An Giang info: Youtube daily report Oct 5 2018

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Dr. George P. Smith Nobel Prize Press Conference - Duration: 40:06.

Dean Okker: Thank you so much and thank you for your patience. My name is Pat Okker and

it is my great privilege to serve as dean of the College of Arts and Science here at

Mizzou. This really is a wonderful day. Thank you so much for coming. It is just so wonderful

to see so many of you here today. As you all know, I mean this is a press conference but

you all know what the news is. We're here to celebrate that Professor George P. Smith,

a Curator's Distinguished Professor Emeritus of Biological Sciences in the College of Arts

and Science here at Mizzou, has been awarded the 2018 Nobel Prize in Chemistry. We are

going to clap. [ Applause ]

And I have to say when I woke up this morning, I had no

idea I was going to say those words. So what a delight. He shares that honor with

Frances H. Arnold at Cal Tech and Gregory Winter from the MRC Laboratory of Molecular Biology in

England. And on behalf of the entire campus I want to extend our congratulations to them

as well. Our opportunity today is of course to focus on Dr. Smith and on behalf of the

college and the campus, I want to extend our very hearty congratulations to him for this

very amazing accomplishment. And I'm going to turn the mike over to the Chancellor in

just a minute but I want to say a few things about what I think this award means to Mizzou,

what it means about who we are and what we are as an institution. This award in my opinion

celebrates and validates the impact of basic research, particularly research that is interdisciplinary

in its focus. So as many of you now know, I'm sure you've been reading the details about

his work. Dr. Smith Is trained as an immunologist and in molecular biology and he a curious

researcher, as all good researchers are I think. And one of the questions he asked was

"What would happen if we apply the principles of evolution to the fields of immunology and

molecular biology?" And what he came up with in terms of an answer of course is a method

called phage display, the applications of which are far greater than any one person

could have ever imagined. This is what we do at Mizzou and in the College of Arts and

Science. We do basic research here at Mizzou. We ask essential questions about how the world

works, and in his case it's about peptides and antibodies, but we ask essential questions

all across campus. And then we apply that basic research to all kinds of real world

problems. And we have researchers like Dr. Smith, and of course he is the wonderful example

of this, of how his work in ways that even he could not have imagined when he first started

this work decades ago, about how this work benefits all of humankind. And so we see in

the impact of his work, the applications include vaccines for diseases like malaria, improved

treatments for cancer and auto immune diseases. And even, I just discovered today, helps discover

stress fractures in steel. I'm certain he did not imagine all of those applications

when he first launched this work. And for Mizzou, this is a wonderful way of celebrating

the time that he has put in-literally decades of work on this research- and also the investment

that Mizzou makes in basic research. And it is my delight to celebrate that achievement

here. I want to tell you one other thing about what I think this award means both for Dr.

Smith and for Mizzou. Shortly after the award was announced there was a smaller reception

in Tucker Hall and the Division of Biological Sciences. And he showed up as a good celebrity

does on the golf carts and got out. One of his colleagues approached him and said with

great enthusiasm-she teaches general genetics class. She said, "We were just talking about

phage display". And they had this spirited conversation and within less than two minutes

they had a plan so that he could visit her class later on this afternoon. So some time

this morning between the announcement and now, he's had...talked to I have no idea how

many reporters. He also visited a General genetics class. What that means is students

here at Mizzou. Yeah. [ APPLAUSE ]

This, I say, is what we do at Mizzou. We make sure

that our students, our undergraduate students and our graduate students, have access- direct

access- on the day they win the Nobel Prize. I mean, you can't script that any better.

So Dr. Smith, congratulations on behalf of the College of Arts and Science. [APPLAUSE ]

Thank you for being curious about the world. Thank you for decades of work. And thank you

for sharing that passion for your field with the students at Mizzou. And with that, it

is my great pleasure to turn this over to Chancellor Cartwright.

[ APPLAUSE ]

Chancellor Cartwright: Thank you Dean Okker. It really is a pleasure to be here. I just

got off the plane after a full day of flying back from Thailand, so I'm still not asleep

yet. But it really is great to come back to this. It makes you not want to sleep at all.

So maybe I'll be up all night again. But it really is a tremendous event to be here to

see all of you show up for this important event. I want to thank all the people who

have supported us with this. I want to thank the Curators, the legislators, Governor,

the President of the UM system, all who are probably watching on live stream but also

who have called and really conveyed their enthusiastic support of and congratulations

to Professor Smith. It really is an amazing opportunity. So I'd like to to get started

with just one thing to show that real pride for who we are. M-I-Z.

Audience: Z-O-U.

Chancellor Cartwright: That was very good. You know, Dean Okker said something that is

really important and in a little bit of the conversation that I had with Professor Smith

coming over here, it became as just as important. He echoed the same thoughts and that is that

our job here is to give people the opportunity to work on new ideas, to think about what

they are interested in. And we don't know where some of that basic science will lead

us when we started. And that's what this school is about. That is what the College of Arts

and Science is about. That's what Dean Okker trying to put in place and continue to put

in place in the college for all of the things that we want to see coming out of our basic

research. So thank you to the college, thank you to the biology department, everybody who

supports this. It really is it takes that group of people to make all of this possible.

