Hey guys, welcome back to theCUBE's continuous coverage. Day one of AWS re-invent live. That's right, live in Las Vegas, I'm Lisa Martin. Pleased to be here. We are running actually one of the industry's most important hybrid tech events with AWS this year and it's huge ecosystem of partners. We have two live stats, two remote studios, over 100 guests on the program. I'm going to be talking about the next decade in cloud innovation. I'm pleased to welcome back one of our alumni and a new guest to the program, Sabina Joyce, Sabina Joyce of GM of Technology Partners at AWS joins me, as well as Scott Owen, the VP of Business Development and Global Channels at Airstrike. Guys, welcome to the program. Thank you for having us. It's good to be here. It's great to be here live. It's amazing. Absolutely amazing. It's fantastic. Let's go ahead and give the audience an overview of your roles. Sabina, we'll start with you and then Scott will go to you. Great to see you again, Lisa. Likewise. General Manager for Technology Partnerships globally out of the Americas and we also help partners out of EMEA and APAC grow their business in the Americas. Awesome. Scott, go ahead and give us an overview of Airstrike and then your role, if you will. You bet. So Airstrike, we have two offerings on the AWS Marketplace, our e-signature offering, which is signed now, and then our no-code workflow automation, which we're really excited to bring on the marketplace. I lead our business development and channels organization for the company, global partnership with AWS. We're very excited about it. Talk to me about some of the challenges, the tools that you just mentioned. What challenges are those solving for customers in any industry? Some of the biggest challenges right now, obviously we are in a COVID environment and companies are trying to drive automation, optimization, especially for remote workers today. And so part of our solutions is obviously solving that in a very, very big way on a global basis as well. What are some of the key trends that you're seeing? We've seen so much flux and change in the last 20 months, but what are some of the key trends, especially as it relates to workforce productivity with those work from anywhere environments still persisting? It's still persisting and I'd say the challenge is we're in a hybrid mode where you have both coming to the office, not coming to the office, but still very remote. Just last week's announcement of a new variant, for example, forcing everybody back out of the office, back into a remote environment. So flexibility around supporting that hybrid workforce is key right now. And of course here we are at a hybrid event. There are people here, a lot of them in person, but there's also a lot of content that's going on virtually for those folks that weren't quite comfortable coming back to an in-person event. But let's talk about how AWS has been helping joint customers with AirSlate through the pandemic over the last 20 months as we saw this scatter and now this work from this hybrid kind of work environment. Yeah, so I Scott mentioned that customers are really looking for business automation solutions and it has rapidly increased the last 20 months. We've been really working together to help both workers and businesses adapt to this remote environment and customers are looking for simple and cost-effective solutions. Anywhere from improving and automating their business workflows with e-signature solutions, all the way to complex processes with no code capabilities and AirSlate does a great job of providing these solutions for our customers. Now some of the things from a business automation perspective that are critical these days is anything contactless. Talk about e-signatures, for example. That's really became table stakes in the last 20 months. Scott, talk to me about how you would, from a business lens, describe the partnership that AirSlate has with AWS. Yeah, for our company it is the most strategic partnership that we have and it's all the way from our board level to our executive leadership team all the way throughout our organization and it's our most strategic partnership. And one of the things that we know and love about AWS that we've talked about with Sabina is their customer first focus, their customer obsession. From a cultural perspective, is there alignment there with AirSlate's culture? 100% and one of the cool things about the AWS partner program which we're in a high echelon period is the focus on the customer, the customer can reduce their EDP commit by buying solutions like ourselves on the AWS marketplace. As well as the AWS account executives are also paid and incented to sell our solution as well. So it's a one plus one equals three scenario. That's a good scenario, one plus one plus three. Sabina, talk to me about the evolution. How long have you guys been partnering with AirSlate and talk to me about the evolution of the partnership? Yeah, we've been working together for a few years now but I would say the last 15 months we've really accelerated that partnership again because of customer need and really built out high velocity co-sell motions. We made available to AirSlate our partnership resources both from commercial and public sector to scale the sales motion. As Scott mentioned, they're available in marketplace and they're also part of our ISV Accelerate program which means that our sales teams are incented to work with AirSlate to close opportunities. And the key is all of this has led to 250% increase in customer wins year to date as compared to 2020. So that really speaks volumes with the partnership and the need that we are solving for our customers. Amazing, amazing growth, 250% in a year's period during a pandemic. That's massive but we saw the acceleration of cloud adoption of digital transformation and this dependence on SaaS and cloud for our business lives, our daily lives, our consumer lives that was really absolutely critical. So Scott, from your perspective what are some of the key aspects of the AWS relationship that you think really contribute to that success and that big metric that we just mentioned? Yeah, absolutely. Well, the metric is driven by the partner programs. When you have a customer that can buy on the marketplace reduce their EDP commit, you've got account executives that are incented to resell us. But for us, we have really great leadership support around the globe. We've created joint KPIs of which we all have stacked hands on and said, here's the KPIs we want to deliver as a joint partnership and we're delivering those which is creating these results as well. Can you share some of those KPIs even at a high level? Yes, a lot of them are what opportunities in our renewal base can we bring into the AWS ecosystem if you will as well as nearly every deal that we're in we're asking is this an AWS customer? Is it a green field opportunity for AWS and bringing the associated teams together to close that opportunity? Talk to me Scott about some of the business outcomes the benefits that your joint customers are achieving leveraging the power of this partnership. Absolutely, well there's enormous cost savings in the solutions that we bring to the table creates the optimization that we talked about that they need. It's also driving that digital transformation. Any company, any size in order to survive has to move digitally into this new space and we believe that the two offerings we bring to the marketplace can solve that for them. Yeah, that's one of the things that we saw. There's definitely some silver linings that have come out of the last 20. I'm losing count, 22 months, something like that. Something like that. Right, a time to value is absolutely critical. Let's talk about now go to markets. I've been going back over to you. How does AWS support partners like AirSlate and take in the solutions to market? You talked about the marketplace but talk to me about that from a strategic perspective. Yeah, so one of the things we are very focused on is creating business automation solutions especially for industry verticals across automotive, telecommunications, healthcare life sciences. And AirSlate really has solutions that help address all of the horizontal use cases and the vertical use cases which means then we can focus our demand generation activities and actually help both our direct sales team and also our channel partners really, really scale. So again, it's kudos to Scott and the AirSlate team in order to be able to really scale this partnership but most importantly help our customers through these really tough times in the past 20 months. And you mentioned that with the Omicron variant. Variant being announced just in the last week of course these challenging times persist and this uncertainty persists. So it's important to have partnerships but I also imagine Scott from your perspective being able to show transparency to the customers that you're really one team with AWS, with your channel partners. Talk to me a little bit about that. What does customers actually see and feel? Well we're excited especially around the ecosystem piece. Just for example in the last few months we've been able to activate 35 of AWS's largest channel partners due to the fact that we are in this hand stacked KPI go to market together and so the ecosystem of AWS is the trusted partner of almost every customer and we are trying to advantage ourselves with that trusted relationship bringing a set of solutions that helps drive the customer's outcomes. You mentioned an important word there Scott that trust. That is critical for every company that is becoming a data company. If they haven't become a data company by now they're probably not going to be around much longer. Talk to me about from a trust perspective what that means for your customers to be able to adopt these solutions, automate their businesses, allow their folks to work from anywhere and have that trust in this solid partnership and technology. Well and that's the benefit of the AWS partnership. When you think of security, reliability our entire offering base is completely on the AWS infrastructure. So we bring that trust of, you can trust the technology that it's sitting on. You can trust that it's secure, that's reliable and we're bringing a set of solutions that drives those customer outcomes which is cost savings, optimizations, et cetera. That combination is a win-win out there. And that outcome-spaced focus is critical. What are some of the things Scott that folks can learn at Air Slate's booth this week at Reinvent for those folks that are here in person and those folks that are attending virtually? Great question and I love that question. First and foremost, both offerings are on the AWS marketplace but we're the only e-signature offering on the marketplace and we're the only end-to-end workflow automation offering on the marketplace as well. So again, important to note, we're on that AWS marketplace. AEs from AWS can take advantage of that and customers can take advantage of that and we take advantage of it just to our great go-to-market partnership. Great go-to-market partnership but also I'm hearing a pretty significant differentiator being the only ones in the marketplace with those. Talk to me about, I mean, one more question, Scott. How does that facilitate customer conversations? I imagine that's a huge differentiator for Air Slate. This is a significant differentiator to us, obviously. But again, it's the power of one plus one equals three in the partnership. We brought a set of solutions that the customer needs. We do it on the AWS marketplace and the AWS infrastructure that we sit on that creates that trust factor that you mentioned. Yeah, and I have to add, right, that Air Slate and team, when they saw that they were the first, right, they embraced that and they broke ground and they listed on marketplace and that's paying off for them. Very smart. Well guys, congratulations on your joint success. Your go-to-market strategy seems brilliant and we look forward to hearing many more successful years from Air Slate and AWS together. Thank you for your insights. Thank you for having us. Thank you. Thank you for that. Thank you. You guys were great. For my guests, I'm Lisa Martin. You're watching theCUBE live from AWS re-invent the leader in global live tech coverage.


