds of clock cycles on a computer. Today you can probably do it fast on a graphics card but these models were originally developed in the 60s and 70s and then they most definitely didn't have GPUs. Is the form there important? Well yes Virginia, that form is super important if you're going to be employed at a national lab and designing nuclear bombs. But in a biophysics lab? Well I haven't checked lately but it's very rare that we have nuclear devices going off in our physics lab, biophysics lab that is. So I don't really want to, I don't worry what's happening if two atoms are literally overlapping each other. I just want something very simple and I want something that goes up quickly as I approaching unity. So if I have this one function here that is literally the dispersion that is 1 over r to the power of 6, I would now like something that and that has a minus sign. Again it's attractive, it's good. I would now like some sort of other function with a plus sign but that increases even quicker. But if I now take this 1 over r6 and that is stored in a variable, if I just square that then I get 1 over r12 and you can do the math here so that the 1 over r12 component here that will increase even faster than 1 over r6. That is just one multiplication which literally takes one clock cycle on any computer today and now I have a plus sign on that one. So what that's going to get me is I now have this simplified interaction form where at very short distances this term is going to dominate. It's not the exact potential I have down there and at very large distances this term is going to dominate and that is in practice what we all use in computer simulations. How good is this approximation? Well it's not just good, it's very very good. It's not quite as good as Buckingham but I have to confess that the Buckingham approach too isn't exact either. Remember when I showed you that atom being surrounded by all other atoms. This is really a collective effect, particularly the induced dipole measures so that you would actually not just have to calculate pairwise interactions but triple interaction, quadruplet interactions, pent-toplet interactions et cetera and that's simply completely unrealistic. So no matter what functional form we have here, if we try to parameterize that from quantum chemistry, it's not going to work well. But if I have any way except that I'm going to have a simplified form, I can now take these parameters and just put one factor on the repulsion and one on dispersion and then I try to parameterize this to fit for instance the density and heat of vaporization of small molecules and that means I now get parameters that they're not strictly exact in terms of quantum chemistry but they're very good at describing how atoms either attract each other at long distances or repel each other at least at intermediately short distances. At some point it will start deviating from the exponential but then we're no longer doing biophysics, I don't really care. This functional form is called the Lennard-Jones interactions. It's actually not a pair of scientists, it was called John Lennard-Jones and you will likely see that. Occasionally we call these van der Waals interactions or we abbreviate VDW. Personally I would say that van der Waals interactions are all the types of normal interactions including the Buckingham one I just showed you but again there's a bit of nomenclature mismatch there. The important thing is that you know what you're talking about. These are extremely weak. We might be talking about 0.1 k cal per mole. Remember that electrostatics and bonds in particular but even electrostatics that tend to be around the same atoms. An electrostatic interaction between two atoms that have unit charge and are separated by a few angstrom might be a few hundred k cal. So thousands of times stronger than electrostatics. The reason why this was still important was this effect that these all have the same sign while the electrostatics will cancel each other under many conditions. So let's look at what the functional form looks like. Basically if I am going to sum the interactions in all a molecule I would have a double sum over all the pairs of atoms and I would have one term that corresponds to the repulsion and one term that corresponds to the dispersion. And once we've done that we can actually translate these parameters and see what types of energies we're talking about in normal molecules. You don't need to know that by heart but if one starts doing molecular modeling it can be kind of fun too because roughly knowing these numbers give you a gut feeling for how strongly atoms are interacting. So in principle now we have everything to start to calculate energies admittedly in a simplified way but understanding how atoms are interacting in fairly large molecules where bonds can rotate and move. Let's have a look at that if we bring everything together.


