![]() “We form the floors with our Styrofoam panels, instead of using steel panels or forms, and the styrofoam stays in place. There, it’s not uncommon to see 30 and 40 story buildings using a steel superstructure and concrete decking. Some of the tallest buildings where Insul-Deck has been utilized are in Italy, where the system originated. ![]() “And that’s not something to fool around with,” Juen says.Ī curved concrete roof by Insul-Deck. Juen recommends that a trained concrete contractor who has done ICF formed walls, poured walls, poured concrete beams, and balconies out of concrete tackle this type of roof - in other words, someone who has experience with concrete formwork, because 10 square feet of concrete weighs thousands of pounds. It’s not a beginner type of roof, but it is also something that is not out of reach if a homeowner really wants to learn how and do it themselves. Here’s his description: “In essence, we had what looks exactly like a candy cane, and then we tied a horizontal rebar to that candy cane and that’s what gave us the steel for the overhang.” He performed the work in 12 foot sections, then skipped a section, and came back a week later to fill in the gaps and do the next 12 foot section. The rebar coming out of the walls was all bent to a 3/12 pitch, bent like a candy cane. When Steve Carroll, a BuildBlock distributor in Kentucky, built his own ICF house, he described this process using BuildDeck in a blog post as “candy cane walls.” His roof was a 3/12 pitch roof, with a span of about 20 feet two foot overhangs. “When the ICF wall is poured, we bend those rebars sticking out of the top into our roof, and that makes a monolithic reinforced concrete construction,” Juen says. The rebar sticks out on top, and the roof forms connect to that. In an ICF wall, there are two layers of styrofoam with concrete and rebar in the middle. The concrete slab connects to the roof with rebar in a way that is similar to an ICF wall. And instead of plywood over the top, as in a floor or roof, Insul-Deck uses a concrete slab. “We have concrete joists or beams that are reinforced with rebar.” The beams are 4 inches wide, and depending on the span and load up to 16 inches deep. “If you envision a wood-framed floor, with, for example, wood joists every 16 inches or every two feet, and then plywood over the top, Insul-Deck is basically the same thing,” explains Juen. Insul-Deck is a fast, versatile joist construction system for concrete floors, roofs, and elevated buildings. The roof is structurally a concrete slab, says Juen. “A concrete roof system protects against all that.” ![]() “We’re seeing more and more of these types of roofs made out of concrete because of the rates of insurance increasing for structures to be protected from hurricanes, tornadoes, and fires,” says Peter Juen, president of Insulated Concrete Structures Inc., manufacturer’s, representative and distributor of Insul-Deck. It’s smart to use low-slump concrete for most roofing applications, especially ones with a pitch. This method is ideal for flat roofs, although pitched roofs and roofs with valleys or gables are possible but require more engineering. In this scenario, a concrete slab is poured that is used as a roof instead of for flooring. Hurricanes, tornadoes, fires, and insurance changes are driving the demand for increased roofing made out of ICFs. ![]()
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![]() ![]() As long as LEGO Education has WeDo 1.0 replacement parts in stock, we can continue to supply solutions to faulty equipment. Anything without a warranty beyond 2017, we cannot guarantee a replacement. LEGO ® Education will honor any warranty that is still valid after 2017 for replacement parts. Will LEGO Education stop supporting WeDo 1.0 by the end of 2017? However, local distributors will sell WeDo 1.0 as long as stocks last and LEGO Education will continue to provide support through our customer service and tech support teams for an additional 2 years. No, LEGO ® Education WeDo 1.0 will not be available from LEGO Education after December 31, 2017. LEGO® is giving away one (1) Bricks set (valued at $54.95 and pictured above).Will WeDo 1.0 still be available beyond 2017? We see many more LEGO learning hours in our future! Please see our disclosure policy. All opinions are our own and the children continue to beg for LEGO Education time. We are very pleased to be a part of the LEGO Educator Official Blogging Team. ~We received the LEGO WeDo Robotics set in exchange for an honest review. There is a homeschool section of the LEGO Education website full of educational ideas, prompts and products for home education.These “challenges” allow the LEGO Education WeDo curriculum to continue to have fresh, new activities to explore. As a bonus, LEGO Education sends additional activities to you via email.You can get your LEGO® Education WeDo Robotics curriculum at the LEGO Education website. Here is a 30 second video of our youngest son, age five, playing with the sound commands for the alligator.