J-E-L-L-O! The Jello Program starring Jack Benny with Mary Livingston, Phil Harris, Dennis Day, and yours truly, Don Wilson. The orchestra opens a program with you walk by, played by the orchestra. And now, ladies and gentlemen, I'd like to explain why Jack Benny is not here for his customary introduction. As you may remember, Jack has been having a lot of trouble lately with Paramount regarding the premiere of his picture that he recently made with Fred Allen. Yeah, that's right, all right. Last week, Jack spoke on the telephone to Mark Sandrich, his director about this matter, but, uh, got absolutely no satisfaction. Yeah, he spoke on the phone. Then he got in touch with Mr. LaBaron, who is in charge of production at Paramount, and also Mr. Freeman, the head of the studio. But in neither instance was Jack successful in achieving his purpose. Oh, it was awful. Dennis, please, I'm trying to explain something. Say, Don, I thought Jackson had that premiere all set for Walt Keegan. What's he beefing about? Well, it's not settled yet, Phil. In fact, Jack is over at Paramount right now trying to sell Mr. Sandrich the idea. Mary is with him, and I doubt very... Oh, Mr. Sandwich's office. Sorry, he's busy right now. Very well, I'll have him call you. Now, look here, Miss Wellman. I've been waiting an hour and a half to see Mr. Sandrich. Will you please do something about it? I've already told you, Mr. Benny. He'll see you just as soon as he's through with his conference. Conference, conference. Who's he in conference with? You're at the keyhole. You tell me. I'm not at the keyhole. I'm bending over to tie my shoe. How can you tie a shoe with buttons on it? All right, I'm buttoning my shoe. My goodness.  Listen, Mary, I don't like being kicked around like this. The premiere of my picture is going to be held in Walt Keegan. I'm going to settle it right now. But they already promised, Fred Allen, that they were going to have it in his hometown. Old Orchard, Maine. Old Orchard, Maine? What a hick-burg that is. Oh, it's not such a small town. It isn't. Why, in Old Orchard, you can buy a sack of potatoes, a plug of tobacco, a brazier, and a dish of chow mein in the post office. Talk about a small town. I played there in Broadable once, and there were only eight people in the theater. That happened to you in Pittsburgh, too. It did not. And another thing, who'd go to Old Orchard a summer resort in the wintertime? Well, you should have heard Alan Wednesday night. He said he was going to go to Old Orchard. Old Orchard, a summer resort in the wintertime. Well, you should have heard Alan Wednesday night. He said there's more life in Old Orchard closed up than there is in Walt Keegan, wide open. Oh, yeah? Well, he ought to be in Walt Keegan on a Saturday night. Talk about excitement. Well, you can hardly cross the street without getting run over. Well, naturally. What does a stoplight mean to a horse? I'm talking about automobiles. Let me tell you something, Mary. That town is pretty busy. Yes? Yes, Mr. Sandwich. Yes, Andy Bay's ill-stay-ear-hay. And tell him I'm going to A-stay-ear-hay, too. And I have to pull that pig-lap now me, Miss Wellman. I've been around. Oh, Jack, will you please sit down? You make me nervous. All right. Pardon me, sir. Is this seat taken? No, I'll move my diebeat. Thank you. I notice you sitting here. Are you waiting for Mr. Sandwich, too? Yeah, I've been trying to see him for three days. I'm a writer. A writer, eh? Yeah, my name is Ernest Hemingway. Ernest Hemingway? Gee, Mary, this gentleman here is Ernest Hemingway. Not Ernest. Ernest. Ernest. Oh. Ernest Hemingway. Oh, Ernest Hemingway. Yeah, the Heming's in the middle. Oh, I see. Then you're not the famous author for whom the bell tolls. Oh, I ain't even got an alarm clock. Buddy, say, Mary, this guy looks like an ex-prize fighter or something, eh? Yeah, I'd hate to lose a dime in his ear. You said it. Good afternoon, Miss Wellman. Is Mr. Sandwich in his office, please? Go right in, Mr. Lopez. He's expecting you. Gracias. Hey, wait a minute, Miss Wellman. I was here before him. Who's this Lopez guy? Mr. Sandwich is taking rumble lessons. Rumble lessons? That's fine. He takes rumble lessons while I sit out here and wait. Who was Sandwich before he directed my pictures, anyway? Who was he? Yes. Why, Mark Sandwich directed some of the best pictures Fred Astaire and Ginger Rogers ever made. That's so.  You call those pictures? Did he direct Mr. Deed's ghost to town? Or Mr. Smith's ghost to Washington? No, but he's going to direct Mr. Benny's ghost to Old Orchard. No, no, he's not. Anyway, Mayor, I should think you'd be on my side in getting this premiere settled. Well, I don't want to go to Walkiegan and get caught in all that traffic. Oh, keep still, will you? Hey, buddy, who's the dame? Oh, pardon me. Mr. Hemingway, this is Miss Livingston. Pleased to meet you. The feeling is mutual. Mary, please, he's an author. Incidentally, what have you written lately, Mr. Hemingway? Did you say gone were the wind? Yes. Well, I wrote a sequel to it, back with a breeze. Well, is it any good? It didn't intrigue me. Oh, well, you're just modest. Uh, hello, Ms. W. Is MS tied up? No, go write in BG. Okay. Hey, who's BG? He's with RKO. Okay, MNX. What is this, anyway? For heaven's sake. Oh, Jack, here's a movie magazine. Read it and relax. Okay, give it to me. Fine move to look at a movie magazine. Hey, buddy, your face is familiar. Are you Jack Benny the new dog catcher of Beverly Hills? That's what this bag says. I just took off us last week. Oh, Jack, look at the magazine.  Look at the coconut grove. Oh, yeah.  You'd think I'd be smiling or something. That's a coconut. You're on the left. Oh, yeah. Yes, I am smiling. Well, I must put this in my scrapbook. Yes, sir. Oh, hello, Rochester. Say, boss, I think I ought to move the car over to the parking lot across the street. Leave it where it is. I'll be out in a little while. Yeah, but I've been parking the ten minutes over three hours. What's the difference? The policeman won't bother you. He won't, eh? No. This ticket he gave me ain't for the ballet roost. He gave you a ticket. Why didn't you talk him out of it? Why'd you tell him you just pulled in? He'd never believe that, boss. Why not? I was asleep in the back seat. You imagine that, Mary? Well, it's not his fault. It is, too. Rochester can sleep on his time off. Time off? Yes. Boss, you got me so used to working that last night when I was asleep, I picked all the cotton out of my quilt. Never mind. Now, go out and move that car across the street. Okay. You want me to put it in the 25 cent lot or the 15 cent lot? Well... What am I talking about? Hold on, boss. Always thinks he's so smart. Where he pays for that quilt he pulled apart. Hey, Miss Wellman, what about Sandridge? Am I going to see him or not? I've been waiting here all... Hello, Miss Wellman. Is your boss tied up? Go right in, Mr. Welch. He's expecting you. Thanks. Hey, wait a minute. How does that guy get in so quick? That's Mr. Welch. He's a salesman. Well, it's a fine thing when a salesman can get in ahead of me. What's going on here, anyway? I'll keep your shirt on. What did you say? Do you want me to slug her for you, buddy? No, but thanks. Just the same. Come on, Mary. We're going to Mr. LaBaron's office. I'll get this thing settled once and for all. All right, all right. I'll go with you, buddy. So long, Miss Wellman. Thanks for everything. Leave me. I'll tell Mr. LaBaron plenty about how Sandridge gave me the run-around. Now, let's see. Where's his office? Programs, programs. You can't tell LaBaron from Sandridge without a program. Oh, get away from me! Come on, Mary. Yes, Mr. LaBaron? Yes. Yes, he's still here. He's going to stay here, too. I've told him that, Mr. LaBaron, but he says he wants to settle it right now. Very well. Now, what did he say? Can I go in to see him? Not yet, Mr. Benny. He's in the midst of a very important meeting. Meeting conference. That's a lot of bologna. Now, see here, Mr. Nelson. I know what's going on.  I wouldn't pull anything over them. They're beautiful. Now, wait a minute. Just because my eyes happen to be one of my best features, you don't have to give me that soft soap. I know what time it is. Oh, Jack, sit down, will you? All right, all right. Hey, look out for my baby! Oh, pardon me, Mr. Hemingway. Do you have to see Mr. LaBaron, too? Yeah, I want to show him a new story I wrote. It'll make a supoid picture. Oh, what's it about? Well, it's about two people that are thrown together by fate. Then through the intervention of circumstances, they are split up. But they still yawn for each other. Yawn? Yeah. And although there are moments of stark tragedy, there is a strong undercurrent of love and passion. Well, what's the title of your story? Desire like anything. Well, it really sounds like a great plot. You know, Jack, that would make a swell picture for you. It would? Yeah, I can see either you or Ronald Coleman in it. Yeah. Yeah, I guess Coleman can handle it, too. Although... But he'd never be as convincing as you. Huh, Jack? Well, I wouldn't say that, but he... He hasn't got near the class you have. Well, now that you mention it... I ought to punch you right in those big blue eyes! Mary. Oh, that'd be a shame!  