So thank you to everybody. You know it's certainly always easy to wear black and gold, but no

day easier than today when we have one of our own, Dr. George Smith, receive the Nobel

Prize. And that is a remarkable thing. So thank you. [ APPLAUSE ]

I also want to echo some of Dean Okker's comments

and that is Dr. Smith worked on many of these things for

a number of years. He's had a 40 year career here at Mizzou. And I'll let him explain how

all of this happened because I really don't completely understand it. So we'll let an

expert talk about it- a Nobel Prize winner talk about it. But this reflects on what happens

at an institution and that is that it's hard work. It's those ethics of Mizzou. It is what

we do. It is working with our students. Sacrificing to be able to work on topics that we are interested

in that sometimes people may question where you know where it's all leading. But it's

with breakthroughs like these that you see what can come out of it. It really is it's

impossible to overstate the value of his work on cancer treatment, the development of vaccines,

stress fractures in steel and so much more. As I'm sure many of you know, today's honor

comes from Dr. Smith's development of phage display and specifically his research focused

on producing new antibodies used to cure metastatic cancer and to counteract autoimmune disease.

And today, drugs based on Dr. Smith's research are used to treat conditions like rheumatoid

arthritis and psoriasis. It is incredible to think that work done in our labs here on

our campus have a direct impact like this on the quality of life of all individuals

around the world. Today is a great reminder of the incredible work that our faculty do

here at Missouri's flagship university. I look forward to seeing who among you will

be the next person whose accomplishments we will celebrate like we are today. And I look

forward to that. And in the near future I hope. But now I really want Dr. Smith...You

know it's interesting when I was talking to him that it wasn't possible without a lot

of other people who worked with him, who came before you, who set up. You built on other

people's work. And people who work alongside you. But I really want you to know how grateful

we are that we look at what you did for science and also for Mizzou. It is a remarkable achievement,

one that you should be proud of. And I know from just the brief interactions with you

that you that you know you're somewhat humble. And I I really appreciate that because it's

wonderful to see a remarkable scientist who understands that it's about the work that

you're doing to move society forward. And that is what he devoted his career to. And

so, without further ado, I'd like to introduce Mizzou's Nobel Prize winner George Smith.

[ APPLAUSE ]

Dr. Smith: My first standing ovation at Mizzou. It's always a first. So, in case you're having

trouble, to recognize the Nobel laureates the one not in the suit. And I should warn

you, I was 40 years a professor here. So when I see people lined up in rows in front of

me, I'm triggered to give a lecture. So be prepared. I don't know if I really want to

say that I'm particularly proud personally of this award. Because, as I think probably

all Nobel laureates understand, they are in the middle of a huge web of science, of influences,

of ideas, of research, of results and stuff that impinge on them and that emanate from

them. So phage display was a discovery of a technique that first had been discovered

by other people in other contexts. Secondly, that absolutely depended on lines of work

that had gone before. I happened to be in the right place at the right time to put those

things together. And I think also partly as a result of the fact that I didn't succeed

in patenting this, that it was open science, I think it has been very very influential

in ways that I absolutely could not have have anticipated. So let me just say that many

of the medical breakthroughs that were mentioned are really not due to me at all. They are

due to one of the other winners, Greg Winter. Those therapeutic antibodies were set in place

by the work in his lab and work that came earlier in his lab. So this a... I don't know.

I'm getting an honor that has been earned by a whole bunch of other people. And if we

think of science as a web of influence and so on, the web of science and one particular

person is in the middle of it. It's not a it's that that particular person can't take

full credit for it. You just have to realize that that person is a stand in, is a representative

of a whole field of knowledge. And another thing that I think that follows from that

that the Chancellor mentioned is that no way you could predict in advance that this would

be something really important. Certainly, I didn't. And the people all the people in

my lab that were working on this didn't didn't realize it was something, for example, that

was going to lead to medicines. I guess we were pleased that that was so. But it just

means that science and order... science doesn't work by picking winners and deciding that

this is the this is the way the person that's going to make a big breakthrough or make a

lot of money or whatever. If that's not how science works. Science is a big community

of people that are engaged in their in their work and in their teaching. That's really

important as well. And that's really vital in a broad based, I think you call it the

flagship university like the University of Missouri just has to keep that in mind. We

have to nurture a whole big community and not decide that that um... We have to do our

best to pick people that get prizes or people that get they get big awards. That's one thing

I'd like to say. So I think that the University of Missouri has been really good in this respect.

I mean a researcher like me who has only published 50 papers or so since I've been here-that's

not a big output- has taken a number of tacts of research and of interests... Someone like

me can flourish at Mizzou. And I think that's something that Mizzou should be proud of.

Mizzou should be proud of nurturing that kind of intellectual ...that kind of intellectual

community. And I would like to make the point also that it's any subject that is intellectually

engaging, it's interesting, engages people- and I'm a STEM person. Science, technology,

engineering and mathematics. I'm really interested in and use mathematics and I'm a biologist

and I know a little bit about chemistry and stuff so I'm definitely STEM. But STEM is

not all there is to this university. This is a university and that whole thing of a

web of knowledge not just a web of science really applies to the university as a whole.

[ APPLAUSE ]

OK, so we have another 50 minutes this lecture so I can explain... [ LAUGHTER ]

Can I have the first slide? Ok, so I think that I've said enough. I mean if you want

to see it you want to talk...if anyone wants to talk about the details of phage display,I'd

be glad to do that.

[ Inaudible question ]

Dr. Smith: OK. First question is, you know like a standard prank in science is, you know,

your friends take on a fake Swedish accent and call you up at 430 in the morning and

say, "This is the Swedish Academy of Science. You won." Who would fall for that? But actually,

I kind of knew it wasn't any my friends because the connection was so terrible. I mean Sweden

is a really advanced country, but I think that they need some work on their phones.