Guitar and Excel, open chords, C major scale, F major chord and C scale. Get ready and don't fret, remember the board's fretted, so you don't have to be. Here we are in Excel, if you don't have access to this workbook, that's okay because we basically built this from a blank worksheet, but we started in a prior presentation, so if you want to build this from a blank worksheet, you may want to begin back there. However, you don't necessarily need access to this workbook if looking at this from a music theory standpoint, because we will simply use it as a tool to map out the fretboard, give us our scale and related chords that we're focused in on. If you do have access to this workbook though, there's currently four tabs down below, two example tabs, an OG tab and a blank F tab. The OG tab representing the original worksheet we put together in a prior section, mapping out the entire fretboard, giving us the entire musical alphabet, numbering the entire musical alphabet, providing a worksheet to create the scale that we're focused in on, and then giving our scale and chord worksheets on the right. We then copied this over so that we can focus on the particular areas in this case, looking at the C major scale, and then focusing in on each of the chords in the open position. We started that process with the C chord, so that's in the example C, where we hid the cells of the fretboard, so we can just see in essence the open position. We mapped out the C chord in that open position, and then we analyzed it in multiple different ways. We are now continuing that process with the F, so we copied over in a prior presentation from the OG to the F blank tab. We hid cells so that we can see only the open positions from frets 0 to 3. Then we mapped out the F chord, where we had the 1, 3, 5, the 1 being green, the 3 being red, the 5 being yellow, and we noted that we can finger this position multiple different ways as long as we're grabbing one of each color, and we will be playing in essence an F major chord. Now what we want to do is think about the scales on top of that in a similar way as we did in the prior presentation, starting with the pentatonic scale, and then looking at the major scale, then we'll put them together, and then we'll talk about the relationships between the C scale and the F major scale. It's important to remember that we're actually in the C major scale even though we're focused on an F major chord. We're really trying to map out the fretboard in this open position related to the C major scale, so we're taking now the 4 note, constructing a chord from it. The way we do that, we can take the 4 note in the scale and then skip every other note. So we've got the F, we've got the A, and then the C. But when we actually name these notes, we name them in relation to its particular scale. So we call it a 1, 3, 5, not of the C major scale but of the F major scale. In other words, if I go back to the OG tab over here and I map out something in the key of F, now you're going to have the same 1, 3, 5 as the 1 note, and there it is 1, 3, 5 in terms of its related scale. So that's kind of important to remember because when we're moving from the 1 to the 4, you could switch entirely to the F scale, the F related scale, or you can think about it inside of, in essence, the C scale and that's going to be our major focus here. In other words, when we're noodling around with this, when we're adding other notes in the pentatonic scale and in the major scale, we have two choices when we move to the 4 chord. We can switch entirely to its related scale or we can stay in the tonic scale, the root scale, our home bass, which in this case is the key of C, or we can do a modal thing which we'll talk about a little bit. Now last time, we can do that a couple different ways. We talked about if you have this F, you can think about it as we're in the key of C and then we're going to be playing an F and practicing the F. So that means that you need to keep the C as your root. So you can basically play the C and then move to the F and then we said that you can lift up any finger that you want and that should fit because any of these open notes will fit in the key of C and we're playing this F as it relates to the key of C. These three notes fit in the key of C, but not all the F scale will match the key of C. So if we think about us being in the key of C, then we can lift up our fingers and we're in the key of C. If you wanted to practice the F itself and not be going back to the C, that means that the F would then be the tonic.  So you can do it that way and you can think about basically playing in the key of F as if it's your central. One way you can think about that is you can just say, well I'm playing the notes in the key of C, but I'm using F as my tonal point, my center point. I'm always going back to F. That's the place that's my home base. Or you can basically map this out to a mode and remember the modes are to the right. So if I go to the right, we see the minor, we see the Dorian, we see the Phrygian and then we see the Lydian. And the Lydian is the F. So F Lydian has all the same notes in it as the C major. In other words, if I hid this, let's go ahead and hide this out just to check that out and go from here to here. I can hide this. And so now you can put this side by side and you can see these same notes, but now you're saying the one is in the Lydian. So now my one is the F. But now the one, four, five are no longer, you can see by the capitals here, the uppercase, the one, four, five are no longer the majors. Now the one, two and five are the majors because we basically just reoriented this so that the one is now the F, even though everything is the same as the key of C. So whichever way you want to look at it, you can practice that way and we're still basically trying to map out all of the notes that are in the key of C on the fretboard. We're just changing the focal point. Alright, so given that, let's go ahead and I'm going to unhide this again and then I'm going to hide back from three to here, right-click and hide. Alright, so then we can go down to the pentatonic. Now when we look at the pentatonic scale, that's mapped out in green now, the dark green and then we still have our F on top of it, noting that this pentatonic scale