Now, Mr. Hemingway... Yeah? The premise of your story is very good. But I'd like to suggest a few changes. For instance, at the beginning, when the couple are together, they... Hey, what's that marching going on out there? That's Cecil V. DeMille and his staff! Oh. Well, they keep step perfectly. What was I going to say, Mr. Hemingway? A story like yours should have more... Hello, Nelson. Is Mr. LeBaron tied up? Well, go right in, Mr. Welch. He's waiting for you. Thanks. Hey, wait a minute. How does that guy always get in ahead of me? Well, that's Mr. Welch. I know, but who's Welch? He sells Christmas cards. Well, that tops everything. So mad I can't see straight. Oh, Jack, don't be so jealous. He probably buys cards from him every year. I don't care about losing a sale. I want to get this premiere sale. Well, settle it later. I'll settle it right now. Now, look, Mr. Nelson. This is a very important matter to me.  Hello, Jack. Here comes the mill again. Oh, nuts! I'm always marching. I suppose a guy with flat feet couldn't work for him. Well, as long as I have to sit here, we might as well eat lunch. Open the box, Mary. I'm going to hunch that I'd be tied up here all day. What do you have, Jack? Let's see. Mary, don't squeeze those sandwiches. The peanut butter is coming out. Oh, you and your darned peanut butter. Don't you ever have meat in the house? There's some pressed ham there. Look under the bagels. Now, give me one of those hard-boiled eggs. Say, those sandwiches there look good. Oh, pardon me. Would you care for something, Mr. Hemingway? Call me, Ernest. We're going to be together for a long time. Yeah, it sure looks like it. Now, see if there's any salt in there, will ya? Hey, blue eyes. Will you please throw those egg shells in the basket? All right. You should stop calling me blue eyes. Makes me so self-conscious. I'm sorry I've got them. Yeah, I wish we had some coffee. Hey, Oinus, do you want a hard-boiled egg? Yeah, I have one. Thanks. Say, boss. What is it, Rochester? I'm still waiting for ya. Won't be long now. Did you put the car in the parking lot? Yes, sir. You'd have done it in the first place. You'd never have gotten a ticket. By the way, boss, getting to that parking lot involves a left-hand turn in the middle of the block. Well...  Uh-huh. Well, I made a big aid and got you more tickets. That's the last straw.  Tell him you're working for Jack Benny, the movie star. I told him that. He threw his book at me. Now go sit in the car and wait for me. Okay. I get into more trouble. Let's see what else is there to eat here. Hey, buddy, whatcha got for dessert? Here it is right here. Jello. Oh, yeah. That has them six delicious flavors.  With a lemon, with a lime. That's it. It's very tempting. You don't have to tell me. My mother makes it all the time. Well, I'm glad to hear it. See, Mary, this is sort of a picnic here, isn't it? Oh, hello, Miss Martin. Hello, Frank. Is Mr. LaBaron busy? Yes, but I'll tell him you're here partly.  Hey, that's Mary Martin, the leading lady in my picture. Darn this three-decker sandwich, I can't see a thing over it. Gosh, isn't she pretty? Oh, every girl is pretty to you.  Hello, Miss Martin. Oh, hello, Jack, dear. How are you? Gee, it's good to see you again, darling. Dear darling, you actors make me sick. Now, stop. Mary, this is Mary Martin. Hello, honey. How long have you been a blonde? Mary. Mary Livingston and Mary Martin. We both have the same first name, haven't we? What do you want me to do? Change mine a butch? Mary, behave yourself. My heart belongs to Daddy.  Now, cut that out.  I can't understand why our relationship has been strictly business. Well, it might have been with you, but some of those love scenes we did in the picture were a bit on the torrid side. I'll bet you won't forget my kisses for a long time. Hey, Miss Martin? Loud, weren't they? Oh, now, Miss Martin. All of a sudden, I like her. Mary, please. Hey, buddy, who's the dame? Oh, pardon me, Oinus. Miss Martin, this is Mr. Hemingway. I'm very glad to know you. Oh, boy, if you only meant that. Oinus! Say, Miss Martin, you know, I'm the new dog catcher in Beverly Hills. I was elected last week. Well, congratulations. I can't wait till I get home and tell Rover. Rover better have a license. I don't play favorites, you know? Mr. LaBaron, I'll see you now, Miss Martin. Oh, thank you. Well, I've got to go in now, Jack, and sing one of the numbers from our picture for Mr. LaBaron. He hasn't heard it yet. Oh, well, say, I'll go in with you. I've got to see Mr. LaBaron anyway. Just a moment, Mr. Benny. He wants you to wait until Miss Martin is through. Well, now, wait a minute. She sings that song to me in the picture. There's no reason why I can't go in with her. Oh, Jack, sit down. I won't sit down. Now, this way, Miss Martin. So long, Jack. See you later. Goodbye. I mean, goodbye, dear. Now, listen, Nelson. This whole thing is your fault. I bet you didn't even tell Mr. LaBaron I was waiting.  That's only in Beverly Hills. I can't see Sandra. And now it's LaBaron. Well, I'm going over to see Mr. Freeman, the head of the studio. That's why I'm going to see Mr. Freeman. Come on, Mary. All right, all right. Wait a minute, buddy. I'll go with you. It's the most embarrassing thing I ever heard. I'll tell you what the feeling about it. Great is your path, and firm is your step. And then at the north bank, it's July the 4th. Isn't that just life? Isn't it odd to walk off to a dream and say, Don't I know you? Weird to hear miracles talk and say, Clear is your mind, and strong is your will. A mountain is simpler to shout. Boom goes your apple cart. Isn't that just like love? Isn't it odd to walk off to a dream and say, Don't I know you? Weird to hear miracles talk and say, Well, how do you do? Clear is your mind, and strong is your will. A mountain is simpler to shout. Well, Miss Brecker, how long will I have to wait? Just a few minutes. Sit down, kid. You know, I won't have any trouble getting in to see Mr. Freeman. He's a southern gentleman.  Oh, don't be funny. Say, buddy, you want a little snort while we're waiting? Oinus, put that bottle away. Here, give it to me. I'll throw it out the window. Don't do that. You'll blow the joint up. Oh, my goodness. What is that stuff anyway? Hello, Miss Brecker. Here's that film Mr. Freeman wanted. Thank you. Oh, Mary, there's the cameraman to photograph me in most of my pictures. Hello, Teddy. What's the matter with that guy? He always does that when he sees me. Hey, Miss Brecker, I don't want to seem impatient, but I really got to get out of here. Would you please check with Mr. Freeman again? Very well. Oh, Mr. Freeman, that Northerner is still here. Northerner? Well, Keegan is just over the line. What's the matter with her? Yes, Mr. Freeman, I'll tell him. Well? Mr. Freeman said he'd be with you in a few minutes. A few minutes? A few minutes. Don't you start pulling that stuff? Well, don't you get tough with me. I'm big enough to throw you right out of here. Oh, yeah? Yeah. All right. I wish you'd turn around. I'd like to run a whole movie on your back. That's all I can do now is sit here and wait. Hey, Onus. What? What do you have to see Mr. Freeman about? It's that love story I wrote. I want to try and sell it. Oh. Did you like it, Toch? Yeah, it was swell. Jack, what are you doing with that electric razor? I'm shaving. What do you think I'm doing? Mr. Benny, there'll be no shaving in this building. Oh, no. Well, my whiskers grew in this building, and I'm going to whack them off him. All right. You think I was using up $1,000 worth of electricity? Oh, hello, Colonel Beaumont. Hello, honey child. I wonder if I could see Mr. Freeman. You sure can. Go ride him, Colonel. Thank you, ma'am. Hmm. Hmm. Well, that's the way. Say, honey child, I'm Papa. You were asked to see Mr. Freeman off health.  Well, Colonel got in that way. There was something southern about me. I got to see Freeman. Why don't you show your Confederate money? I gave it all to Dennis the first year he worked for me. Now, look, Miss Brecker. I'm going to wait just five more minutes. And if I don't get in there. Hello, Miss Brecker. Go ride in, Mr. Welsh. Mr. Welsh, he sells Christmas cars. Well, it's almost Christmas, isn't it? You're darn right it isn't. I don't want to hang up my stocking here. Now, this is going just far enough. What are you talking about? I'll tell you what I'm talking about. I don't mind waiting in Mr. Sandwich's office for three hours. And I don't mind getting the run around for Mr. LeBaron. But when a salesman can walk in here and see the head of the studio without any appointment. Can I speak to you a minute, boss? I'll see you later, Rochester. Well, I've been sitting here. You know those three tickets I got? Well, I've been sitting here.  What? See you later, boss. Now, listen here, Miss Brecker. I'm a pretty big star whether you know it or not. And I won't stand being kicked around.  I even had a shave here. Your bath is ready, Jack.  Miss Brecker, I'll give you just two seconds to press that buzzer and call Mr. Freeman. Here comes the bill again. Who cares? Now, that's final, Miss Brecker. Do I get him there or not? Oh my goodness, what's that for? They play Dixie every time. He's going home. Come on, Mary. Okay. I'll go with you, buddy. Come on, Oymus. I'm going to oversee Barney Dean. Barney Dean? Okay. Only the janitor, but he'll speak to me. Around the football stadiums, these crisp autumn afternoons. Hey, Mary, you know what? What? I should have asked Mary Martin to take my side about the premiere being held in Waukegan. Well, what good would that do? What good would it do? Can't you see there'd be two of us for Waukegan and Alan wouldn't stand a chance? See, I wonder where I can find her. Well, she's on the Maxwell House program Thursday night. Why don't you go over there and speak to her? Yeah, that's a good idea. I'll do that. I'll go with you, buddy. Thanks, Oymus. Good night, folks. Ladies and gentlemen, today more than ever, America needs the Red Cross.