Ĭan you tell he tried out all the sounds? Where Can You Get LEGO Education WeDo Robotics? They are all excited about future lessons. All ages were able to make changes to the program, and watch to see how the alligator behaved differently with each change. He made many changes–carefully observing what each change did to the overall program.Īll gathered around to make another project – the ‘dancing birds’ – and watch them spin!Įveryone was excited about their turn at the computer to make changes to the alligator’s operation. The program elements are pictorial and can be dragged and dropped into the program window to change the program. ![]() All of our children, from age 16 to age 5 were excited about building and programming the alligator.Īfter the construction and basic program were complete, the youngest boy sat at the computer making changes in the program. We constructed the Alligator and then wrote a program with the WeDo software to move the alligator’s mouth. Pictured here is the construction of activity four, Hungry Alligator. Windows XP, Vista or Windows 7 with latest Service Pack.Intel ® Pentium ® processor or compatible, 800 MHz minimum.The LEGO Education WeDo software will run on most computers made within the last 2-3 years. Continue – Students are challenged to build more complex and advanced models.They make predictions about the effects of the proposed change-then make the change and observe the result. Contemplate – Students observe and report how changes in the model affect its behavior.The instructions are visual and are easily followed. The WeDo activities include step-by-step instructions. Construct – Children learn by building models.Connect – Adding to knowledge by connecting a new experience to experiences you already have.LEGO Education activities allow students to learn through four distinct phases, the “4C” learning process: Connect, Construct, Contemplate, and Continue. The curriculum is divided into four sections: Amazing Mechanisms, Wild Animals, Play Soccer, and Adventure Stories. It contains all of the pieces required to perform the activities–including a motor, gears, pulleys, electronic sensors, a printed teacher’s guide, and LEGO Education WeDo software. The LEGO Education WeDo curriculum has twelve exciting project activities. What Does the LEGO WeDo Robotics Set Include? The electronic activity pack, includes 12 activities, and explores four different themes mentioned below. The children also program their models using the WeDo Software v1.2. The goal is for students to build simple machines – with working motors and sensors. Our older middle and high school children also folded into the learning. LEGO® Education WeDo Robotics is very easy to use for all our ages and a wonderful introduction to robotics. And the more we experimented, the more we learned, the more we enjoyed! Don’t miss the LEGO® Education bricks set giveaway at the end!īuild and create with a LEGO Education set and the computer? We knew we’d like it. ![]() ![]() The myth of Icarus and his father, Daedalus, teaches by its tragedy. Myths reflect subconscious truth power can be a dangerous and potentially fatal commodity for a boy as he transitions from boyhood to manhood. It teaches us about power in our relationship with our fathers. ![]() The myth of Icarus is especially relevant to boys of the baby boom (children born after World War II and up until the Vietnam era). Icarus had soared towards the sun, his wax melted and he fell to his death. He peered down at the ocean and saw a small cluster of feathers floating on the water. Daedalus looked around in flight and could not find his son. Drunk with his newfound power, he soared higher in the sky, ignoring his father's warning. Also, like many adolescents, Icarus moved rapidly from ungainliness to false prowess. He found flight awkward at first, but learned quickly and soon flew with the attributes of adolescence-his physical strength made up for his lack of coordination and balance. Like any adolescent boy, Icarus struggled with parental advice. Icarus took off with all intentions of following his father's sage advice. If he flew too low, his wings would get wet in the ocean if he flew too high, the sun would melt the wax and the wings would disintegrate. Just before their flight, Daedalus warned his son to be careful. In theory, the wings would allow Daedalus and Icarus to fly above the labyrinth and off the island to freedom. Ever the inventor, Daedalus built wings of feathers and wax to escape. Because he was his father's son, Icarus faced the same fate. Sometime after building it, Daedalus fell into disfavor with the king of Crete and was condemned to live the rest of his life inside the labyrinth. Even Daedalus could not find a way out of his maze. He was the son of Daedalus, an accomplished inventor, who produced an ingenious labyrinth on the island of Cnossus for Minos, the king of Crete. ![]() Icarus was a minor character in Greek Mythology, famous for not surviving the transition from boyhood to manhood. ![]() ![]() ![]() ![]() The numbers 16-20 follow a consistent structure where the word for each number is formed by combining the words for