text:
Q: FLV glitching when replaying the same video I'm building a flash site with video transitions between sections.  When a navigation element is clicked, there's some code to check if the relevant FLV has already been loaded. If it hasn't, it gets initialized (i.e. netstream attached to video object, etc), loaded and played back; if it has, it just gets restarted and played back.  So far, so good.
My question is in regard to the situation in which the video has already been loaded and is replayed because the user is revisiting a section of the site they've been to already.  Whenever the video gets replayed, there's a visual flash of the final frame of the video, lasting probably about a tenth of a second, before it restarts and plays through correctly.  I've tried several approaches to get rid of the "flashing", including seek(0)ing the netStream object before replaying it.  Incidentally, the video object is added to the stage immediately prior to playing back a given transition, and it's removed from the stage immediately after the transition completes via a callback.  Given that it's added to the stage AFTER the call to seek(0), it strikes me as particularly odd that this problem persists.
Any ideas about what might be causing my phantom final frame flashes?
EDIT: In case anyone's wondering, the site is built in AS3 and uses the Gaia flash framework, though I'm pretty sure that's not causing any of the trouble as I built a proof-of-concept without Gaia and ran into the same problems.

A: A couple of things to try:

*

*If you are re-using the same video object, try videoObject.clear()

*When re-playing a video, set the buffer on the NetStream to 0

*Try to hold off on adding the NetStream to the video object until you get a NetStream.Play.Start message

If you need help on the code for this, let me know.

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text:
\section{Introduction}

\textbf{The semi-ampleness conjecture.}
We work over $\mathbb C$.
Let $f\colon X\to Z$ be a contraction of normal projective varieties, and
$(X,B)$ klt such that $K_X+B\sim_\mathbb Q 0/Z$, i.e. $K_X+B\sim_\mathbb Q f^*N$ for
some $\mathbb Q$-Cartier $\mathbb Q$-divisor $N$. Such a contraction is called a \emph{klt-trivial fibration}.
By a construction of Kawamata \cite{ka97},\cite{ka98} we have
a decomposition
$$
N\sim_\mathbb Q K_Z+B_Z+M_Z
$$
where
$B_Z$ is defined using the singularities of $(X,B)$ and of the fibres of $f$ over the codimension one
points of $Z$, and $(Z,B_Z)$ is klt
if $K_Z+B_Z$ is $\mathbb Q$-Cartier. The part $B_Z$ is called the \emph{discriminant part} and the
part $M_Z$ is called the \emph{moduli part}. More precisely, $B_Z$ is defined as follows:
for each prime divisor $Q$ on $Z$, let $t$ be the lc threshold of $f^*Q$ over the
generic point of $Q$, with respect
to the pair $(X,B)$; then let $(1-t)$ be the coefficient of $Q$ in $B_Z$. Except for
finitely many $Q$, $t=1$ hence $B_Z$ has finitely many components.

Consider a commutative diagram
$$
\xymatrix{
X' \ar[r]^{\tau} \ar[d]^{f'} &  X\ar[d]^{f}\\
Y \ar[r]^{\sigma} & Z }
$$
in which $X',Y$ are normal and projective, $\sigma,\tau$ are birational, and $f'$ is a contraction.
Let $K_{X'}+B':=\tau^*(K_X+B)$ where $B'$ might have negative coefficients.
Using the relation $K_{X'}+B'\sim_\mathbb Q 0/Y$, we can similarly define a decomposition
$$
\sigma^*N\sim_\mathbb Q K_{Y}+B_{Y}+M_{Y}
$$
where:  $B_Z=\sigma_*B_{Y}$ and $M_Z=\sigma_*M_{Y}$. This means that the moduli part is a b-divisor.
In general, $B_Y$ may have negative coefficients.

Kawamata \cite{ka98} showed that $M_{Y}$ is nef if $Y$ is a sufficiently high resolution.
Ambro \cite{am04} proved that the moduli part is a b-Cartier divisor, i.e.
we can find a resolution $Y\to Z$  so that
for any other resolution $Y'\to Y$ the moduli part $M_{Y'}$ is just the pullback of $M_{Y}$.
Moreover,  Ambro \cite{am05} proved that $M_Y$ is actually
the pullback of some nef and big divisor for some contraction $g\colon Y\to T$.
We call $Y$ an \emph{Ambro model.}

\begin{conj}[cf. \cite{ka97}, \cite{am99},{\cite{psh09}}]
If $Y$ is an Ambro model, then $M_{Y}$ is semi-ample.
\end{conj}

This seems to be a difficult conjecture. Only some very special cases are
known:  when $M_Y\equiv 0$ \cite{am05}, when  $\dim X=\dim Z+1$ \cite{ka97}\cite{psh09},
and when the geometric generic fibre of $f$ is birationally an abelian variety \cite{f03}.\\

\textbf{Results of this paper.}
We are not able to prove the semi-ampleness of $M_Y$ but we prove semi-ampleness of
a "nearby" divisor. This would be enough for some applications.
To state our main result concerning $M_Y$ we need to introduce one more notation.
Since $(Y,B_Y)$ is log smooth and each coefficient of $B_Y$ is strictly
smaller than $1$, there is an exceptional$/Z$ $\mathbb Q$-divisor
$E\ge 0$ on $Y$ such that $(Y,\Delta_{Y})$ is klt where $\Delta_{Y}:=B_{Y}+E\ge 0$.