is related to the key of C, not the key of F because we're imagining we're in the key of C. These three notes are in the key of C but not all the other notes in the F major scale are. So we're still, if we're noodling around here, we can noodle around with an F and then pick these chords up which are in the key of C, imagining that C is basically our root note. Now as we do this, note that the F itself, that's one of the notes that are not included, right? Because we've got the one, two, three, five and six are the five pentatonic notes. We don't have the four and the seven. So that F actually isn't in the pentatonic scale for the key of C which we're working in. It will be in the major scale of course because we constructed it from the major scale. Now the benefit of the pentatonic scale is that it gives you a little bit more flexibility or it's safer oftentimes to play when you're switching from chord to chord for example. The notes you're playing within are usually a safer bet that they're not going to clash for example. So you might want to focus in on a particular area here. And again you might do this a couple different ways. You could say, well I'm in the key of C so you'd have to play like a C and then you could noodle around in the key of C like I could focus in on this one little bit right here. And I'm always saying that the open chords are good because I'm in the key of C. So I'm just kind of seeing what can I noodle around and then go back to the key of C. And then I'm going to switch to the F and I could do the same thing in that little square. Right and so just an easy strumming like just two down or something. And that'll help you to switch back and forth. Now when you do the down stroke on a C that kind of subconsciously puts our ear in that key. So when I play these notes you're not thinking your listener doesn't think or you don't think probably either when we're playing it. I don't think when I'm playing it that that sounds like a key of C but it does because I laid down the bass chord. And then when I switch to a key of F and I play those same notes they sound a little different because they're now playing over the F. So you just lay down the foundation with a strum, a couple of strum, C. So those sound like they're close to a C. And those sound, those are the same notes but they kind of blend into the F. The other way of course you can practice this is you can make the F the tonic or the central point. You say I'm not going to go back to the C I just want to focus in on the F. Right and then you can I'm kind of restricted myself to that little box here which is little difficult but if you do that then you can practice just basically the F. Just remember that you're playing a different mode where you could go to the mode on the right hand side and look at the modal worksheet making it the one note or you can just think of it as I'm playing the key of C but acting as though the four note is the tonic so that you're still memorizing all the notes in here as they relate to the key of C and that's important because now you're really mapping out the fretboard in these positions where your fingers can go in relation to the key of C but now you're just using the four note as kind of like the tonic and that can be fun to play with. And then you can do the major so now this is the same thing but now we have our F shape which could be this or it could be this and now we're mapping out the major all the major on top of it remembering again the major that we're mapping on top of this adds the other two notes but it's still in the key of C so we could then like I could look at this bit down here and that fits nicely into my shape so if I have this shape I can see that I can play those notes I have the open note this little box and then this note and then I have these two notes that fits pretty nicely into both of these shapes so if I was playing a C I could do that pretty easily and then if I switch to an F I could do that same thing so I'm just noodling around knowing that I can play these notes I'm focusing in on these bottom strings and I don't even need to focus in on the open ones because I know open always works so I'm really just focusing in on these and then I'm lifting up a finger so I can be like alright there's the C F F and then obviously you can add to that anything that's in the note in the that you're actually strumming to right and you can add and you can start to noodle around with that or again you could just noodle just with the F and say now I'm noodling around I'm still playing in the key of C but I'm using the four chord as the tonic so I'm going back and forth from this box to like to these and so that's the general idea and so you can kind of noodle around with that and then if you put these on top of each other now we're looking at if you think about these on top of each other the blue notes are the base the bottom the bottom part and then on top of those blue notes we put the pentatonic scale and the pentatonic scale covered all the blue notes but it didn't pick up the F because that F isn't in the pentatonic scale and then we put this one on top our chord that we're focused in on on top of that and so you can try to get a difference between what's in the chord versus the pentatonic scale versus the major scale notice when you're noodling around as well it's kind of useful if you're leading into as you're kind of noodling around if you start and end whatever you're playing on a note that's in the chord the green, the red, or the blue the F, A, or C it will usually sound better because those are the notes in the chord so you kind of noodle and then you go into these other notes as a passing through note and then you go back to one of the notes that are in the chord generally and that is it one way you can do that now you'll kind of do that naturally just kind of do that that's what will sound good so that's what you'll probably tend towards doing and then so then remember that the next thing we want to take a look at are these shapes so we said that the 145 has this shape that she can basically move up so I'm going to unhide some cells again from F to AK right click and unhide and then I'm going to hide from 12 on over here and I'm going to right click and hide so this is the position of the