the tens and the ones. Once we move past number 15, the pattern in Spanish becomes more straightforward. For example, “eleven” is “once,” “twelve” is “doce,” “thirteen” is “trece,” “fourteen” is “catorce,” and “fifteen” is “quince.” These numbers have their own distinct pronunciation, which you can practice to improve your Spanish speaking skills. ![]() Instead of using the words “eleven,” “twelve,” “thirteen,” “fourteen,” and “fifteen,” Spanish has unique words for each of these numbers. When it comes to the numbers 11-15, there is a specific pattern in Spanish. Understanding these numbers is essential for being able to count from 1 to 20 in Spanish. These numbers are the continuation of the counting sequence from 1 to 10 that we discussed in the previous section. In this section, we will explore the numbers 11-20 in Spanish. In the next section, we will continue our journey by exploring the numbers 11-20 in Spanish. Practice saying them out loud and using them in simple sentences to enhance your fluency. Learning these numbers is crucial as they form the building blocks for counting in Spanish. The numbers two to ten in Spanish are: dos (dohs), tres (tres), cuatro (kwah-troh), cinco (seen-koh), seis (says), siete (see-eh-teh), ocho (oh-choh), nueve (nway-veh), and diez (dee-ess). For example, “uno” becomes “un” when followed by a masculine noun, such as “un hombre” (one man). It is pronounced as “oo-noh.” As you progress, you’ll notice that the pronunciation of some numbers may change slightly when used in combination with others. Let’s start with the number one, which is “uno” in Spanish. These numbers are essential for building a strong foundation in counting and understanding the Spanish number system. In this section, we will focus on the numbers 1-10 in Spanish. So let’s get started with counting in Spanish! This knowledge will not only help you communicate more effectively but also open doors to understanding the Spanish-speaking culture. Mastering Spanish numbers is a fundamental step in your language learning journey. For instance, you might use ordinal numbers when discussing the date (“Hoy es el primero de enero” – Today is the first of January) or ranking in a competition (“Llegué en segundo lugar” – I came in second place). On the other hand, ordinal numbers are frequently used for indicating the order of items or events. For example, if you want to say “I have two cats,” you would say “Tengo dos gatos.” Similarly, if someone asks you how old you are, you can reply with “Tengo veinticinco años” (I am twenty-five years old). In Spanish, cardinal numbers are commonly used for counting objects, expressing age, and stating prices. This section will explore both types of numbers, providing you with a comprehensive understanding of counting in Spanish. On the other hand, ordinal numbers, such as “primero” (first) and “décimo” (tenth), express order or position. Cardinal numbers, like “uno” (one) and “diez” (ten), denote quantity or how many. By mastering Spanish numbers, you’ll gain the confidence to understand and participate in these situations fluently.īefore diving into the intricacies of counting in Spanish, it’s essential to understand the distinction between cardinal and ordinal numbers. From ordering food at a restaurant to telling the time, numbers are present in everyday life. Continuing beyond 20 in Spanish follows a similar pattern, and further resources are available to expand your knowledge of Spanish numbers.Ĭounting in Spanish is not only useful for basic communication, but it also helps you navigate various scenarios.Practicing counting in Spanish through interactive exercises and quizzes will reinforce your learning and improve your counting skills.Common expressions and idioms that include Spanish numbers add depth to your language skills and make your conversations more natural. ![]()
![]() ![]() Version 5.19.0: currentLoad() added steal and guest time (linux).Version 5.20.0: mem() added writeback and dirty (linux).Version 5.21.0: graphics() added subVendor (linux).(last 7 major and minor version releases) error ( error ) ) News and Changes Latest Activity InstallationĬonst si = require ( 'systeminformation' ) // promises style - new since version 3 si. It is supposed to be used as a backend/server-side library and will definitely not work within a browser. supports Linux, macOS, partial Windows, FreeBSD, OpenBSD, NetBSD, SunOS and Android supportĪttention: this is a node.js library.get detailed information about system, cpu, baseboard, battery, memory, disks/filesystem, network, docker, software, services and processes.Lightweight collection of 50+ functions to retrieve detailed hardware, system and OS information. I would be happy if you inform me when you discover any issues. I did a lot of testing on different platforms and machines but of course there might be some issues that I am not aware of. systeminformation website updated and extended with full documentation and examples systeminformation.ioīreaking Changes in version 5: you will see several breaking changes for the sake of a more consistent API interface