Each week this month. I will be covering a different horror title number two turn of the screw by Henry James I read this book a little over 10 years ago. I found a thrift edition on a shelf at a local bookstore I didn't know anything about it. I had heard the title just like everybody else has I'm sure it's a household word It involves a young woman who takes a job as a governess at a remote poorly kept mansion where she is left alone to take charge of two very young and Strange children the description of the premise alone should creep you out This is certainly not science fiction, but it is most certainly weird fiction some of the best weird fiction. This is Henry James It's extremely well written and it scared the doodoo out of me You can support 30 second sci-fi and my other projects by becoming a patron There is a link in the description below and visit the 30 second sci-fi tumbler That's my headquarters in addition to my videos I publish links and updates there every day


This is a demonstration of the inguinal canal This is the left side of the cadaver The right side of the cadaver Inguinal herniography had already been done. So therefore the anatomy was highly distorted. Therefore we chose the left side of the cadaver The equal canal is a canal approximately one and a half inches long One inch above and parallel to the medial two-thirds of the inguinal ligament So this is the approximate location of the inguinal canal This is a potential area of weakness Where the descending test is produced a weakness in the anterior abdominal wall and this is a very important and a very common side of Inguinal hernia in especially in meds. In fact inguinal hernia surgery is one of the most common Surgeries worldwide elective surgery We will think of the canal as a rectangular box with an anterior wall Roof a posterior wall and a float an external ring and an internal ring So let's split the anterior wall and this is the anterior wall which we have split So this is the external oblique aponeurosis This is one leaf and this is the other leaf So we have opened the inguinal canal So the anterior wall is formed by the external oblique aponeurosis But the lateral part of the inguinal canal anterior wall is also formed by The internal oblique and we have split that also because we know that the internal oblique also takes origin from the inguinal ligament So this is the anterior wall part of the anterior wall Once we have split then we see the contents of the canal and what do we notice? We see this nerve here running on the inner surface That's the first structure that comes to our view in setting one canal. This is the illiowing one The illiowing one of love it supplies the internal oblique and the transfers of prominence And we can see it is piercing through and it supplies and it further continues And it goes and supplies the scrotum and the thigh and it serves as an Afferent limb of the cremaster reflex. So let's reflect of the illiowing one on nerve in the root of the scrotum, we have lifted up the Spomatic cord and we can see that the spammatic cord is running through the inguinal canal Let me reflect the spammatic cord to show you the floor of the inguinal canal This upturned margin of the inguinal ligament that we see here This is the poo part ligament This is the floor of the inguinal canal and further medially There's a sharp edge of the floor and that is called the Lacuna ligament that also forms part of the floor of the inguinal canal Now let's take a look at the roof of the inguinal canal for that. I would draw your attention to these muscle fibers here This is very important We can see some curving muscle fibers here This is got a separate name. This is called the conjoined muscle or conjoined tendon This conjoined muscle or conjoined tendon is actually a combined muscles of both internal oblique and transverse abdominis Those fibers which took origin from the inguinal ligament So they curve like this and they form the roof So we can see they're forming the roof of the inguinal canal the conjoined muscle and there is yet one more structure That is called the iliopubic tract, which is the inferior free margin of the facial transversal is So these two structures of the roof of the inguinal canal now I'm going to Reflect the cord structures to show you the posterior wall of the inguinal canal The posterior wall of the inguinal canal is formed by this thin membrane that you see here This is the facial transversal is this forms the entire posterior wall additionally the posterior wall is also formed by the reflected inguinal ligament Which is a portion of the inguinal ligament which moves upwards and medially and fuses with the rectus and And finally the same conjoined muscle and tendon which form the roof It goes behind and it also forms the part of the posterior wall So therefore we will remember the rule of two Anti-wall is formed by two structures external oblique internal oblique Flow is formed by two structures who part ligament and argument ligament roof is formed by the conjoined Tendon and the illiopubic tract The only exception to the rule of two is the posterior wall which contains three structures namely again the conjoined tendon The facial transversal is and the reflected inguinal ligament, which is only in the medial one fourth Now I will show you Two other components of the inguinal canal namely the external and the internal ring for that Let me bring these two together the two leaves of the external oblique We can see that this was the opening. We have split it open through which and I brought them together now This is the opening through which this spoma de cord was passing. This is called the external ring The external ring is an opening in the external oblique aponeurosis through which the spoma de cord passes And the external ring is got two crusts a medial crust Which is attached which gets fused with the rectus sheath and And the lateral crust which gets attached to the pubic tubercula. So, this is the medial crust This is the lateral crust This is the external ring and the external ring gives an expansion which is called the external spomatic fascia We can see it here So, this is the place where the spoma de cord exits the inguinal canal and enters the scrotum Now let's take a look at internal ring. So, for that again I have opened the inguinal canal and We can see the contents of the spoma de cord. Let's lift up this content This is the ductus difference and we can see the ductus difference in this portion when I pull here It moving here and when I pull here is moving. This is the one which can Transfers the spoma de cord and we can see the ductus difference is disappearing in an opening here This is the internal ring The internal ring is an opening in the fascia transversalis and where is the location of the internal ring? It is located one inch above the mediguinal point when we feel the femoral artery pulsation The next structure which is passing through the internal ring Please this is the testicular artery and the testicular veins Apart from these two ductus difference and the testicular artery what else do we see? We see another nerve and I will show you the nerve just now. This is the nerve This nerve is not passing through the internal ring. It is passing through the spoma de cord. This is the genital femoral nerve The genital femoral nerve supplies these muscle fibers that we see here These muscle fibers are known as cremaster muscle This cremaster muscle is derived from the conjoined muscle and The genital femoral nerve supplies the cremaster muscle and serves as the efferent limb of the cremaster reflex And then it goes to the thigh and the scrotum. So, this is another content of the inguinal canal Next important point to be noted Again, let's come back to our internal ring. This is the internal ring and my forceps disappeared in the internal ring Internal ring. Let me repeat again is an opening in the fascia transversalis and going through the internal ring We can see the ductus difference and going through the internal ring. We can see the testicular artery and vein This is the fascia transversalis. This is the fascia transversalis here. I picked it up here This constitutes the posterior wall. I told you that you can see the fascia transversalis I made a small opening in the fascia transversalis to show you a very important structure and I have lifted it up here This is the inferior epigastric artery and vein. This is the inferior epigastric artery and the inferior epigastric vein Normally it is running behind the fascia transversalis. I had split open this fascia transversalis to show you the inferior epigastric artery Please note. This is a very important relationship The inferior epigastric artery is medial to the internal ring Inferior epigastric artery is medial to the internal ring. So that brings me to the final point Inguinal hernia. An inguinal hernia is when a Fold of peritoneum pushes out through the internal ring and takes a loop of indistinct with it And it runs within the inguinal canal. That is known as an inguinal hernia And when it comes through the internal ring and comes out like this then it is known as indirect inguinal hernia But there are some other hernias which do not come through the internal ring instead They come medial to the inferior epigastric artery. They push directly through the fascia transversalis here they push directly and They enter the inguinal canal That is known as a direct inguinal hernia. So the carry-home message is an indirect inguinal hernia is located lateral to the Inferior epigastric artery and a direct inguinal hernia is located medial to the inferior epigastric artery and How do we know this is the inferior epigastric artery? For that I will reflect this rectus abdominis And once I reflect this can we see the epigastric artery running inside and when I exert traction here We can see this is the inferior epigastric artery So the inferior epigastric artery is the one which runs in the fascia transversalis and it enters into the rectus sheath here so this is the quick and a brief overview of the inguinal canal and its contents and the location and source and the pathogenesis of an indirect inguinal hernia and a Direct inguinal hernia. Thank you for watching Dr. Sanjay Sanyal