F so now we have F in the home position now if I'm in the key of C then the next thing we could play that's still a major is the 5 so I can go from the 4 to the 5 and then you see that we have our position here so in other words if I was to play this out I can be here and I'm just playing in the key of C but I'm starting on the 4 and then I can move up to here which is the 5 same shape up to here so that's useful to kind of practice with but then you might be thinking well what about the pentatonic shape around that the pentatonic and major shape will not be the same when I go from 4 to 5 I'm just thinking about the whole thing in the key of C if I was to switch entirely when I go from the 1 to the 4 to the 5 and switch keys then it's a different situation you could think about it either way but we're really focused in on the key of C right now so we're saying I can move this position up I can do this and I can play all the notes arpeggiate in it but I can't really move the whole and the related major shape around it up because it's not going to be the same exact shape as we move the related shape up so let me see if I can kind of map that out and we'll see what that looks like just to see that if I go into here and I'm going to say add and we'll make the rest of it blue so do we have we don't have a C so I'm going to add that and I'll make that blue and then I'm going to say ok and then insert do we have a D we have a D we don't have an E so I'll make the E blue and so there we have that and then insert and then do we have an F we don't have an F yet so I'm going to make that blue because we're focused on the 5 and so let's make that blue and then ok and then insert and do we have an A we don't have an A so I'll make that blue and so there's going to be our scale that's around it so if I looked at these two on top of each other it's a little difficult to get the worksheet sized alright so then I have the same shape here in terms of these notes but we don't have the exact same shape if I was to let's actually hide so I can see it see this one let's hide these down to here right click and hide ok there we go and I can go in a little bit but now I don't have all the blue notes on this side what if I copy the conditional formatting across I think that works I think that works that's nice alright so now I can see this shape here I can see that shape being moved up but not everything out like these two are still colored up top but this bottom bit is different so the major scale around it is not going to be the same even though that shape is the same so that's just something to keep in mind when you're kind of trying to map this out and think about what you can do, what is in the major scale because remember we're focused on the major scale so let's unhide this again and then I'm going to hide all of these numbered ones so I'm going to say let's hide that right click and hide and then this one I can hide that's not useful right click and hide ok and then I'll go down here and do it again right click and hide alright and so there's the five and then let's hide these ones and I'll select this right click and hide now and then here it is going back to the C now remember, note that we're playing in the key of C so when you're playing when you're thinking of of moving this position from here to here you could start with a C like this or you can just start with this position if you do that then you're playing in a different mode because we've eliminated the C now this C this is a different shape so the actual C shape if we were to move it up is up on this fret so I'm looking at that C on the 10 1 2 3 4 5 6 7 8 10 and I'm looking at that shape right there so that's another place that she can basically play a C so you can move this shape up here and be playing the root note if you're playing in the key of C so that's going to be that one and then let's go ahead and hide this so I'm going to say let's hide from here to here right click and hide and so this is in now the key of F so this one we actually changed to the key of F note that if you're switching if you're playing something even with the C as the root when I switch from chord 1 to chord 4 I could think of it as just those notes are still in the key of C and I'm playing that chord I'm going to noodle around the major notes around it still in the key of C or I can switch entirely to being in the key of F right I could switch the whole thing to being in the key of F and then I make that change so that when I noodle around something I'm going to play the note specific to the key of F instead of the key of C and then I go back to the key of C again right now we're really kind of focusing in on trying to understand everything in the key of C but I just want to note that for context so then but also just realize that when you have these shapes you could play with these movable shapes as though if you're playing this F then you can play the 1 4 5 starting with that shape and move it up to the relative position so if you played it this way let's do a bar chord 1 I can move that up to the 6 and then I can move that up to the 8 and I could start to see those relative positions that way and then I also just want to map out what it looks like if we if we had this F shape with the with its related scale around it so let's select this entire thing I'm going to say this is going to be equal to and I'm going to say that we're going to we're going to add actually let's just do this bit I'm going to take just this bit I'm going to say this is going to be equal to and then I'm going to add we've got the F we don't have a G we're going to make that blue making that blue and then okay and then this is going to be equal to we have an A we don't have a B in that area so I'm going to say let's make that blue and then okay and then this is going to be equal to and then we have a C is in there we don't have a D the D boom boom boom and then okay and then an E we need the E so I'm going to say let's pick up an E equal to the E boom boom custom blue okay so there so there we have it and you can see although the F is in here if I compare that to the shape we had up top this one it looks different right so I can go down and say let's hide hide these I'm going to right click and hide so now up top we have the same