and to be future proof.better uuid function to get unique hardware and OS UUIDs.added wifi interfaces and connections: extended wifi information.added usb: get detailed usb controller and device information.added printer: get information from detected printers.added dockerImages, dockerVolumes: get detailed information about docker images and volumes.added bluetooth: get detailed bluetooth device information.added audio: get detailed audio device information.The new Version 5 is here - this next major version release 5.0 comes with new functionality and several improvements and changes (some of them are breaking changes!): Your contribution make it possible for me to keep working on this project, add new features and support more platforms. Any support is highly appreciated - Buy me a coffee. Currently I am working very hard on the next new version 6.0 completely rewritten in TypeScript and with a lot of new features. Over the past few years I spent more than 2.000 hours working on this project and invested in hardware to be able to test on different platforms. Thank you to all who contributed to this project! Please support this project. Started as a small project just for myself, it now has > 15,000 lines of code, > 600 versions published, up to 8 mio downloads per month, > 220 mio downloads overall. I wish you all a Merry Christmas and a peaceful New Year 2024. System and OS information library for node.js ![]() ![]() Combining the shield button with directional inputs and attack buttons allows the player to also perform dodges, rolls, grabs, and throws. A shield button allows players to put up a defensive shield which weakens with repeated use and will leave the player unable to move if broken. When characters are hit by attacks, they receive a hitstun that temporarily disallows any attacks to be made. Quickly pressing or tapping a directional input and the attack button together while on the ground allows players to perform a chargeable "Smash Attack", which is generally more powerful than other attacks. As such, each character has four types of ground attacks, mid-air attacks, and special attacks that can be performed. Players can perform different types of moves by holding the directional controls up, down, to the side, or in a neutral position while pressing the attack or special button. Ĭontrols are greatly simplified in comparison to other fighting games, with one button used for standard attacks and another used for special attacks. Additionally, some characters vary in weight, with lighter characters being easier to launch than heavy characters. Some characters have an easier time recovering onto the stage than others due to their moves and abilities. When a character is launched off the stage, the character can attempt to "recover" by using jumping moves and abilities to return to the stage. To knock out an opponent, the player must knock that character outside the stage's boundaries in any direction. ![]() As a character's percentage rises, they suffer stronger knockback from enemy attacks. Characters have a damage total which rises as they take damage, represented by a percentage value that measures up to 999%. ![]() Instead of winning by depleting an opponent's life bar, players seek to launch their opponents off the stage and out of bounds. Gameplay Pre-release screenshot of Ultimate featuring Ganondorf, Link, Mario and Mega Man battle on the "Great Plateau Tower" stage, based on the location from The Legend of Zelda: Breath of the Wild ![]() Every game in the series has been well received by critics, with much praise given to their multiplayer features, spawning a large competitive community that has been featured in several gaming tournaments. In Melee, Brawl, and Ultimate, some characters are able to transform into different forms that have different styles of play and sets of moves. had only 12 playable characters, with the roster count rising for each successive game and later including third-party characters, with Ultimate containing every character playable in the previous games. The series primarily features characters from various Nintendo franchises, including Super Mario, Donkey Kong, The Legend of Zelda, Metroid, Yoshi, Kirby, Star Fox, and Pokémon, as well as third-party franchises like Sonic the Hedgehog, Street Fighter, and Final Fantasy. Ultimate, was released in 2018 for the Nintendo Switch. The 3DS installment was the first for a handheld platform. for Nintendo 3DS and Wii U, was released in 2014 for the Nintendo 3DS and Wii U, respectively. The fourth installment, Super Smash Bros. Although HAL Laboratory had been the developer for the first two games, the third game was developed through the collaboration of several companies. Melee, which was released in 2001 for the GameCube and became the best selling game on that system. The series achieved even greater success with the release of Super Smash Bros. was released in 1999 for the Nintendo 64. The series is known for its unique gameplay objective which differs from that of traditional fighters, in that the aim is to increase damage counters and knock opponents off the stage instead of depleting life bars. The series was created by Masahiro Sakurai, who has directed every game in the series. is a crossover platform fighting game series published by Nintendo. ![]() ![]() ![]() NVDA is bundled with eSpeak NG, a free, open-source, multi-lingual speech synthesizer. It is important that people anywhere in the world, no matter what language they speak, get equal access to technology.