In today's video, what we're gonna talk about is the second rotational axis, and this is very difficult. Remember, one of the things we like to talk about with throwing chain reaction, it's simply an evolution of how we teach the throws. What tends to happen in throwing is that things are handed down generation after generation. There's some great stuff about that. There's some great things that still work. So one of the things that we know is science is better today than it's ever been. The data is better than it's ever been. So one of the things we do understand was we have more biomechanical data on the throws. Now, when we're trying to teach bunch of young throwers, we're not necessarily focused on a ton of the biomechanical data, but what we wanna do is understand the key points. And one of the things that we wanna understand is that how we pivot, and that's our second rotational axis. Again, we talked about it in the other video where we're talking about it, the entry. Now what we're talking about is our pillar four, five, six, and that's where the axis is here. So a lot of times people teach this to pivot. Now you're gonna notice when I pivot, you're gonna see my hips not moving. So pivoting is moving this way. And so what we wanna do is always be pushing the knee and the hip out and around. And you're gonna notice that as I turn, my hips are here. You're gonna notice from this camera that my chest is up, I'm turning this way. And so you're gonna see this motion and we're gonna continue. You're gonna notice that whole time I have ground contact. One of the big mistakes we see is athletes pivoting and pushing. So you see a pivot and push and you're gonna see how that pushes me forward. Sometimes you're gonna see athletes late blocking. We'll talk about that in a different video on how to set the block. But what you wanna understand is that the axis again is vertical so that it's here. The axis goes on a slight angle. It comes around, this comes up and it pushes and it turns and then this is what leads to the reverse. Being able to turn the delivery side all the way around into the finish is what you're gonna do. So in the shot it's a little different. We're a little more loaded because the shot you have to have more leg lift, right? It's a freaking heavy ball, doesn't fly. You have to punch it off. So in order to get your hips ahead there's gonna be more leg lift. Now that in our opinion is not jumping at the finish because as soon as everything goes completely vertical you're going to stop rotation. So it's about a turning and lifting. We call it a corkscrew lift. We wanna come up, punch and I think one of the best examples of that is looking at Ryan Krauser. He stays really connected to the ground. Tom Walsh, Darlin Romani, world champion Joe Kovacs. He elevates but you're gonna notice on his 75 foot PR he comes up and he doesn't blast way up in the air. He's blasting up and through here and again Joe has a slightly different style super fast.  So watch what I'm gonna have him do. Okay, not bad. So what's he gotta do? Watch, I'm gonna have him put his foot over here because he had his foot here. So a little change like this and he's gonna do this, boom. So sweep leg out wide, there we go. See how that was a little different? Now we created more rotation. All right, good job. Okay, Cassidy, let's go for my left-handed throwers. She's not understanding this movement so she's gonna make a couple of mistakes right now. Setting her up for tons of success right now. Okay, go ahead. So she's a lefty. So here's the big mistake. Okay, ready? Do that again. Watch, she's gotta jump a puddle, not think throwing. We're just gonna jump the puddle with the rotation. So how do you jump a puddle?  She's jumping like this.  See how her shoulders are staying back? So she's gotta bring her shoulder this way and land with her shoulders on top of the knee. Try that again, watch. This is a big common mistake. See how she's looking and her shoulders don't turn? Her shoulders have to turn with that movement. Okay, does that make more sense? Now, here's what I'm gonna show you. This is what we're gonna do for pillar three. We do the jump to teach you that you have to work off this leg, okay? We're gonna do this now, sprint counter. Okay, so feel this. Put your band on, long, feel your sweep leg counter. So what you're gonna do now is you're gonna go, this is called a sprint counter, this is called a sweep step. Sweep step is wide. Here's what a lot of you guys will do. If I'm going this way, okay? A lot of you guys will do this. Instead of seeing the sweep go out and around, a lot of you guys will do this. And cut. You see that? There's a difference between cutting it across and making a big circle, okay? But the sweep step, I thought, you know what? When I started to do this drill, I was like, this is gonna be the easiest thing to teach people and I realized it was a lot harder for people to do, okay? So keep it wide, you make a big circle. Now, here's gonna be important. What did we talk about in pillar one? Setting up the orbit, setting up separation. Say go, go ahead. So watch her. Okay, we're gonna go and talk about this in pillar four in a second.  Do you know what I mean? Yeah. Okay, do it again. So here's what she did. She did this. Okay guys, this is what I'm gonna make sure you guys don't do. She came here, it wasn't bad, and her discus came down here. Now, the rest of your delivery's toast. She's gotta get the discus up here so she can turn around the discus. Does that make sense? So she's got an inverted orbit. I did a YouTube video on this. Top five mistakes I saw in 2019. This was one of them, okay? Okay, so she's gotta get that orbit up. All right, so listen. Here's the thing. Are you gonna remember all these drills? No, that's why we have a program for people who wanna actually dive in and continue to learn it all, okay? So you guys though are going to remember this general sequence, right? That's what we're gonna have you guys doing. So you're gonna feel this always wide and you're gonna feel that. Now, here's the next little piece. We're gonna go with three, four connection. Then we're gonna go pillar four. Then we're gonna put it all together. Then we're gonna go apply it. Got it? Okay, so here's what we're gonna do. Everybody watch me. We're gonna do this.


Okay, good morning, ladies and gentlemen. My name is Craig Wright, and this is Listening to Music, the most basic course that the Department of Music has to author. Its aim is to teach you how to listen to music. Wait a minute, you say. That's preposterous. I listen to music all the time. I got, what, my iPod? I'm downloading MP3 files, continually swapping files. I've got my car. What do we call those things in the automobile? Is it a dat tape that you can take your iPod and plug it into the system in your car? I've got that. I listen to music in my dorm room, off my computer in the bookstore, wherever. I bet I listen to a lot more music than you do, you old goat. And you're right. You probably do. But what kind of music are you listening to? Well, probably pop music. And that's fine. That's okay, fair enough, pop music. But are you getting the most out of this particular experience? Are you getting the most out of your listening experience? I contend that perhaps you are not, that you are not maximizing the time, using that time most profitably. How do I know this? What makes me think that you are not getting as much as you possibly can out of your music? Well, experience to some degree, but also an experiment that I did just last weekend. I have four children. The last of the four has now turned seventeen. So I said last weekend, Chris, always with the iPod. Chris, what are you listening to? Go away, you're bothering me kind of thing. You're ruining my life again. So, but no, come on, let me listen to this. Let me listen to this. What are you listening to?  You listen to this. And tell me what you're hearing. And what was he tracking? He was tracking the text. He was tracking the beat of the piece. I asked him, well, what's the mode of the piece? What's the meter of the piece? What's the bass doing? Can you follow the bass line there? Can you identify any chords in this particular piece? Nothing, zero.  And that brings up, I suppose, a point that although I don't know much about your music, I think I can teach you a great deal about your music by using the paradigms of classical music. So we'll be talking a lot about classical music in here. Mozart, Bach, Beethoven. It will be the locus of our course. How many of you already listen to classical music? Raise your hand. Okay, great. A lot of you. And that's wonderful. I'd be interested to know, gentlemen down here, how do you do this? Is it streaming off of your computer? Are you downloading MP3 files and saving them? Tell me, how do you do it? You go to YouTube. All right, very interesting. I should have known that, but I didn't.  Anybody else do it a different way? Yes? On the radio. Okay, that's interesting. We'll come back to that point. Anything else, anybody? Yes? Okay, your parents' CDs are records. That's wonderful. They have sort of the old technology here. But some of those old recordings might be very, very, very good. Here's a question for you. Why would we want to listen to classical music? Why do you, who just answered a question for me here? Those folks that raised your hand. What, gentlemen here again, you're my sacrificial lamb this morning. Why do you like to listen to it? Why would you want to listen to classical music? Okay, very interesting. A national public radio asked exactly this question in a survey a year or so ago. And they got the following principal responses back. Why do people listen to classical music? One, it helps them relax and relieve stress. So this is perhaps the principal reason. Two, helps us center the mind, allowing the listener to concentrate. Three, classical music provides a vision of a better world, vision of a better world, a refuge of beauty, of majesty, perhaps of even of love. And sometimes, at least for me personally, it suggests that there might be something out there, God or whatever, bigger than ourselves. And it asks us to think sometimes, think about things. That's what I think these great fine arts do, great literature, poetry, painting, music. They show what human beings can be, the capacity of the human spirit. They suggest to us, as indicated, that maybe there is something a larger spirit out there than ourselves. And they get us to think. They get me to think frequently about what I'm doing on this earth. What are you doing on this earth? No, don't answer that. What am I doing on this earth with regard to this particular course? What am I trying to accomplish in here? Well, maybe two things. One, change your personality. Change your personality.  So that's part of this. And not just here for Yale, but for your life after Yale. I would hope that how you lead your life, ten years from now, twenty years from now, thirty years from now, would have been significantly influenced by this particular experience in this course. And secondly, if I'm successful in my teaching, I will accomplish this second aim here. I will impart to you a love of classical music. You, through later on after Yale, your attendance at concerts, buying one fashion or another, downloading mp3 files of iTunes or whatever it happens to be, maybe being members of your local symphony board, opera company, something like that, maybe giving music lessons to your children. You will become the purveyors of classical music thereafter. You, the intelligentsia of the next generation, will be those that preserve this great treasure of Western culture. And it is a great treasure of Western culture. Okay. How are we going to do all of this? How are we going to accomplish these two things on our list of agenda here? What are the mechanics of the course? Did you all get a syllabus? Everybody's got a syllabus. I should have brought one up here, but I didn't. It doesn't matter. First three or four weeks or so we'll be following the elements of music, rhythm, melody, and harmony, and then a test. Next we will deal with what's arguably the single most important thing when we listen to any piece of music, and that is its musical form. Here's a question for you. I was thinking about this the other day as I was preparing the lecture for today. What's the most common type of musical form in pop music? When you listen to pop music, do you ever think about the form of the music? Okay. And anybody name a form of pop music, any one form? Well maybe, verse and chorus, think about that. That shows up in a lot of stuff. And we'll come back to that. We'll talk about verse and chorus when we get to the issue of form. And then toward the end of the course we will turn to the question of musical style. How does a piece of pop music differ from a piece of classical music? We sort of all know this intuitively, but can we articulate why? This particular difference about musical style was driven home to me the other days. Last Friday I was walking across the campus, maybe you saw this too, corner of Elm and College.   