F shape in here but in here we're thinking of it in relation actually I hid too much I don't want to hide that much let's hide it from here to you're going too fast it's skipped right click and hide so now this shape still has the F in it but we're thinking of it in relation to the C as though it's the 4 and the blue notes around it then are in the key of C whereas this one this one down here is in the key of and the key of F so now the blue notes around this one have to make it pretty small to fit in here the blue notes around this bit from 1 to 3 are in the key of F now so you can see the shape is similar that top bit looks the same but this one is different right so you can't so that's just you just got to be careful in terms of when you're playing the F are you thinking of the F in relation to the root or tonic the key of C which is what we're doing right now because what we're trying to do is map out the entire fret board in the key of C and all the notes of the F fit in the key of C so that will sound good but you can also think about it when you're switching from the 1 to the 4 that you're switching entirely and you can switch the entire pentatonic scale to the related F and it will sound more F majorish than an F with the C with the C stuff kind of noodling around behind it so we'll talk more about that later these pentatonic shapes but right now I just want to note that our goal here is really to map out the fret board in the key of C all of the notes that we're playing at this point in time are going to be the non-sharp and flat notes which is easy to remember because those are all the notes that are in the key of C so if you're doing something that's a sharp or flat then you're doing something different not necessarily wrong but you're going to another scale somehow you might be thinking of yourself being in the key of F which you can do but you want to keep that kind of straight in your mind so that when you're practicing you have a general sense of the key that you're in because then you'll start to be able to map out the fret board in your mind, you'll be able to say the things will kind of relate to themselves a little bit more next time we'll try to name the intervals of the F, the 1, 3, 5 and map it out technically that way


Defining Talent, a Cultural Perspective by Tracy Totham Espinosa, November 2015 What is talent? How can it be identified? Who's responsible for identifying it? What is the difference between a talent and a strength? Are all talents and strengths expressed as learned skills? Are they universally valued talents or are they all culturally bound? In this conference we'll consider three different levels of analysis to explore these questions over the next few days. We'll look at talent cultivation from the government level, the individual level and the molecular level. I begin from the premise that talents must be cultivated and learned. Even if one is naturally talented in an area, that talent cannot flourish without practice. The government level At the government level, policies can be implemented to shepherd people towards one mode of talent identification or another. For example, the choice of what to teach and to whom in schools is a type of educational policy that can aid in talent identification through the opportunities provided by course offerings. Depending on what the government values in terms of competencies, choices are made about what kind of content, information and knowledge children are exposed to outside of the home. Educational curriculum choices are based on values. These choices determine how many hours a day children are in schools, who receives what type of resources, what levels of math, science, history or language they receive, whether or not they learn a foreign language or have art, music or physical education, which in turn determines what types of talents can be recognized. For example, in Germany, the students who are identified as being college bound receive physics, biology and chemistry every year starting in the ninth grade. The sheer volume of exposure to scientific concepts enhances the possibility of developing talent in science. Similarly, many students in the international baccalaureate curriculum receive courses in robotics and basic programming. Their exposure to these skillsets will enhance the likelihood of identifying talent in these areas that would be impossible without such classes. Not only content choices but also the type of pedagogy applied influences outcomes. For example, children in Finland are motivated to work together in groups to resolve problems by applying project-based learning strategies. They're encouraged to work with people with different types of talents from their own to collaborate in finding creative solutions to authentic problems. This pedagogical approach develops soft skills in which content knowledge is used as a vehicle by which to reach solutions. This places less emphasis on the content itself and more on problem-solving processes. Curricular and pedagogical decisions are priorities based on the importance assigned to competencies the government believes are of most value. Students in Germany may come out knowing more scientific knowledge, while IB kids might have better developed logic processes through programming. And those in Finland may come out knowing how best to work in collaborative groups to resolve problems. Government-level decisions also reflect philosophies about the role of the individual in society and how people contribute to the well-being of the country they live in. Governments must decide whether or not identifying the few with talent and prioritizing investment in them best represents their values or whether opting to believe that all students should be offered similar opportunities to develop their talents independent of their level is of interest. While globally lower, the second model means the majority increases their general level of education. Equally logical but different is a saying I learned when I first traveled to Japan as an exchange student in high school. There are no right or wrong choices, they're just values that manifest themselves and decisions. Each government must determine which model best serves their country's values. The individual level. We know a lot more about learning