[ LAUGHTER ]

So the second thing. Am I proud of having cured a whole bunch of people? You

know what. You should ask one of my co-winners, Greg Winter and his lab. You know like hundreds

of people in that in that lab from the 60s to the present who are way more responsible

than me for for that. But it has... So they won the Nobel Prize for me and they got it

themselves as well. I think that's good. But I didn't do that. [ Inaudible ] I put forth

a technology that could be applied to that. And believe me, I was not smart enough to

anticipate what would come out of this research. I had a much narrower view than I have now.

And I was rapidly educated by a whole bunch of very smart people that, you know what?

You can do this and this and this. I didn't realize.

[ Inaudible question ]

[ LAUGHTER ]

Dr. Smith: Welcome to the club.

All right so you really want to have some idea of what's what this is about.

OK. So I mean an example that I brought up to you is that let's say you want to design

something that can fly and also suck nectar from flowers. So an engineer would go about

it by using his or her engineering knowledge, you know physics and materials science and

so on. Design the wings and stuff and also like a tube or something that could suck the

nectar out of the flower. But of course, that's not how insects evolved. They didn't evolve

in that way at all because nature is not an engineer. Nature doesn't have a clue about

how to design anything. Instead, we had this huge collection of living things and they

were all in an environment and a few of them developed variations that allow them to do

something that gave them a slight advantage and allowed them to proliferate more than

their neighbors. And this little steps one at a time can lead to the evolution of very

incredibly complicated machines like a bee or a butterfly. So phage display is a little

bit like trying to put that kind of idea, that kind of evolution by natural selection,

in a test tube. Very much simplify it. And also, and this is important, not let nature-natural

selection-create the pressure on survival. But you, the experimenter, decides. So if

you can't design a fly yourself, if you can create a system that where things that happen

to be like... have fly like characteristics proliferate, then that's the thing. Even if

you haven't a clue how to design a fly. Phage display is a little bit like that. It's much

simpler than a fly. Way simpler. OK. But it's a test tube where you have a large number

of things-entities competing with each other. They happen to be phage particles, that is

bacterial virus particles with foreign proteins displayed on them like attached to them. You

have this huge biosphere of phages. So it's a really simple biosphere and you artificially

impose a selection on them to favor those things that you want. A new drug for arthritis

or whatever. That in that in a very abstract way is what phage display is about and many

other technologies not only phage display.

[ Inaudible question ]

[ LAUGHTER ]

Dr. Smith: Well as I've said several times today, it would have made a big difference

if I gotten this like 10 years ago. [ LAUGHTER ] My division chairman would be very pleased

because I have all these successful grant proposals rather than these excellently written

but unsuccessful grant proposals. [ LAUGHTER ] That would have changed a lot. I don't think

it's going to... I don't think it's going to change my life now. I'm retired. I'm really

not doing much science although I'm a honorary member of Pam Brown's lab there. They're over

there and on mass. So and I do. I do go to some other some lectures and some lab meetings.

So I'm still peripherally connected but I don't think it would make a lot of difference

to me now. But I don't know. Who knows. Probably get a lot of invitations to go make talks

at places and I will have to be very careful about which ones I accept.

[ Inaudible question ]

Dr. Smith: I don't know do you? Is that why you're asking the question? Well,

we're going to donate it to something, but we absolutely haven't been haven't...The family

will get together and we'll try to try to come up with a something to give it to that

would that would benefit from the honor by the indirectly like this way by the Nobel

Prize. So we will we will try to figure something. But we haven't decided that.

We haven't discussed it yet.

[ Inaudible question ]

[ APPLAUSE ]

Dr. Smith: Steven and I have a few I think two papers in common.

[ Inaudible question ] [ LAUGHTER ]

Dr. Smith: Yes, I think it has. But I had a day for that to sink in.

[ Inaudible question ]

Dr. Smith: That's a good question The question was

how will this prize further MU's research mission?

And actually, I tried to say that I think it's not just narrowly conceived research

mission. I think it is overall mission. But, yes. I think it I mean like an honor like

this I think redounds to the university. Let's hope that the hard times that we have lived

through for the last couple of years will be a little less hard times. That's what I hope.

And I hope the University of Missouri will continue to foster academic enterprise

whether its stem or not. Whether it's stem or social science or art or literature. All

of these things are just such a vital part of a real living University.

[ Inaudible ]

Reporter: I was just curious. You were MU for forty years. How long...

how much time did you spend on this particular science? How long did you work on this science?

Dr. Smith: Well that's a good question and the answer is not that long. That is that

is specifically on phage display. It started in 1985 when I...well in1984 when I was on

sabbatical in Bob Webster's lab at Duke University and continued when I got back here. And I

would say by the mid 1990s basically our contribution to the technology was over and many other

people were taking over many different applications and variations on that theme. So it was it

was a period of less than ten years. I then began to focus pretty specifically on developing

new approaches to vaccines for difficult diseases, especially malaria. I would say that my career

has not been that was not successful in that in that endeavor. That explains all those

unfunded NIH grants I guess. And so so that that consumed me a lot more than specifically

phage display, although I talk to people about it and you know gave advice and so on, some

of which was good advice and some of which wasn't good advice. Like I had a colleague,

Valerie Petrenko, who was doing phage display in Russia. Without the I had never talked

to him. He sort of like read the paper and he did a version of it that I would have absolutely

counseled against. This isn't going to work Valerie but he did it. So there were other

people involved as well. But I bet we were... I was... I myself really wasn't focused specifically

on phage display for more than about 10 years.

[ Inaudible question ]

Dr. Smith: Are you from science?

Reporter: I am. Yes I am.

