Tuesday, January 3, 2012

That Was Then...This Is Now





More beer adds wherein the purveyors use hunting ladies to try and expand their market:"Honey, we know you like to kill stuff with the boys...so here is the beer to guzzle after you are finished."
What I appreciate is the setting and the tone of the old beer photo advertisments. Then we see what technique they are currently employing vis-a-vis women and beer and sporting pursuits:"OK boys...drink our beer and you may just run into this scantily clad vixen out in the field..." One approach has discretion and class...the other just a bludgeon hammering at the purient interest.
My First Media Story in 2012

My jail horror in US prison Click here for the original

When a SWAT team broke down the door of Shaun Attwood’s American home and arrested him for drug offences, he couldn’t deny the accusations against him.

He had been living a party lifestyle, organising raves, taking drugs himself and getting other people to sell them for him.

But although he was willing to hold his hands up and admit his mistakes, he had no idea how gruelling his punishment would be.

Shaun ended up in Maricopa County Jail, the prison with the highest death rate in America, in such unimaginably appalling conditions he came close to a nervous breakdown.

He had a cell mate who put a padlock in a sock and threatened to smash his brains out with it while he slept.

He heard prisoners’ heads being smashed against toilet bowls by other inmates, and each night had to suffer cockroaches crawling all over him.

Shaun, 43, said: “There are various gangs divided on race lines. I was approached by the white gang, called the Aryan Brotherhood, and asked what my charges were. If you are in for paedophile crimes, or offences against women or children then you are KOS - Kill on Sight.”

“I saw prisoners being stretchered out with horrific head injuries.”

Once when his family were coming to visit, Shaun was beaten up by a gang member.

“You have to fight back and try to defend yourself. If you don’t fight back then they all pile in,” he said. Shaun spent nearly six years in prison, including time in maximum security after his bail was raised to $1.5m.

“Lock down was 8pm and lights out was 10pm. Just before the lights went out you could see the cockroaches getting ready to come out and as soon as it went dark they swarmed all over the cell.”

“You could wrap yourself up in your sheet like a mummy, with just a breathing hole left for your mouth, but it was 50c heat and so hot that you ended up having to throw the sheet off and just let them crawl all over you. They didn’t bite but they go into your ears as well to get the wax.”

“The heat gave everyone skin infections as well and people would have sores full of pus.”

Shaun was unable to sleep at night and was near to a nervous breakdown when he was put on sleeping tablets.

He told his incredible story to around 400 students aged 16 to 18 at Worksop’s North Notts College.

Friendly and well-dressed, Shaun believes that not looking like a sterotypical ex-con helps teenagers to relate to him.

“I was a model student at school. I went to sixth form and then to Liverpool University where I graduated in business studies.”

“I think they can see that if this could happen to me, it could happen to them if they start getting involved in drugs.”

Shaun, originally from Widnes in Cheshire, moved to Phoenix, Arizona, in 1990 after graduating. He had two aunties living there and was intoxicated at first by the lifestyle.

“I got a job as a stock broker and for the first two years worked really hard and lived on cheese on toast and bananas. But then I started making a lot of money, hundreds of thousands of dollars a year, and became a millionaire during the dot com bubble of 1999.”

“I had been taking recreational drugs since getting involved in raves in Manchester in 1989. It was part of the stock market lifestyle in America, people took stuff at their desks.”

Shaun says the prison experience has changed his life completely.

“When I was in prison my sister gave me a book on yoga and I got into meditation, which helped me. I was very lucky to have the support of my family and my biggest regret is what I put them through.”

“I did 119 talks last academic year, all over the country, and I’ll be doing more this year. I’m hoping to improve my karma by doing something good.”

“Teachers have told me that the hardest to reach students are the ones who stay behind to ask me questions and I had an email from a student who said she had been dabbling in drugs but had given up after hearing my talk.”

Shaun wrote a prison blog called Jon’s Jail Journal, which put the spotlight on conditions within the jail, and has also written a book called Hard Time.