īesides English, NVDA has been translated into 54 languages including: Afrikaans, Albanian, Amharic, Arabic, Aragonese, Bulgarian, Burmese, Catalan, Chinese (simplified and traditional), Croatian, Czech, Danish, Dutch, Farsi, Finnish, French, Galician, Georgian, German (Germany and Switzerland), Greek, Hebrew, Hindi, Hungarian, Icelandic, Irish, Italian, Japanese, Kannada, Korean, Kyrgyz, Lithuanian, Macedonian, Mongolian, Nepali, Norwegian, Polish, Portuguese (Brazil and Portugal), Punjabi, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish (Colombia and Spain), Swedish, Tamil, Thai, Turkish, Ukrainian and Vietnamese.Īpart from providing its messages and interface in several languages, NVDA can also enable the user to read content in any language, as long as they have a speech synthesizer that can speak that language. both AMD64 and ARM64 variants of Windows are supported.For Windows Server 2008 R2, NVDA requires Service Pack 1 or higher.For Windows 7, NVDA requires Service Pack 1 or higher.Operating Systems: all 32-bit and 64-bit editions of Windows 7, Windows 8, Windows 8.1, Windows 10, Windows 11, and all Server Operating Systems starting from Windows Server 2008 R2.The ability to highlight the system focus.Support for Windows Command Prompt and console applications.Support for common accessibility interfaces such as Microsoft Active Accessibility, Java Access Bridge, IAccessible2 and UI Automation.Announcing controls and text while using touch gestures.Ability to run during Windows sign-in and other secure screens.Support for modern Windows Operating Systems including both 32 and 64 bit variants.Ability to run entirely from a USB flash drive or other portable media without the need for installation.Support for many refreshable braille displays, including the ability to detect many of them automatically as well as braille input on braille displays with a braille keyboard.Automatic announcement of text under the mouse and optional audible indication of the mouse position.Reporting of textual formatting where available such as font name and size, style and spelling errors.Built-in speech synthesizer supporting over 80 languages.Support for popular applications including web browsers, email clients, internet chat programs and office suites.NVDA allows blind and vision impaired people to access and interact with the Windows operating system and many third party applications.Ī short video demonstration, "What is NVDA?" is available from the NV Access YouTube channel. NVDA is developed by NV Access, with contributions from the community. Providing feedback via synthetic speech and Braille, it enables blind or vision impaired people to access computers running Windows for no more cost than a sighted person. NonVisual Desktop Access (NVDA) is a free and open source screen reader for the Microsoft Windows operating system. MiniSeika (16, 24 cells), V6, and V6Pro (40 cells) Seika Version 3, 4, and 5 (40 cells), Seika80 (80 cells) HIMS Braille Sense/Braille EDGE/Smart Beetle/Sync Braille Series Key assignments for Brailliant BI 32, BI 40 and B 80 HumanWare Brailliant BI/B Series / BrailleNote Touch Baum/Humanware/APH/Orbit Braille Displays Displays supporting automatic detection in the background Filtering for enabled or disabled add-ons ![]() Activating a profile using input gestures ![]() Control Type, State and Landmark abbreviations Copy Portable Configuration to Current User Account Steps for installing NVDA from the launcher Steps for running the downloaded launcher ![]() ![]() ![]() ![]() Shooting instructions appear, the Wrench is now swingable Houston: The generator's always messing up. (When the invisible jump pad has blasted you up to the top of the station, move to the right, jumping onto the left-hand ledge. When outside, jumping instructions appear Houston: With the backup power down, we can't use the main lift, you'll have to go outside the ship. Narrator: An unknown space station orbiting Earth. Nobody besides the player has any attachments, and armors are random for everybody except the player. As for enemies, there is a General with a M1911, a Sniper with an Automag, and a Juggernaut with an USP, all with First Blood as secondary weapon. ![]() The allies and enemies are always the same: Houston is a General with an Automag, Neil is an Engineer with a P99, and Buzz is a Juggernaut with an USP, with their secondary weapon being Wrench.However, the astronauts soon realize they are greatly outskilled, outnumbered and underequipped, and stand no chance against the enemy. Then, soon after, "an unknown force" made of men in black uniform attacks the station, so you and your fellow astronauts have to fight them. During