All right. So I can't name all the influences. One is that particular

kind of phage that I worked on, which filamentous phage, have a large long decades long background

of research, of really clever research. So I benefitted from a lot of knowledge of the

physiology of this phage. And I began to work on the physiology myself. So that was one

really big influence. A second influence was that I would point to particularly was in

immunology. People were developing methods that are just like this in this test tube

evolution. But not using faid...using chemistry rather than biology. So there was a whole

field of developing ways of searching through huge libraries of random peptides, of short

short random peptides, for peptides that would have some particular activity. Binding to

a particular antibody, for example. And I was very influenced by that. At the same time

in molecular biology, people were developing experiments where so-called degenerate DNA

molecules were made. This is DNA molecules where each position, all four neucleotides,

were added so that at the first position you had four possibilities. After the second position

you had four times four 16 possibilities etc. So these were degenerate DNA sequences and

that was really vital in the the the practical way of creating huge peptide or protein libraries

in phage. And um... I think I want to name another influence which really is represented

by Greg Winter's prize. So the laboratory from the 50s... really from certain the early 60s,

the laboratory of Cesar Millstein, eventually joined by George Kohler, were working on the

immune system. And they had a vision of of what they called cloning the immune system.

That is getting the central elements of the immune system to work in the test tube rather

than in the living body. So I was extremely influenced by that by that work as well. And

this was... They were doing this kind of work well before phage display and they immediately

understood that phage display could really further the idea of cloning the immune system,

of getting the immune system to work in the test tube rather than requiring that at work

in the living body. Those are the...That's What I would name as my main influences.

[ Inaudible question ]

Dr. Smith: That's a really good question and I would say that my my vision at the time,

my field of purview, was pretty narrow because I was specifically looking for a way, an easy

way, a much easier way to search through big libraries of protein stores. Proteins or peptides

that would bind an antibody. And this is a standard kind of process in molecular biology

at the time in the late 70s, early 80s. But it was very tedious because every possible

peptide was coded by a phage but not displayed on the page. Every possible peptide really

had to be searched through one at a time. So. So it was pretty hard to get up to a million

but... really hard. Not impossible. It was done. It was done actually. And some Nobel

Prize work was done in this way. But phage display would allow you...Instead of having

to look one clone at a time to find the one you want, phage display would allow you to

create huge libraries of clones with ten billion, a hundred billion structures in it. And instead

of having to search through them once at a time you develop a way of selecting, that

is pulling physically, pulling out the ones you want so that you could

throw away all the others.

[ Inaudible ]

I didn't get another question. I'm done with that answer. And it's really hard

to unmute me.

[ Inaudible ]

[ APPLAUSE ]

Dean Okker: Thank you Dr. Smith for spending some time with us today on this very busy

day. I have to say, as I look around the room, I see scientists, some many young scientists.

I also see people in the arts and humanities and the social and behavioral sciences from

all the different schools and colleges. And I am absolutely certain that your commitment

to scholarly excellence, your humility, is both a wonderful testament of what we aspire

to here at Mizzou and will also inspire every one of us today. So thank you so much. Do

you have any final words for us? [ LAUGHTER ] He does.

[ APPLAUSE ]

Dr. Smith: I would just like to say one more thing. M-I-Z.

Audience: Z-O-U.

[ APPLUASE ]

For more infomation >> Dr. George P. Smith Nobel Prize Press Conference - Duration: 40:06.

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Alien's Guide to TITANIC - Duration: 5:47.

Greetings, and welcome to Earthling Cinema. I am your host, Garyx Wormuloid.

This week's artifact is Titanic, the money-printing global phenomenon written and directed by

British Prime Minister David Cameron. The film tells the story of an intrepid treasure

hunter on a very important search for a lost doodad. Instead, all he finds is an artist's

rendering of said doodad, with a human female added for scale. Our hero tracks down the

female and bothers her until she tells him the story of her scariest vacation ever.

The story goes like this: a teenager named Rose gets on a big boat with her fiancé Cal,

because somehow, after billions of years of existence, this is Earth's fastest mode of transportation

Rose isn't sure about the whole marriage thing, so on a lark she decides to kill herself instead.

This attracts the attention of Jack, the lifeguard, who tells her no running on the deck.

"Stay back!"

Jack sketches Rose wearing her little trinket, which is not considered an act of war on Earth,

and Rose repays the favor by inviting him to the sauna.

Suddenly, just when you think the boat isn't going to hit an iceberg, it totally does.

As the boat is sinking, Rose runs to find Jack and ask if he has any more lifeguarding tips.

Cal gives chase with a gun and shoots at them, since this was before women were legally allowed to swim.

But that gets old after a while, so he gives up and kidnaps a child.

"Please, I have a child"

The boat breaks in half, and everyone jumps into the water.

Cannonball!

Jack helps Rose onto a piece of wood — fellas, you know what I'm talkin bout —

then tells her never to leggo her Eggo. I forget what happens to him after that.

Once on shore, Rose gives the authorities a fake name and abandons her family. The treasure hunter calls off

the search because the story took too long, and Rose takes out the thingamajig and throws it in the garbage.

Titanic can be seen as a referendum on humanity's hubris, which history has proven to be apocalyptic.

With this great ship, mankind believes it has achieved mastery over nature.

"God himself could not sink this ship...What?"

But when the ship sinks, it serves as a microcosm of a doomed, and ultimately pointless society.

Ironically, the name "Titanic" refers to the Titans of Greek mythology, a race of superbeings

who fought the Gods, lost, and were forced into early retirement. Humanity was also arrogant about money,

a transactional placeholder with no inherent value. Money is the thing that allows Cal to "always win."