So then to encourage you to pump up the room they had music playing, and this is the kind of music that they had on that flatbed truck. Okay. So I'm feeling very pumped up at that particular point. And my cell phone rings. Okay. This is true. My cell phone rings. And because one has the capacity nowadays to select your own ringtone, right? I have mine selected not to that sound, but to Mozart. So I hear this sound on my telephone. Linda's moving this around here just a second. And it will give us a sense of the difference in style between pop music and classical music. How does this, what we're here, differ? Can you give me, say, three or four reasons why what we're about to hear differs from what we just heard, Mozart. Okay. Let's just stop right there and you can go on to the next. Can anyone tell me what's the difference between these two? What did the pop piece have? That's Rave Til Dawn. That's my own that album I'll have you know. Rave Til Dawn, gentlemen back here. Yes, that's probably true. That's probably true as a general observation, whether it comes through clearly on these two, this comparison, I'm not quite so sure. But there, I wouldn't say there's a great deal of detail in the first one. There's a lot of repetition. That's where I go, you know, once that gets going, it goes for a long period of time. Anything else? Yes? A melody. Oh, melody. Which one had the melody? Yeah. Yum, pa-ta, pa-ta, pa-ta-ta-ta-ta-ta. The first, I couldn't pick out any melody at all. It was all what? Rhythm and beat, okay? So repetitious rhythm beats strong pulsation to it. What was making that sound? What were the instruments playing in there? Okay, in the Mozart there were violins. So acoustical instruments as opposed to synthetic sound with regard to the pop music. So what we will be doing is differentiating pop from classical and also differentiating within styles of classical music.  You, who is the FM listener over there? You turn on your radio, your car radio, to your FM classical music station. What number approximately would you go to? Yeah, okay, or anywhere, your hometown? Okay, 98, that's pretty high, to what town is that? You will? Oh, that's Chicago. Well, there are elevated people in Chicago, I'm sure. Normally, where you go is all the way down in the low numbers, particularly here in Connecticut. It's 89.5, 90.1, 90.5, my favorite is 91.5. Generally speaking, you want to find classical music. You go to the left of your FM dial and fish around down there on your national public radio, okay? So that's how we do it. But you've got your car radio going, the music comes on. Is it broke or romantic? Is it medieval or modern? Is it Bach or is it Beethoven? Well, those sorts of answers, those sorts of issues are the sorts of things that we'll get to when we come to the question of musical style toward the end of the course. Okay, materials, materials. Textbook, here is the textbook. It is my own textbook, listening to music now in the fifth edition. I'm very proud of it. Actually, it's used across all across the United States. It's used across the world, about to come out in a Chinese edition for Heaven's Sakes. What was it? It was simply my lecture notes from this particular course that I've been teaching here for a long time. I had these lecture notes. I had all of these listening exercises, basically, just put it in a textbook. So this is all material for Yale students, material designed here at Yale for Yale students. At the back of the book, I think I took mine out, but at the back of the book you will see wrapped with it an introductory CD. You might be interested to know that a lot of the material there actually recorded by Yale undergraduates. We paid them for it. We paid people across the street school music. But this again is kind of native local Yale produce here. So we get the textbook, and then with the textbook we recommend getting access to this sixth CD set. This material will be necessary to do the listening exercises for the course, which is sort of the backbone of the course. There are a couple of copies of this on reserve in the music library, and you can go over there instead of sterling Memorial Library and do the listening there if you want. But one way or another you've got to get a hold of this. If you decide to buy it, it has one particular virtue, and that is you end up with an excellent library of classical music that will last you for a lifetime. Years after the fact, I get emails from students. Nowadays they usually begin, hey professor, or yo professor, something like this. I lost CD4 to my sixth CD set. Can you get me a replacement? Yes, I can, and I do send them a replacement, not too hard to do, send them a replacement. So if you get the CD set, not only do you get a wonderful beginning library of classical music, but in effect you get a lifetime service contract with it. Okay, requirements. You can see this on the sheets too. You've got the couple of tests here. We have to write a short music paper. We're all going to go to the concert. I think this year we're going to go here to the Seabrook Youth Orchestra. And I put on the sheet this year. I think I'm going to try to count 5% for class participation. We will be taking attendance in the lecture. Yeah, I know it's babies, I'm sorry. But I take this very seriously. I really do. It's my lifeblood. And I want you to take this seriously too. I want you to come to class. I want you to come to lectures. So we have the two lectures each week that you'll come to. Sections are also mandatory. We have three wonderful, especially selected TAs in here. I'll introduce you to them next time. So come to two lectures, one section, and do the work regularly. Now, sections. They start on Thursday and go through a Monday cycle. They do not start tonight. They start next Thursday in the cycle. You can go online and sign up there. But you're still shopping, so we're not starting sections tonight. You may or may not be taking this course. Do the assignments, these listening exercises on time. Music is an orally perceived phenomenon. Music is an orally perceived phenomenon. You can't cram information about music, the sound of music, into your head the night before a test, the way you might be able to in an English course or a history course. The way we hear music, the way our mind processes music is very, very different from this other kind of information, very different from history or economics. To make this point, let me see if we can get my helper here, technical person, to bring up a slide for me. And my question to you is, as this slide comes up, is the following. Where in the brain is music processed primarily? Where do we process? Anybody know the answer to that? You might take psychology courses, neurobiological courses. Yes, you're the only lady out here. Do you have a sense of that? Left side of the brain. That sounds like maybe the old creativity theory. Could we, and that's possible. In a way, it's correct. Anything more specific? All right, here's our brain. We took this off of the Internet, all right? That's why it's all in French because it's not copyrighted. We have to be careful with that in here, with these camera roll, camera's roll. So we have the tronc, c'est rebrale d'un, that just means the brainstem and the cerebellum, and then the temporal lobe, the frontal lobe, the parieto, and the accipisal lobe. Now, where is music and language processed? Anybody, here's just somebody raising their hand. Yes, the temporal lobe is where your hearing goes on.  Most of this processing happens in the primary auditory cortex, both left and right, of the temporal lobe. If you're factoring in, let's say I had to remember to play something at the keyboard, well there I might be factoring in the frontal lobe because much of the short term memory in particular is in the frontal lobe. Let's say I went to play a piece. Now, I didn't think about that actually a minute ago. I didn't even know what I was going to play. But I remembered that. Am I thinking back then, well it starts in C and that's got an E up there, it's got a G. No, it's like athletes, it's muscle memory. You do that eight billion times in your life and you can hit a good topspin backhand. It's muscle memory. And that happens in the parieto. That's mostly in the parietal lobe. Here I've got a score up here if I'm looking. Then I've got the visual cortex engaged. So doing music, if I'm sight reading, playing, it's a very complex thing. Let's shut this down now and go back to the other screen. Most of this music and language processing happens in the, as I mentioned, the left and right auditory cortex. Therefore, where am I going with all this? Therefore, the pedagogical techniques that we use in teaching, listening to music, are virtually identical to those that we use in teaching language. There's a great deal of similarity here because it's just processing sound. This was a point, I was listening to some national public radio thing the other day. Can you get my screen back up full size here so I can see this? Listening to something that had a psychologist talking about the correlation between sound and music. And they said it was something about music is sometimes very strange, sometimes very strange, sometimes very strange, sometimes very strange, and that sort of brought home to me that the text is irrelevant. The idea that music really is sound and that language is just sound. It's a very thin line between the two. But we therefore use the same pedagogical methods in the sense that we've got to do the following. If you ever read the course descriptions of French 115 or Chinese language, basic info to Chinese, they say, I think I wrote it down here, this process of gradual assimilation. Yes, daily participation in language labs required. So daily, daily is the key thing here. You've got to do this gradual assimilation. So learning to listen to music is just like listening to language. We've got to do a little bit every day. You've got to turn in these listening exercises in a regular fashion and come to class. This is a beginning course. I assume that you know nothing, starting from ground zero here and build it up. All right, I've talked, I've droned on here. Let me ask you if you have questions about the course generally. Do you have questions of me at this point? Yes, gentlemen in the back. The formats of the test will be very clearly laid out for you. There'll be a little bit of written work. There'll be a fair amount of listening. You will be given a list of pieces that you'll have to prepare for a little bit, and then we will play out of those particular pieces. But most importantly, I will give you a prep sheet. Each test comes in advance with a prep sheet telling you how to get ready for that particular test. Good question, though. Thank you. Anything else? Okay. If not, let's go on to the following. We're going to have a diagnostic quiz in here. We're taking a quiz the first day. Now, that's on the back of your hand out there. This is not really a quiz because we're not going to collect it. You can throw it away going out. It's here intended to do two things. One, to show you something about the method that we will be using in here, and two, to show you something of the level of this course, the level of the course. The questions that I'm asking on this quiz, questions asked on the quiz are the types of things we would expect you to know at the end of the course, not now, but at the end of the course. Some of these are difficult. So if you find yourself getting most of these answers correct, then don't take this course. You'll be wasting your time, wasting your money here. So don't do this. If you find at the end of this you've got 16, 17, 18 of these correct. All right. Let's start with a little bit of classical music here, and this engages questions one and two. Who is the composer of the piece that you're about to hear, and what is its title, or what's it called? Okay, so I'm going to ask Linda to cue the next piece here, while we talk about that just for a moment. The composer. Anybody know the composer of this? Raise your hand. Okay? Some people do, some people don't. Gentleman over here, dark shirt. Okay, that is Beethoven, Ludwig van Beethoven, and do you know the name of the piece? Okay, Symphony No. 5.  