today than ever before in the history of humankind but we're still in the infancy stage of understanding the human brain. There are at least five big ideas related to human learning however which can be shared with confidence. First we know that there's no learning or the development of one's talents without both attention and memory. Memory and attention are vital in order to learn anything in life or in school including the development of a talent strength or skill. All memory systems short-term working long-term semantic long-term procedural emotional etc and all attention systems alerting sustained orienting executive functions must be primed for a person to learn efficiently. Second memory and attention can be enhanced or impeded by emotional states and we know that there's no decision making without emotions that is emotions and cognition are inextricably linked. Third and very related to the first point human talents are developed when the individual finds sense and meaning in his own learning because he pays more attention and remembers more. Sense the why and how of learning and meaning the what and in what context of learning together results in authentic learning or learning that the individual wants or desires based on his intrinsic needs or motivations. Fourth we know from educational research that the single greatest factor influencing learning outcomes is the learner himself and his attitude or belief in his own ability to learn. If he thinks he can learn he most likely will learn but if he thinks he's incapable of learning he will most likely not even try. Having said that however the research also tells us the student develops this self efficacy based on what the teachers around him make him think about himself. Teachers not family members are more influential in cultivating self-belief about learning potential. Student-teacher relationship can be pivotal in developing talents or in suppressing them. Fifth an individual's motivation to invest in his own talents can come from many sources. There are two basic pairs of motivators in classic psychology positive negative and intrinsic extrinsic. While we know humans can and do learn in all combinations of these pairs each has a different route and a different level of long-term efficacy. A person can develop a talent intrinsically and negatively I don't want to let my family down extrinsically and positively if I do this well the government will give me a reward or extrinsically negatively if my boss doesn't like this I'm ruined forever. But we know that when a person learns something intrinsically and positively both the speed of learning and the ability to transfer the learning to new contexts are enhanced. Learning is best achieved in a positive intrinsic manner. The neuronal level the third level of analysis is at the level of individual cells. The molecular level of learning is dependent on new synapses electrical synapses usually do one of two things. They either release or inhibit chemicals or hormones neurotransmitters in the brain. The right combination and balance of chemicals is present then a new connection can be made new learning can occur and talents can be developed. Neurotransmitters that facilitate learning are also enhanced by the release of dopamine which is associated with pleasure. Additionally when an individual feels motivated and when learning is authentic learners spend more time developing talents. The more time on the task the faster the learning and the quicker one reaches expertise. However learning does not always occur as designed. If an individual is highly stressed for example the delicate balance of the right hormones in the brain is not achieved and learning does not occur. What's more not only must the connections be made but also to retrieve stored information in the brain neural pathways must be reinforced through practice. This is why a certain level of rehearsal or practice is needed before real learning can be established. The more repetition the faster the retrieval the more accessible the memory and therefore the speedier the new learning. People who love what they do can spend endless hours on a single task. Time flies when you're having fun. This is why motivated people can move from novice to expertise quickly. However the opposite is also true. If you hate the task but are forced to do it time will seem to go by slowly or even freeze and learning takes on a laboriously sluggish pace. Educational and psychological constructivism have been used as platforms upon which to develop the idea of neuroconstructivism or the way the building blocks of the brain stack lower levels of knowledge before being able to develop higher levels of thinking. Some say talent is innate and carried in one's genetic makeup. A person born with a talent will need less practice or time on task before the skills related to the talents are observable. Others say that with enough practice or hours of rehearsal anyone can appear to have a talent. That is while no one denies that innate talent exists human potential means that many people can reach the same levels of expertise independent of their innate level of talent if they invest enough hours of practice to do so. Measuring innate talent is difficult. We know more about atypical brains than normal brains and we can only guess about what talented brains look like. While neuroscience is excellent for noting when the right connections are not made it's more difficult to identify when an individual has a specific talent.  