tutorial, you must fix a power broken generator by hitting it with a Wrench. The first part of the level is a tutorial where you learn the basics of the game. In this level, you play as Mick, an astronaut on an unknown space station (contradictorily labeled SS01A) orbiting Earth. You're given a special Astronaut skin, and you're named Mick, regardless of your current name. Your weapons are replaced with a UMP and a Wrench, regardless of what you've chosen your attachment and armor stay unchanged. Special: Nobody in the mission can use any skills or killstreaks, including the player, to not over-complicate the mission for newbies.Recommended level: 1-7 (Normal) | 21-28 (Hard).A routine repair of Space Station SS01A is cut short by some unwelcome guests. ![]() ![]() ![]() This perspective can lead to parental pressure, enabling us to ignore what our kids are feeling at the moment. Harness The Power of Active ListeningĪs caregivers, we often see our children as a reflection or extension of ourselves. This environment encourages open communication and a deeper understanding of the thoughts and feelings that inform behaviors. ![]() Time-ins foster emotional development by creating an environment where the child understands their boundaries, and can feel safe sharing their thoughts and feelings. Instead of sending your kid off to a solitary corner, engage in a time-in that teaches the child while maintaining connection. This is what mental health professionals and child development experts call a " time-in". The key to creating a pause that invites a child to learn things like emotional regulation and self-awareness comes when you reimagine the time-out as a teaching moment rather than a punishment-an opportunity for connection, reflection, regulation, and regrouping. And here is the big difference between time-ins and time-outs. If you think back to the last time you might have been tempted to send your child to take a classic time-out in a corner or chair, beyond you being upset and wanting to punish your child, it is likely that your little one could have benefited from a brief break from an emotionally charged situation. Insight into your child's actions and can then choose the most appropriate next step. By identifying the root cause of the upset and/or acting out, you gain a more profound These triggers can range from fatigue and hunger to unmet emotional needs. The first step towards effective discipline, whether through time-out or time-in, is recognizing the underlying triggers. To successfully use this technique in your home or classroom, follow these steps: 1. When practicing the time-in technique, you use empathy and understanding to help your child sort through their emotions. Positive discipline is not just about changing actions it's about meeting children's emotional needs, fostering emotional intelligence, and And when we focus solely on the symptoms, the problems causing these behaviors remain unsolved and stack up. The time-in technique acknowledges that behavior is a symptom, not the problem. This approach pivots on a fundamental principle: maintaining connection during times of discipline and seeing unwanted behaviors for the unmet needs they represent. In the quest for a healthier, evidence-based, responsive, child-centered approach, the time-in technique emerges as a modern enhancement to the traditional time-out concept. Reinventing Discipline with the Time-In Technique Following this brief pause, these children generally return to their original state without understanding their emotions or learningĮffective ways to manage them. Young children generally receive no guidance during a time-out other than to "Sit still, be quiet, and think about what you did". The traditional time-out chair's main limitation becomes evident when we examine its emotional aftermath. It's worth considering whether using a time-out genuinely fosters self-reflection and growth, or if it merely temporarily suppresses big emotions from children. Extended periods of solitary confinement can strain the emotional connection between parent and child, leading to feelings of isolation and detachment. Isolating a child in this manner can inadvertently damage their emotional well-being. While this technique may show some success in reducing negative behaviors, it's important to recognize its potential drawbacks. It involves placing a child in a designated space to reflect on their actions and, ideally, improve their behavior. The concept of the time-out chair has been a commonly used strategy to address children's challenging behaviors since the 1960s. The Disciplinary Concept of Time-Out Chair ![]() Join us in delving into the synergy between the conventional time-out chair and the innovative time-in technique. Instead of isolating children, this method focuses on fostering understanding, skill-building, and communication. This is where understanding the contemporary concept of "time-in" is extremely helpful, injecting the elements of empathy and connection into the realm of discipline. ![]() Yet, this traditional discipline method might lead you into