"I always win, Jack"

He goes so far as to attempt a deal with one of the lifeboat captains,

but the captain throws the money in his face, also known as "making it rain."

"Your money can't save you anymore than it could save me."

In the end, Old Rose says Cal eventually copied her idea and killed himself after he lost

everything in America's first of 33 Great Depressions.

"He put a pistol in his mouth that year."

If the Titanic represents the rigid, seemingly unbreakable social caste of American living,

then its destruction signals the end of days. And indeed, class does play an important part in the film.

The first-class passengers consider themselves superior to the unwashed masses on the lower decks.

When disaster strikes they are the ones with top priority for the lifeboats,

right behind platinum club members and children traveling alone.

"Half the people on this ship are going to die." "Not the better half."

Conversely, Jack is the human equivalent of pond scum. In other words, human.

"You hold a third class ticket, your presence here is no longer appropriate."

He is not deemed fit to occupy Rose's part of the boat, nor is he deemed fit to occupy Rose's parts.

These differences are made apparent in the two party scenes.

"Want to go to a real party?"

The poor passengers get buck wild and dance to sweaty Top 40 club traxx, whereas the rich smoke cigars and sip

brandy while listening to NPR. The film presents a stark juxtaposition between the life-affirming

vitality of working class life and the soulless, pompous fartknockery of the rich.

Slavoj Žižek, a Marxist philosopher, culture critic, and intergalactic playboy,

offers a different take. He says Titanic is not about the nobility of the poor vs. the cruelty of the rich —

it's actually pure exploitation of the downtrodden.

"Time for me to go row with the other slaves."

Rose is a spoiled rich girl in the midst of a high-Bourne-Identity crisis. Jack serves as a "vanishing mediator,"

who restores her purpose in life and is then free to disappear like so many rabbits in so many hats.

His last words are not those of a lover, but rather sage advice from some sort of guidance counselor.

"You won't give up. Never let go."

Rose discards him after the ordeal is over, returning to her aristocratic life as a stock photo model.

Žižek offers another, bolder take that casts the iceberg as the hero of the story.

Rose says she will leave with Jack when they reach New York,

"I'm getting off with you."

casting aside her wealth in favor of love and decent slice of za.

But as they grow to heart NY, will they continue to heart each other? The iceberg, it seems,

arrives in order to prevent the true catastrophe, wherein the hardships of everyday life would

surely erode their union. So in a sense, it preserves the illusion of their "happily ever after."

And if "happily ever after" isn't what it's all about, what is?

Respect? Fame? Power? Yes please.

For Earthling Cinema, I'm Garyx Wormuloid. And now its time to let go.

For more infomation >> Alien's Guide to TITANIC - Duration: 5:47.

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A new rum bar-themed restaurant is coming to St. Louis - Duration: 0:26.

For more infomation >> A new rum bar-themed restaurant is coming to St. Louis - Duration: 0:26.

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Understanding The Sound Of Silence - Duration: 7:38.

hey, welcome to 12tone!

I love this song.

I mean, obviously I love all the songs I've analyzed, but Sound of Silence is one of the

most hauntingly brilliant pieces of music I've ever heard.

I doubt I really need to introduce it here: according to BMI it was the 18th most performed

song of the entire 20th century, so you almost certainly know what it sounds like already,

but one thing that I didn't know until recently is that the version you're probably most familiar

is actually a remix: when Simon and Garfunkel first recorded the song for their folk album

Wednesday Morning, 3 A.M., it was entirely acoustic, but after the album flopped the

engineer, Tom Wilson, decided to try dubbing a more traditional rock band over it without

the singers' knowledge or approval.

honestly, I think the original is just as good, if not better, but that decision is

probably what really launched the song into the public conscience, so I'm not gonna complain.

enough about history, though, let's get into the music.

the song starts like this (bang) playing what's called an arpeggio, where the notes of a chord

are played one at a time instead of all at once.

if we smush them all together, though, we get this (bang) which is an D#sus2 chord.

this sets the stage for the song, telling us we're in the key of D#, but it's a bit

ambiguous: a sus2 chord is one where the 3rd has been replaced by a 2nd, which means we

don't know if it's supposed to be major or minor.

the tonality's ambiguous, at least to start, but then the melody comes in and clears things

up (bang) with the F# here placing us squarely in D# minor.

after that we move here (bang) which is C# major, followed by a return to D#sus2. interestingly,

the sus 2 in our D# chord actually stays still when we go to C# major, becoming the 3rd of

that chord. this common tone makes the chords feel closer than they actually are: If we

did the same thing but used D# minor (bang) you hear the whole thing stepping down and

back up, but here it feels smoother because of the shared E#. in the return to the D#

chord we do actually hear a couple F#s, establishing a more traditional minor sound, but given

how strongly it features the E#, I think it still feels more like a sus2 chord anyway.

harmonically, this movement from bVII to I minor is what jazz theorists call a backdoor

resolution: it's not as strong as the traditional V-I motion, but it sticks to the notes of

the minor scale, and it provides a decent sense of rest.

the bVII is an interesting chord in a lot of ways: it's a bit like a harmonic swiss

army knife.

it's kinda directional, but also not, so it can be used to introduce tension or resolve

it.

in technical theory speak, it can be dominant or subdominant, depending on your needs, and

here, it's doing a bit of both.

it's got a sort of duality to it, kind of like the tonality in the beginning, which

I think is gonna be a running theme through this whole song.

anyway, from there we move on to this section (bang) where we start on B major, then quickly

fall down to F# major.

now, I think most people's instinct would be to analyze this as the bVI chord going

to the bIII, and that's not wrong, but I think there's a better way to explain what's happening.