In summary there are many different levels of analysis from which we can examine human talents strengths and skills through the learning process. On the government level we must philosophically decide on how our country chooses to express its values through what is taught to whom for what periods of time and with what kind of a teacher. On the second level of analysis we must consider if the individual has the proper conditions in which to learn. Our both attention and memory enhanced through correct pedagogy is motivation in its best form and used to drive learning processes in a healthy way. Do we have teachers who instill in students a sense of self-worth and belief? And at the neuronal level have we created the best conditions under which people can maximize their potential? Country examples. To conclude I'd like to offer a few country examples of policy decisions and their repercussions related to talent identification and cultivation. Ecuador created a national university system run by the Human Talent Office which sought to identify the best high school students and send them to special institutions for programs in the arts, science and technology, education or environmental science. They did not contemplate two important considerations which impeded the program's success. First, students were not given the choice about where to go. They were given an aptitude test and told which area they should study. Many students were demotivated by the lack of choice and dropped out of the program. Second, the government did not seem to understand that in order to get high quality university entrance they needed to have high quality high school students and that this in turn depended on the quality of the primary school students which depended on the preschools which depended on the families nurturing their children from pregnancy onwards. The government soon found that it just didn't have enough candidates to fill its beautiful universities because they'd not invested enough in other levels of education. The lack of individual choice in the decision-making about the talent development and the lack of systemic thinking made Ecuador's investment in education less than efficient. In the United States in the 1950s and 60s the government thought it was a waste of money to make everyone take foreign language courses and decided to filter out those who had a talent for languages from everyone else and give the elite group resources time teachers and drop foreign language requirements for the rest. The government implemented a test to identify this talent the modern foreign language aptitude test and reduced the number of people learning another language. In the early 2000s however many realized what a mistake this had been in light of the new research which shows the many multiple benefits of bilingualism and multilingualism including improved general cognitive skills executive functions and better thinking overall. The US is now scrambling to construct better foreign language programs but has a deficit of hundreds of thousands of qualified teachers. Their short-term savings seems likely to create a heavy cost in the long run. In Finland there was a concerted effort by the government starting in the 1970s to revamp education from the top down. There was a firm belief that you can't get apples from a pear tree so they opted to invest in teacher education programs. Today all of Finland's teachers have master's degrees and is one of the world's leaders in educational innovation. However this was not the only change made almost every child in Finland receives special needs help at some point in his or her academic career that is the government presumes everyone will need a little bit of extra help at some point in their education and they provide it. Special needs are not just learning difficulties they include giftedness the government presumes that all people will have strengths as well as weaknesses in their learning profile and it therefore provides services to help remediate as well as cultivate talents. He's taken Finland 40 years to reach his initial educational goal and the overall education level of population is testament to his development philosophy. Germany has a strict numerous classes program in which children are identified as early as fifth grade 10 years old and tracked into one of three types of education programs university bound technical professionals and simple laborers. The system has produced some of the brightest minds in innovation but has prevented unknown numbers from reaching the potential due to the early tracking. Similar systems exist in parts of France Switzerland and Holland. Early tracking provides enhanced opportunities for those who are identified with talent but reduces opportunities for the majority and or late bloomers who might not be strong in the primary years but who could potentially display talents in secondary school. Given current research and the understanding of expectations on learning students rise to the level expectations placed on them one can't help but wonder what would happen if you were to believe that all students had the potential to learn at the highest levels. Other countries such as Singapore Japan and Korea have opted for longer hours for all students and as a result of extended study time more practice and repetition they have managed to elevate themselves on the world stage with exceptional test results in the areas of extra practice. Many of these country leaders however lament that their investment has been on teaching to the test as opposed to developing soft skills such as how to think outside of the box or to work with head of genius groups. This means that their policy was successful in improving test scores but upon reflection higher test scores were not what they really valued. Universally appreciated talents these examples beg questions about what types of talents if any are valued by all countries. Is talent countrywide development or individually focused skills identification? Is it content area specific math science technology etc or soft skills driven problem solving skills collaborative communicative critical and creative thinkers etc is it innate or is it cultivated? Final reflections all of these examples bring us back to the first point. Countries adopt policies that reflect their value systems so what are the values we believe to find us? Do we believe everyone has the potential to learn or do we believe that there are strict limits on human potential? Are we willing to invest in long-term benefits or are we in need of short-term results? Do we think there should be equal opportunity for all or do we think that investing in a few individuals is the natural order of societies? And finally who should identify a person's talent? The government or the person himself? No one can or should dictate to another how to make these hard choices about the best ways to identify and cultivate talent. One can ask respectfully however the decision makers keep these different levels of analysis in mind as they contemplate their options. Thank you.