I'm going to go down the tube in this course. No, don't be intimidated by this. As I say, we're going to build everybody up here together. So that was Beethoven's Fifth Symphony, the beginning of it, a famous passage in the history of classical music. Let's listen to another composition here. Who's the composer of this, and in what composition is this piece used? All right, that's probably enough of that. So who's the composer of that? Does anybody know the answer? Fewer people do. Young lady out here in the green, did you have your hand up? Again, Beethoven. What composition does Beethoven use this particular piece? Anybody know? Gentleman here? Okay, in the Ninth Symphony. Again, if you're sitting, oh, I'm getting really worried now. Don't be worried here. Okay, so Ninth Symphony. Now, I believe that music works a magical potion, a magical spell on it. Music gets us to do particular kinds of things, gets us to feel particular kinds of ways. And I think these two pieces, by the same composer, get, cause us to feel very, very different, cause a different mood, different psychological state to come over us. And one of them goes this way. Okay, and the other. I'm going to stop it there. I want to do a little experiment. I have never done this before, never done this before, but I'd like to do the following. And that is to ask you to think about what mood each piece causes you to fall into. And I've put some adjectives up on the board up there, and I've grouped them by r's and l's, because I'm going to ask you to raise your right hand if you respond one way to a piece, and your left hand if you respond the other. So under the r group there we've got positive, happy, secure. Under the l group we've got negative, anxious, unsettled. So I've chosen pieces maybe with slightly different feels here. Let's see what we do with this. Now, piece number one. How do you feel about that? Now here's piece two. All right, so here's one. I'm going to play it again. If you raise your right hand or left hand as your response to that. Okay, here's piece one. Right hand or left hand? All right. So those of you that are raising your hand, and some aren't raising their hands, but that's okay, those of you almost unanimously say that the Beethoven Fifth Symphony sounds somewhat ominous to us, somewhat fateful to us, and the Beethoven Ninth Symphony conversely has a different sort of feel to it. Indeed, does anybody know the title of the Beethoven Ninth Symphony? It was a setting of a poem by Friedrich Schiller called Ode to Joy. Ode to Joy. So how does Beethoven go about making the Ode to Joy joyful? What does he do here? This is what we're going to be doing in our course. We're going to be zeroing in on this music. Can anybody tell me why to a person in this room we all responded positively to the Ninth Symphony and somewhat more anxiously to the Fifth Symphony? Can you tell me one thing? Okay. Major and minor. Now, once again, you're out here in front. You've been listening to your parents' records and CDs. So maybe I'm delighted that you know this, but maybe this is too far below your dignity here, but good for you. All right. So we've got this idea of major chords and minor chords. So let me ask you this. Which, I think this is a quiz question here, probably number five, which is this? A major chord or a minor chord? As opposed to the first one is a minor chord. The second one is a major chord. We could call them triads, and we'll be talking about what that is before. So that's one reason, major versus minor. Here's a question for you. What about this? Let me take the rhythm out of it. That's a bit skippy, isn't it? Doesn't that move around a lot? Whereas if I take the rhythm out of the Ninth Symphony, really Beethoven there is just going up and down a scale. So it's very conjunct. We have the difference between conjunct music with the D and disjunct music. And that perhaps adds to the unsettled quality of the Beethoven Fifth Symphony. Here's something else, and I guess it's a quiz question. I think I'm asking you there. It has to do about a home pitch. Music gravitates around a home pitch. And in the Beethoven Fifth Symphony we still haven't gotten the home pitch. We go that far, we still haven't heard the home pitch. Can anybody sing the home pitch? Ba-um, but he hasn't given it to us. And maybe that's why this sounds so disjunct and so unsettled, apart from the skippy nature of the melody, is that we are not given at the outset the home pitch. Whereas with the Ninth Symphony, second phrase, that's the home pitch there, and we all feel sort of secure in that home pitch. There's another reason I think these two sound differently, and that is the following. What's the direction generally of Beethoven's Fifth Symphony here? Downs, generally going down. So the direction that music goes can also affect how we feel about it, our mood about it. So I think the next question I play another piece for you. I'm going to play this one to piano a little bit. And I ask you the name of the composer of this piece. It's a bit less well known, but maybe not. What it's called and when in the history of music it was written. Anybody know that piece? The name of the composer? Yeah? Okay, Debussy, a French composer writing at the end of the nineteenth century in the Impressionist style. And the piece is called Moonlight, Clare de Lune. But again, you may, you'll come out of this course. Four months from now you'll know all of this stuff. Now you're not supposed to know any of this. What I'm interested in is your emotional response to this. How do you feel about this music? What kind of mood does it put you in? So how do you feel about that? Anybody want to tell me about that? A big pardon? Oops, I heard it. Isn't that nice and loud, please? Serene. Yeah, serene. Why does it feel serene? Boy, I wish I could play my rave till dawn CD now, right? Okay, there's no beat to it, all right? It's very languid in terms of the pulse here. It's very understated in terms of a beat. You'd be hard pressed to identify what the meter of that is. So that's one reason. And of course, where am I going with the next important point about what's happening in this music that makes us feel serene, relaxed, because it's all going down. When we get here, do our spirits soar upward at that particular point, at that particular point. So again, direction in music also is important with how we respond to it. So what are we going over here? Major versus minor. Disjunct versus conjunct, what else? Strongly felt tonal key, which is called, I don't know if I mentioned this or not, the tonic key, the tonic pitch, the tonic pitch there, and this idea of the direction of the music. All these we'll have to be thinking about, thinking about as we listen to music in this course. Okay, now let's see. I think I want to do the following. Yeah. Here's a question for you. Here's a question, a completely different subject here. What are the two dimensions of music? Dimensions of music. Think about dimensions of painting or architecture perhaps. But what are the two dimensions of music? Have you ever thought about that? Can anybody give me one? Well, pitch, oh yeah, I'm sorry. Okay, pitch. And what would the other one be? Time. Okay, pitch and time, or pitch and duration. Excellent. So those are the two dimensions of music, and we could even call them the axes of music, because we tend to think of pitch on a vertical axis. We talk in terms of high pitch and low pitch, although we'll fine tune that next time. And then we have this idea of duration, or time, which we tend to write out in symbols that move from your left to right, left to right. So what I'd like to do now is focus on a piece that emphasizes foregrounds just the first axes, pitch. And here is a question for you. How many of you have heard Ricard Strauss's Also Sprach Zarathustra? Okay. How many of you, baby courageous here, how many have not heard Ricard Strauss's Also Sprach Zarathustra? Raise your hand nice and big. Okay, the overwhelming majority of people. Wrong. You all have heard this many times. It's used continuously as a movie score, television, radio commercials. It's all over the place. As soon as I start to play it, at least once we get into it, you'll say, oh yeah, I've heard that. So this is a piece by Strauss where he's trying to resurrect the content or mirror the content of a philosophical novel by Friedrich Nietzsche, thus spoke Zarathustra. It's about the unleashing of human capacity as it comes forth from the primordial earth here. And Strauss, in attempting to do this, will use the orchestra to depict here, in this particular case, perhaps the rise of human power maybe as metaphorically represented by the sun. So here is Strauss depicting the rise of the sun. And the first question I think you have on the quiz here is the following. What keyboard instrument is playing here? It's a keyboard instrument. So let's listen to just a little bit of this, please Linda. Okay, let's stop there. Because of the condition of the amplifier this morning, you can't really hear what that is. What that is, is an organ pipe of the type of organ that we have over in Woolsey Hall, 32 feet tall, this gigantic sound of waaah, down there. So that's what he's trying to set up. Okay? Then a brass instrument enters. And what is the name of this brass instrument? Mm-hmm, yeah, go ahead. Then a percussion instrument. Let's stop it there, let's stop it there. So the brass instrument is a trumpet, okay? That's what that is. It's coming up there. Let's talk about what we've got on the board here. We can see we have these low pitches. Whoa. Bum, bum, what did I just sing? Bum, bum, almost the same-sounding pitch, right? Well, we'll talk about this. This is called an octave. It has to do with frequency ratios that we'll go into a little bit next time. So he's coming up initially, just through octaves. Bum, bum. Then the next pitch on the trumpet. Yum, bum, bum. It's actually the interval of a fifth. Yum, bum, that's a fourth. Bum, but it happens to produce an octave. Bum, bum, against that. Then the first time. Bum, bum, deep. So he came up a major third there, and then quickly backed off of just a half step below it, which completely gave it a different feel to it. Bright, shiny major and then dark minor. Then a percussion instrument came in. Anybody know what that was? Okay, tell me what it was. Nice and loud, yell it out there. Tempani, or sometimes called a kettle drum. And it was playing two different pitches, actually sort of playing this pitch and this pitch, the octave and then the fifth. The fifth degree of the scale after the tonic is the next most important, and it's called the dominant note. Okay, so that's what that is in that particular question. So the timpani comes in, and it goes crazy. Bum, bum, bum, bum, bum, bum, bum, bum, bum, and comes back to the tonic, at which point the trumpet takes over again. So let's listen to just a little bit more, and I think, well, let's listen. Let's forget where we left off. Okay, let's stop it here. Now at this point, what happens is the trumpet bum, bum, bum, all the way up there. It's going to jump way, way up. So let's listen to that, stop it right here. What's happening, and it interests me acoustically, again we'll come back to it, is that we're getting up toward here. And notice how these pitches, in terms of the ratio frequencies, are getting very close together. So we're going to go like, bum, bum, you sing the next note, bum, there it is up there. Okay, good, you got to come a louder. Bum, coraggio. Okay, so there we are there. My question on the quiz is what's this one called? Yum, okay, so this is a leading tone, going into that particular note. So let's listen to here, again, just the very end of This is the end of this with the spectacular sound of the orchestra. There at the end you could hear the organ a little bit better. So that's how using some of these basic ratios he gives us this primordial type of music. And it's quite spectacular, it's quite spectacular, because here in the 1890s we have the apex of the Western Classical Orchestra, this big, beautiful, powerful instrument. Okay. We've already talked a little bit about pitch here. Let's go on to talk about the other axis of music, and that is rhythm, or duration. Now in music, as you probably know, we've already talked a little bit about this, we have the importance of the beat. Beat's very important in music. And generally speaking in music we divide the beat, we organize it into groups. Beat's kind of like the heartbeat.  