I know I get yelled at in the comments every time I do this, but I'm pretty sure we've

changed keys here.

sort of.

basically I think what's happening is something called a relative modulation, which is where

we keep all the same notes, but change keys anyway.

you see, for every minor scale, there's a major scale, called its relative major, which

has exactly the same notes but treats a different one as the root. for D# minor (bang) that

scale is F# major.

(bang) the only difference is how the notes are used, so the transition between them is

really subtle, and it's often not clear whether it's happened at all, but here I think it

probably has.

I'll explain why in a second, but first I want to address the harmony: if I'm right

and we're in F# now, then we've got the IV chord resolving to the I chord. this is called

a plagal cadence or subdominant resolution, and much like the bVII to Imi thing from earlier,

it's the result of a subdominant chord filling in for a more standard dominant sound, weakening

the sense of completion and rest you'd expect from, say, V to I. in fact, in a lot of ways

the plagal cadence is basically the major version of that backdoor resolution, which

is part of why I like analyzing this with a relative modulation.

it shows how the two parts are almost like reflections of each other, starting off dark

and sad, quietly transitioning to a brighter, more hopeful version of the same sound, and

then falling back into that darkness.

remember how I said duality would be a big theme here?

anyway from there we hit this bit (bang) which is just a B chord.

it goes back and forth between B major and Bsus4, which helps give this a bit of motion

even though the chord's not really changing, then we go here (bang) which is F# major again,

which means this section's pretty much the same plagal cadence from the last part, just

stretched out a bit.

whereas earlier we were just briefly visiting the IV, here we have to contend with it in

full, making this section feel like the dramatic climax, a feeling that's accentuated by the

melody going to its highest notes.

after that we hear this (bang) where we briefly hit D#mi, signalling a transition back to

that key, then C# major, then a backdoor resolution up to D#sus2 before ending on a big D# minor

chord. after this the song loops, with new instruments coming in, but the harmony and

melody both pretty much repeat for the rest of the song.

there's some embellishments here and there, and I think they drop some of the sus chords,

but basically it's the same thing.

there's a couple other things I want to address, though: first, the rhythm.

like I said, the structure of this song repeats, and the repeating section is 64 beats long.

for those of you who don't like to do rhythmic math in your head, that's 4 4-bar phrases

with 4 beats per bar. or at least it should be, but if you've ever actually tried to play

this song, you know it's not that simple.

the first two phrases are normal, but the third one jumps the gun and starts 2 beats

early, cutting off half of the bar in front of it, it then makes up that time by being

extra long, requiring the addition of another half a bar at the end.

this serves to further emphasize that third phrase, which is, again, the climax, and it

also throws off the listener's internal rhythm, making the whole thing feel less like 4 separate

phrases and more like one long, cohesive line.

speaking of which, the last thing I want to address is the vocal harmonies, because they're

fantastic.

first of all, despite being based on the same recording, they're incredibly different between

the original and the remix. in the album version, the two voices are panned to the left and

right, so they sound like two simultaneous leads and you can really hear what Paul Simon

is doing, whereas in the remix they're blended together, leaving Garfunkel's voice as the

main melody with Simon's part supporting in the background.

both versions sound great, it's just interesting to me how different the same recording can

be depending on what the engineer does with it.

more important, though, is the way those melodies interact. as I mentioned, you're probably

most familiar with Garfunkel's line, which mostly arpeggiates chords and features large

leaps and a broad range, but Simon's part does none of that.

for most of the song, Simon is just singing the root of whatever the current chord is,

which combines with Garfunkel's part to create what's called oblique motion, where one voice

moves and the other sits still.

check it out: (bang) it's a haunting effect, again evoking that sense of duality: the melody's

running all over the place, but at the same time it's barely moving at all.

the two voices are telling two different stories with the exact same words, and I just…

I love it.

so much.

it's such a cool effect, and it's employed so well here.

I mean, what can I say? as soon as he wrote it, Paul Simon apparently described this as

his best song, and even with all the other amazing music he's made in the decades since,

I think he's probably still right.

I don't know, fight me in the comments.

anyway, thanks for watching, and thanks to Patreon patron Hector Bonte for suggesting

this song! if you'd like to see your favorite song analyzed, just head on over to Patreon

and pledge at any level.

you can also join our mailing list to find out about new episodes, like, share, comment,

subscribe, and above all, keep on rockin'.

For more infomation >> Understanding The Sound Of Silence - Duration: 7:38.

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Tom Hardy über seine neuen Film "VENOM" und Rap-Comeback | Stars in Cars | taff | ProSieben - Duration: 4:25.

We meet up with Tom Hardy in London

But our reporter has to check twice,

because Hardy arrives wearing a baseball cap

dark shades and a black hoodie.

But despite his disguise, people recognize him immediately.

No surprise, because Tom Hardy is a megastar , especially here in his hometown

Naturally the paparazzi are awaiting him, as well.

But that's okay, because the actor

is travelling around the globe to promote his new movie "Venom" anyway.

For us a good chance to invite him to an interview on the roads of London.

And although Tom seems to be a man, who is more into motorbikes,

we find a car, that just seems to fit perfectly for our interview.

And so our reporter Alex picks Tom up in a "very" discreet, red Audi R8 V10 Spyder.

And it seems he chose right, because Tom immediately gets in on the left side –

and that is commonly known the driver seat in the UK.

Tom: "Das ist ein tolles Auto. Aus Deutschland, richtig?"

Correct!