Angela Adams, head of students services at the college, booked Shaun to speak. She said: “You would have to have your head in the sand to think that no teenagers are dabbling in drugs in Worksop and this talk is part of a series on being safe.”

Click here for info on my talk to schools on drugs and prison

Guided imagery in music training and performance

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I    n order to have fast mobility and clarity on left-hand fingers, string players have to train their fingers to have these 3 elements when dropping their left-hand fingers on the fingerboard: speed; strength; and the fast release right after the drop. The 3 elements on the left-hand fingers take training to build up the strength of the muscles and the speed of the reflex of the fast release. Of course, any ‘tool’ that we gain from our technical training is ultimately to be used to create music that would touch listeners. Sometimes when musicians concentrate too much on technical elements, their music tends to be too mechanical, too careful, and lacks emotion. By contrast, when musicians concentrate on being musical, it actually helps the technical things. For example, whenever I feel my fingers stiffen in fast passages, I always find thinking something light and bubbly helps to increase my fingers’ lightness, mobility, and fast articulations. Whenever I try to sustain a long note [and yet try to musically project vitality and suspense, despite the temporary absence of pitch-change or the lack of overt dynamics changes while the note lasts], I remind myself about the struggles and tension of the music. Whenever I try to create smooth bow changes, I often picture a [calligraphy] paint brush changing its direction, instead of which muscle to move first!”  —  Jackie Lee, Heartland Music Academy, 2012.
Jackie LeeI n reply to the previous post, I received the helpful advice above.

A nother CMT reader emailed me to ask whether there was any scientific research literature that establishes the effectiveness of visual or kinesthetic imagery in music teaching, especially for soloists or chamber performers.

T here’s lots of published research on guided imagery in the neurophysiology and physical medicine and rehab literature—and in the lit for research on aging and stroke. Quite a lot in the dance and sports medicine lit. But there are not very many published controlled research studies in music performance/pedagogy lit, so far as I can tell.

I  will continue looking; please feel free to add comment below or email me if there is a reference that you like.

M eanwhile, here are some links to work that’s relevant to this.
T   he left arm functions, to a large extent, by 'walking' on the fingers. In actual walking, torso balance shifts forward, and it is caught on top of the moving legs. For the cellist's left arm, a similar balance can be felt when the upper arm shifts and must be caught by another finger or the arm will fall over... This ‘walking’ image can be strengthened by imagining that the fingerboard is a staircase... Picturing this helps you feel that your balance is aligned in the Earth's gravity, even though your fingers look angled-back in relation to the surface of the fingerboard.”   —  Jeffrey Solow, cellist, quoted in Bruser, p. 121.
I    n automatic or cyclical movements, actual and motor imagery (MI) durations are similar. When athletes imagine only the dynamic phases of movement or perform MI just before competing, however, the environmental and time constraints lead to underestimating the actual duration [and the benefits of the guided imagery are diminished, despite the speed and ease with which the imagery for brief or cyclical movements is called up]. Conversely, complex attention-demanding movements take longer to image [and so guided imagery for complex movements has impediments to its effectiveness, even if duration over/underestimation does not occur].”   —  Aymeric Guillot, 2005.
T    he bilateral frontal opercular regions [in the brain] are crucial in both preparation for and during music execution and imagining. They may have ‘mirror neuron’ properties that underlie observation or imagining of one’s own performance. The motor areas are differentially activated during the preparation and execution or imagining the sequence.”   —  Rumyana Kristeva, 2003.
Mike Mei, calligrapherD    uring execution of musical sequences in professional musicians, a higher economy of motor areas [in the brain] frees resources for increased connectivity between the finger sequences and auditory as well as somatosensory loops, which may account for the superior musical performance. Professionals also demonstrated more focused activation patterns during imagined musical performance.”   —  Martin Lotze, 2003.

Monday, January 2, 2012

HD Woodland String Band Winners Philadelphia Mumers Parade Sugar House C...



Shaun Attwood