But given our psychological makeup we tend to divide these up into units of generally two and generally three. And if we have groups of two we call that duplometer, three we call that of course triple meter. How do we indicate these? Well, by some kind of conducting pattern. We'll come back to this. You'll all be conducting in here. So the duple is just one, two, one, two, one, two, one, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum. One strong beat, one weak beat. Strong, weak, strong, weak in that fashion. And conversely of course triple is strong, weak, weak, strong, weak, weak with two weak beats between each strong beat. So here's a question for you. Who wrote the musical? It's on your quiz there. Chicago. Anybody know the answer to that? Okay. How many don't know? A rousing show of hands here. Don't know who wrote Chicago. This is amazing to me. This guy is the stealth bomber of music.  John Cander lives down in New York City, writes a lot of this stuff. So we're going to listen to a track out of John Cander, Chicago, here. And the question that's at play at the moment is, what's the meter of this cut from Chicago? Okay. Here's something of me interest you. We'll be playing a lot of pop music in here. But they will generally be short clips of pop music. Why is that the case? For copyright reasons. Right. Yeah, for copyright reasons. We've heard a passage here. What was the meter of that section? Gentlemen, down here you seem to be moving with the music, which is very good. What did you think? Duple or triple? Okay, duple. Now I would come to that's correct. I would come right back to you with, yeah, you intuited that, but can you explain to me what you were hearing? What did you hear that allowed your brain to instantly go to that decision, make that correct decision? Any ideas? Anybody? Okay, cut time. What? Accent on one. But what part of the music were you listening to? Yeah, yeah, that's it. Somebody's up there going dun, dun, dun, dun, and it's actually the bass, so we'll be wanting to zero in on the bass in a big way in music. Bum, bum, because that's oftentimes giving us much more information than the melody. Bum, bum, bum. So there we had an example of duple. Let's see, we've got another excerpt here. Let's listen to a little bit of that. So what about that one? Well, you know the setup here. We did duple, then we got to do triple, okay? But you could hear bum do the strong, weak, weak, strong, weak, weak in that fashion, all right? Now let's listen to a little bit more of this and something interesting happens to the beat. It slows down. What do we call the passage of music in which the beat slows down? What's being applied? What's being affected here? What's being used here? Okay, very simple word there. Retard, okay? So the music has retarded. We have the pulse being slowed down and almost like a law. Physics, if something slows down, opposite, equal reaction. Now John Kander makes the music accelerate. So let's watch a wonderful example of accelerando here. So at that point the music begins to speed up with the accelerando. Now we're getting close, as you might imagine, to the end. Indeed, he wants to drive to the end. You ever notice this in musical compositions? Keep an eye out for this, particularly in pop music. They've got an idea, but they've got to fill up a track. They really need good three minutes and thirty seconds here. They'll have something going and then almost unbeknownst to you they will take that and lift it up in terms of the pitch content. What is that called when you change the fundamental pitch in a piece, going to a different pitch level? Anybody know about that? It's called modulation, and this is sort of where it will be really, really four months from now. Modulation. It's very subtle, very subtle. A lot of what we were doing today is very straightforward, the idea of duple versus triple meter. But most modulations we don't usually hear. So let's listen to, we've got two more cuts to do, and then I'll let you go. Let's listen to John Kander sit on one pitch level and then suddenly raise the whole thing up. Raising up music builds excitement. Okay, let's stop there. Now he builds, I think this is the last question, what do we call this last chord? Well, we've already talked about it. It's not the tonic chord. It's the, anybody remember the second most important pitch? The dominant. So let's watch John Kander sit on a dominant chord now. You sing the tonic. Okay, hit the tonic. Okay, so these are the kinds of things we will be doing if you decide to take this course, get a hold of the materials. For next Tuesday do listening exercises one and nine through eleven. I'll see you then.


Well, things still just aren't cheap in this economy. Sure, you can go to a flea market or a garage sale and negotiate your final out-of-pocket costs, but how about a hotel room, mortgage, medical bills? According to a new article in the Wall Street Journal, everything is more negotiable than you think, and getting in the right mindset can save hundreds to thousands of dollars on everyday costs in your life. But is it really that easy? Let's dive in with our panel. Joining us now, Eric Rittmeyer, a mental toughness expert and author of The Emotional Marine, and Ricky Karuth, a real estate expert. So, Ricky, I'd love to start with you. No secret that there are a lot of things out there you can haggle, and as a real estate agent, this is likely a commonplace, but let's look at the less obvious. Is there ever a time we shouldn't haggle? Are we taking money from other people when we do? Or should your pocketbook always be the top priority, which is a? Yeah, thanks, Kelly, for having me. You're right, real estate is one of those places where people want to haggle the most. As soon as they're buying or selling a house, they turn into a master negotiator, but I don't really feel like it's about protecting your pocketbook or taking it away from someone else. I think it's about everyone getting to the best deal possible. Everybody just wants the best deal possible, and without everyone being happy and it being a fair deal, there's not going to be a deal at all. And that is where kind of the problem comes in, and like you say, people should stop haggling, is when you actually get to the best deal possible. The problem is a lot of people, once they get to that point, they continue to haggle, and they continue to try to over-negotiate. And I've seen in my 21 years of real estate, deals go south over $1,000 or $2,000, incredible deals. So negotiate the best deal possible, but when you see the best deal, it's time to accept the deal. Okay, that's great advice. So, Eric, a lot of people think haggling is a little bit cringy, but let's talk about what people do wrong when approaching it. Should we fight every battle just because we can? I think we got a little insight there with our last answer. I think cringy's a gross understatement, Kelly. I can't stand this whole haggling thing, like save it for the dishes at your flea market, and you're looking to buy some coffee cups, but it relates to any type of service industry. I'm just not a fan of that. Number one, there's no way for you to know the price that you're being given if there's any profit at all. You could have somebody that could be operating on very skinny margins. If you want to do your research, if you want to go into any type of transactions, cars, wheels, anything else, if you want to go into it and look at multiple places and talk to multiple people, absolutely. But the thought of trying to talk somebody down off of a price where you have zero idea how much margin there is in that, secondly, you're totally discounting the service that person is providing. There's no way to put a price tag, like Ricky saying I had 27 years in the mortgage business, same exact thing. You're totally discounting the service that person's providing. If you want to shop, save that for the Saturday mornings around the corner when you're buying a blow-up gem from your neighbor. All right, I definitely hear you. And I think that that's great advice, Ricky, and I appreciate that perspective, Eric. So let's turn to our next topic. A lot of people are headed home today from Memorial Day getaways. So what if you saw this on your flight? This video went viral. Here's a look. Please don't be the people who fill up an entire overhead cabinet with your jackets, and please keep them at your seat. It's an absolute waste of space. They could sit on your lap, or most airlines have hooks. And to fly in 2023, please don't be the people who fill up an entire overhead cabinet with your jackets, and please keep them at your seat. It's an absolute waste of space. They could sit on your lap. Okay, so have you seen this? Let's turn back to our panel. Jackets or coats, can we put them in the overhead without everyone else thinking we are being a jerk, or does it matter if your coat is bulky and easier to put up in the overhead than your seat? So Ricky, I'll start with you. Yeah, now I fly three times a month, I travel all over and speak, and I see it all the time. And I do think it's a little disrespectful, honestly. We put all our stuff, I fly with my wife and daughter, and we put all our stuff under the seat like we're supposed to, and we put the big items up top, so I agree. All right, so Eric, what do you think about moving somebody else's jacket or coat if it's already been stowed? If you have a piece of luggage that may fit, but you have to make some adjustments, do you think that's an overstep? Yeah, I agree with Ricky. I think it's insanely disrespectful. I think it's just a lack of awareness to recognize that people are packing their bags. They're trying to get everything they possibly can. You don't take up the space with your jackets, and it's funny, because I travel quite a bit as well. And it is funny, because when there are jackets there and somebody comes up to move them because they're putting a bag in, you can see the person getting all disgruntled. It's like, come on, buddy, number one, either put it in your lap, number two, don't pack it, or put it in your checked bag, right? So I think it's extremely disrespectful along the lines of throwing elbows when you're sitting in the middle chair. You know, it's like, hey, that's my space, but I'm not a fan of jackets in the overhead space. Not for me. Well, Eric Rittmeyer and Ricky Carruth, thank you both for being here. We appreciate it. Appreciate you having me, Kelly.