One little vape and off we go in our German car through the British capital.

Tom Hardy is driving in automatic mode –

probably a good thing,

because though he has a driving license,

he passed it when he was already 30 years of age and also skipped one important lesson.

Tom: Ich kann nicht Manuell fahren

Alex: Du kannst das immer noch nicht oder Du konntest es damals nicht?

Tom: Nein, ich kann es immer noch nicht. Das ist etwas peinlich, oder? Aber ich packe das auf meine To-Do-Liste.

Alex: Du wirst nie bei Fast & Furious mitspielen können, wenn Du nicht mit Schaltung fahren kannst.

Tom: Ich glaube nicht, dass das ein großer Verlust ist.

Yeah, Tom Hardy nowadays is the position to play

only the parts in movies, he really wants to play. A standing, he worked hard for.

2001 is one of his first appearances on the big screen in the movie "Black Hawk Down".

He continues to starr in various supporting roles and many British movies over the years,

before he really makes a name for himself in Hollywood in the movie "Inception" in 2010.

Only two years later Tom Hardy becomes world famous through his role as "Bane" in "The Dark Knight Rises".

Since then one success after another: „Mad Max: Fury Road",

the war movie „Dunkirk" or „The Revenant" with his pal Leonardo DiCaprio

for which he also receives his first Oscar nomination.

Alex: Warum jetzt Venom?

Tom: Das ist eine gute Frage!

Alex: Ja, warum Venom und nicht zum Beispiel Wolverine?

Tom: Man hat mich nicht gefragt, ob ich Wolverine spielen möchte.

Hätte mich jemand gefragt, dann würde ich vielleicht den spielen, aber das hat niemand gemacht!

Aber sie haben mich gefragt, ob ich Venom spielen möchte, also hab ich das Drehbuch gelesen und gedacht: Wow, das ist großartig!

Ich liebe diese Rolle. Ich liebe dieses Paradox des menschlichen Daseins.

Wie bei Jeckyll und Hyde – alles zwischen Eddie Brock und Venom – und zugleich Teil der Marvel Superhelden.

Aber er ist halt kein gewöhnlicher Superheld oder ein Mann im Anzug.

But if the rumors are true, then Tom is about to go back to his roots and wants to record a new rap album. What is that about?

Tom: Ich bin der Rapper aus dem Vorort.

Alex: Also stimmt das Gerücht?

Tom: Ich warte sehnsüchtig darauf, wieder mal ins Tonstudio zu gehen. Ich bin jetzt 41 Jahre alt und denke mir so:

Warum eigentlich nicht? Auch alte Leute können doch Rap Alben rausbringen, oder?

Alex: Genug Talent hast Du ja schon bewiesen.

Tom: Ach was, habe ich nicht. Um ehrlich zu sein. Das Gerücht ist falsch!

Ich wünschte, es wäre wahr, aber da hat jemand was falsch verstanden.

Ich bin ein bisschen neidisch auf den Typen, der so was macht.

Aber ich werde es nicht machen! Ich bin für so was einfach nicht cool genug.

Okay, if he says so. But Tom Hardy was definitely cool enough for our short car ride.

And if the English tabloids are correct, then "Stars In Cars" was also a great application to be the next James Bond.

But for now, Tom will be the star of "Venom" which hits the theatres this week.

For more infomation >> Tom Hardy über seine neuen Film "VENOM" und Rap-Comeback | Stars in Cars | taff | ProSieben - Duration: 4:25.

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Opel Tigra TwinTop 1.4-16V SPORT (90pk) Airco/ Cruise/ C.V. Afstand/ Elek.Pakket/ Elek.Kap/ Multie-S - Duration: 1:04.

For more infomation >> Opel Tigra TwinTop 1.4-16V SPORT (90pk) Airco/ Cruise/ C.V. Afstand/ Elek.Pakket/ Elek.Kap/ Multie-S - Duration: 1:04.

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Allah neden kötülüklere engel olmuyor? Abdussamet Öztan - Duration: 6:05.

For more infomation >> Allah neden kötülüklere engel olmuyor? Abdussamet Öztan - Duration: 6:05.

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UPDATING YOU ON MY WEIGHT LOSS JOURNEY FOR THE PAST MONTH - Duration: 10:11.