further power struggles, particularly when dealing with a sensitive or strong-willed child, prompting you to impose time-outs even more forcefully and straining your parent-child relationship. Like many parents, you might have employed the classic tactic of guiding your little one to a designated time-out chair, a space intended for them to collect their emotions. This familiar scene might resonate with you as a care provider. Your toddler is in the midst of a full-blown tantrum, their toys scattered around as they protest your decision to curtail their TV time. ![]() ![]() ![]() The term “slow burner” could have easily been created for an album such as this. The comparisons to British indie-pop band the xx or early Everything But the Girl aren’t terribly far off, but London Grammar have carved out a singular vision for themselves. Nothing on If You Wait approaches the swaying dance floor groove of “Help Me Lose My Mind”, but it matters little when the songs are this sumptuous. ![]() Not until they were featured as the closing track on the critically acclaimed debut album Settle, by Disclosure, were they thrust into the mainstream limelight. Sheltered from the pressures of a massive record company breathing down their necks, the group slowly released one radiant gem after another, giving them the opportunity to hone their craft until they were ready to release an entire album. After playing a handful of shows to small crowds in local pubs the trio were signed by Ministry of Sound, an independent label known more for it’s electro-rave compilations than anything on this mood-laden offering. Vocalist Hannah Reid met guitarist Dan Rothman in the hallways of the University of Nottingham in 2009, later incorporating the percussion and pianistic skills of Dot Major. Even if the music surrounding her wasn’t as riveting as what’s been recorded on their debut album If You Wait, that voice would still leave you spellbound. She smolders in her smoky mid-range and roars bright and clear in the upper end, recalling the brooding earthiness of a Marina Diamandis or Natasha Khan and the breathtaking folk soprano of a young Joni Mitchell. Hannah Reid of the English art-pop rock trio London Grammar possesses such a staggering instrument. It’s the kind of voice that instantly evokes a mood, a particular emotion or even an entire season within its timbre. Sometimes you encounter a voice that stops you dead your in your tracks. ![]() UK poet Brian Patten “On a Horse Called Autumn” from Collected Love Poems It's a very hopeless song because it reflects real life.“On a horse called Autumn among certain decaying things she rides inside me, and no matter where I move this woman’s song goes on ahead of me.” that is going on in the world, often run by huge yet nearly invisible organizations, corporations, and 'leaders'. While our lives are often shielded, we're in our own protective bubbles, or protective helmets like the one Thom wears, if we look a little harder we can see all the corruption, lies, manipulation, etc. He'd rather die peacefully right now than live in this cage. But there is seemingly no way out but death. politicians and businessmen, perhaps) is not the way to live. This boring, "perfect" life foisted upon us by some higher powers (not spiritual, but political, economic, etc. ![]() In the video, his helmet is slowly filling up with water, drowning him. On No Surprises, the narrator is realizing how this life is killing him slowly. People are being used by those in power "like a pig in a cage on antibiotics"-being pacified with things like new phones and cool gadgets and houses while being sucked dry. But in Fitter, Happier the narrator(?) realizes that it's incredibly robotic to live this life. We're told to strive for some sort of ideal life, which includes getting a good job, being kind to everyone, finding a partner, getting married, having a couple kids, living in a quiet neighborhood in a nice big house, etc. Same ideas expressed in Fitter, Happier are expressed in this song. Issac Hayes’ strong voice makes the perfect strong father figure, who is possibly from beyond the grave. The power, fear, pleading in RZA and Ghostface voices are genuine and powerful. Racism towards African Americans in America would not exist if everyone sat down and listened to this song and understood the history behind the words. The most beautiful song and has so many levels. Which path will the boys choose? Issac Hayes is the voice of reason, maybe God, the angel on his shoulder, or the voice of his forefathers from beyond the grave who can see the big picture and are pleading with the boys not to continue the violence and pattern of killing their brothers, but to rise above. (This is why the music video takes place in an orphanage.) The seen, and unseen collective suffering is imbedded in the boys’ mind, consciously or subconsciously, and is haunting them. This song is written as the perspective of the boys in the street, as a whole, and what path they are going to choose as they get older and grow into men. ![]() |
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