hey guys today I'm going to be updating you on what I've been doing the last

month or so and that's basically trying to lose the remaining of this weight

I've been having some difficulty doing it so the month of October I'll be doing

a lot of fast dry fast in particular with also my juice cleanses and small

refeeds to get this way down fingers crossed I hope to have lost all the

weights that I need to lose by the end of October so I can go on to phase two

the end of this journey trying to get to phase two has been very stressful

because I'm very anxious to get on to Phase two but at the same time it's like

a love-hate type of situation because I really haven't learned how to eat and I

don't want to go into a spiral of eating the same sort of way also going on

binges and gaining the weight back quickly it happened to start over from

square one so in a way I want to rush the process to get to phase two but then

again I I'm still on phase one where I can still learn how to eat so when I go

on to phase two I don't run into this problem either way I do have the tools

to lose the weight but I don't want to keep going up and down because at this

state stage in the game I'm at that age where it is very hard to get the weight

off and it's not healthy to go up and down on your weight and it also can lead

stress to the body so I'm trying to work on that while I'm on phase one which is

learning how to eat and keeping this weight off

so when I go on to phase 2 which is a lifetime I'm able to incorporate what I

learned from phase one and keep the weight off so all of October I will be

doing a lot of dry fast I'm going to discuss this in another video but I'm

going to be cutting down my sodium intake

I know salt water flush I do advocate it because it's all-natural with the pink

holiness all in the purified water is a natural way to cleanse out the colon in

the blood and the liver and the kidney but I have been doing it a lot and I

always had the back of my mind you know pink Olay insulting not it not being

processed to me it doesn't really matter if it has minerals and vitamins in it I

think if you do too much of anything it can still build up in the bottom the

body the sodium from the pink Alina saw and then have reverse effects on the

body I read somewhere and it makes a lot of sense that sodium can affect the

heart and I was getting some symptoms from some of the effects of too much

sodium buildup in the body noticeable symptoms and also one big thing was the

nervous system it can mess with the nervous system and I was having some

nervous system issues having anxiety and me having twitches and all that other

stuff it was getting worse you know muscle spasms and stuff like that so

today I had made me a 32 ounce of salt water solution for the following day and

I just emptied it down the sink because I've been going back and forth with this

for a while that I have to find other methods of ways to flush out the system

when I'm doing a juice cleanse or even they're dry fast a couple of days later

to get out the remaining of what's in the colon that the body has you know

eaten from even the fast that gets cumulates inside of the colon so I've

been using way before I started I'm doing the salt water flush a Senna Senna

it's unusually smooth move tea or the ballerina three tea in the green box it

has the active ingredient Senate in it along with you know like green tea so

now I get pure Senna and I use I think it's all I want to say 1/4 teaspoon I

have measuring spoons that I use it's very potent and it works very

effectively like the salt water flush and I was using that prior to using the

salt water flush when I had did my lemon Clint Master Cleanse one time let me

cleanse same thing prior to doing the juice cleanse and it's very powerful and

it works effectively and it works every time you use it just like the salt water

flush and to be quite honest with you there if you use it every day you're

definitely going to flush out the system and it's no sodium in it it's made from

a plant with the salt water flush you could have days and if you're using it

every day you might not even get all the salt water or anything that's in your

intestines out where with the center you always have a bowel movement if you use

it consistently in the morning time or before bedtime so I had to weigh out my

pros and cons and the pros and the cons the verdict is in that the center does

not have any sodium whatsoever zero trace of salt sodium or anything like

that inside of it it's an all-natural product it's made from a you know an

herb a plant and it's just as effective and powerful as a salt water flush in

its natural so I'm going to use the pink

Elaine salt when I do my enemas but I'm not going to be digesting 32 ounces of a

saltwater solution no longer I'm going to just do it when I do my enemas I'm

gonna cut back that's gonna really cut back on the sodium and the reason also

why I'm gonna stop these saltwater flushes I noticed when I've been doing

my drive fast that my anxiety you know which is the nervous system and

twitching and all that muscle spasm I don't even get them and that's because

when you're on a drive fast your body is so dehydrated from dry fasting that you

can't do a salt water flush every day because the water can get stuck in there

the salt water solution you don't want to take a chance and do that and swell

the body up so sometime I have to wait if I'm doing a five-day drive fast I

have to wait maybe 24 to 48 hours before it's even safe to do a water a salt

water flush I'm with that sodium in there I don't even recommend 24 hours

after five day or even a 24 to 48 hours drive fast because that sodium might not

come out the system and swell you up so doing these dry passes throughout the

end of last month at the spur of the moment doing more than I have been doing

most of the year I haven't been doing salt water flushes so I had noticed that

I wasn't getting these muscle spasms in my hands I'd he wasn't flaring up which

is the nervous system as well and that's what gave me the idea that maybe I need

to stop doing those salt water flushes it could be as we speak a buildup of

sodium in the body even after doing a drive fast that is still hidden in my

tissues on a cellular level and you know I want to get that balance

because I'm finding that even when I go back to

solid foods from being on a dry fast that my body bloats up very quickly and

I think that it is contributing the sodium build-up from the salt water

flushes so I'm going to discontinue doing the salt water flushes internally

and I will still use not as much salt for when I'm doing enema I will use a

little teaspoon or so the salts and you know the water and other things that I

use like the chamomile tea and also some time I'll put Center in that and do

anima but I'm not going to be drinking the solution we it goes all through the

body and can potentially get stuck in the system and as we all know that you

can stay bloated with water retention from 12 12 hours to 5 days and we know

from doing dry passes if we are bloated for five days I'm a salt water flush we

end up eating foods again that are going to blow up the system and you know make

us stop eating foods on top of that what you're gonna make us think that we gain

weight so what all that being said I'm going to end this because I have a phone

call right now and I will see you guys in the next video bye for now

For more infomation >> UPDATING YOU ON MY WEIGHT LOSS JOURNEY FOR THE PAST MONTH - Duration: 10:11.

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Road to #Rydell1600 Nissan Rogue - Duration: 0:31.

Hey guys, Jared Langenstein General Sales Manager of Rydell Nissan here in Grand

Forks. Today I want to talk to you about the 2018 Nissan Rogue Sport SV. Comes

standard with power driver seat, heated seats, forward emergency braking and backup

camera. All for $329 a month and don't forget Rydell Nissan is the only

Nissan Dealership in the Red River Valley with a lifetime power-train

warranty. Come in today take a test drive and get in your chance to win a

$1000 Scheels Gift Card. Come and see us today

For more infomation >> Road to #Rydell1600 Nissan Rogue - Duration: 0:31.

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Extrovertní bloggerka ze Slovenska pořádně přestřelila: Na veřejnosti vytasila svůj - Duration: 2:21.

For more infomation >> Extrovertní bloggerka ze Slovenska pořádně přestřelila: Na veřejnosti vytasila svůj - Duration: 2:21.