\begin{thm}\label{t-main}
Under the above notation and assumptions, suppose that  we have $\kappa(K_Y+\Delta_Y/T)\ge 0$,
i.e. suppose that there is a rational number $b\ge 0$
such that
$$
K_Y+\Delta_Y+bM_Y\sim_\mathbb Q D_Y ~~\mbox{for some $D_Y\ge 0$}
$$
Then, we can choose $D_Y\ge 0$ in its $\mathbb Q$-linear equivalence class
so that there exist a resolution $\phi\colon W\to Y$ and
a $\mathbb Q$-divisor $G$ on $W$ such that

$\bullet$ $0\le G\le \phi^*D_Y$,

$\bullet$ $\alpha M_{W}+G=\alpha \phi^*M_Y+G$ is semi-ample for any $\alpha\gg 0$, and

$\bullet$ $R(W,lG)\simeq R(Y,lD_Y)$ for some integer $l>0$.
\end{thm}

Here $R(-)$ stands for the section ring (see Section 2 for precise definition).
The proof is based on the minimal model program.
An interesting special case of the theorem is when $K_X+B\sim_\mathbb Q 0$ in which case
we take $D_Y=E$.
Even this special case is strong enough to imply the following result which
was conjectured by Fujino and Gongyo \cite{fg11} (see also \cite{fg12}).

\begin{thm}\label{t-FG-conj}
Let $f\colon X\to Z$ be a smooth surjective morphism of smooth projective varieties.
If $-K_X$ is semi-ample, then $-K_Z$ is also semi-ample.
\end{thm}

Fujino-Gongyo proved the conjecture when $-K_X$ is big. They also proved some other special cases
(see Remark 4.2 and Theorem 4.4 of \cite{fg11}).
The theorem does not hold  without the smoothness assumption on $f$ by a counter-example due to H. Sato
(see Section 4 where we give additional counter-examples).\\

 \textbf{Relevant results.}
There are results similar to Theorem \ref{t-FG-conj} in the literature. We mention some
of them for completeness. Let
$f\colon X\to Z$ be a smooth surjective morphism of smooth projective varieties.
Then, it is known that (see \cite{fg11}, \S 5 for more details):\\

$\bullet$ if $-K_X$ is nef, then $-K_Z$ is nef (Miyaoka \cite{m93})

$\bullet$ if $-K_X$ is ample, then $-K_Z$ is ample (Koll\'ar-Miyaoka-Mori \cite{kmm92})

$\bullet$ if $-K_X$ is nef and big, then $-K_Z$ is nef and big (Fujino-Gongyo \cite{fg11}). \\

To prove Theorem \ref{t-FG-conj}, we do not rely on these known results but we use ideas
of \cite{fg11}.

In general,  varieties with nef anticanonical divisor have interesting properties.
Let $X$ be a smooth projective variety with $-K_X$ nef. Then, for any surjective morphism
$g\colon X\to Y$ with $Y$ smooth projective,  Zhang \cite{zh96} proved that either $Y$ is uniruled or $\kappa(Y)=0$.
On the other hand,  Lu, Tu, Zhang, and Zheng \cite{ltzz10}
proved that the Albanese map $X\to A$ is semi-stable (it is conjectured that this map should be smooth).\\

{\textbf{Acknowledgements.} We would like to thank Osamu Fujino and Florin Ambro for their
comments and answering our questions. This work started when Caucher was
visiting Yifei at the Mathematics Institute of the Chinese Academy of Sciences
in Beijing; he would like to thank them for their hospitality.
This work was completed when Yifei was visiting Caucher in Cambridge and he
would like to thank Caucher and his family for the hospitality.
Both authors were supported by a Leverhulme grant.

\section{Preliminaries}

\textbf{Pairs.} We work over $k=\mathbb C$.
A \emph{pair} $(X,B)$ consists of a normal quasi-projective variety $X$ over $k$ and
a $\mathbb Q$-divisor $B$ on $X$ with
coefficients in $[0,1]$ (called a boundary) such that $K_X+B$ is $\mathbb{Q}$-Cartier.
A pair $(X,B)$ is called \emph{Kawamata log terminal} (klt) if for any
projective birational morphism $g\colon Y\to X$ from a normal variety $Y$, every coefficient
of $B_Y$ is less than one where $K_Y+B_Y:=g^*(K_X+B)$.
For basic properties of singularities and other aspects of birational geometry
we refer the reader to \cite{km98}.

\textbf{Minimal models.}
Let $X$ be a normal projective variety and $D$ a $\mathbb Q$-Cartier $\mathbb Q$-divisor on $X$.
A normal projective variety $Y$
is called a \emph{minimal model} of $D$
if there is a birational map $\phi\colon X\dashrightarrow Y$
such that $\phi^{-1}$ does not contract divisors, $Y$ is $\mathbb Q$-factorial,
${D}_Y:=\phi_*D$ is nef,
and there is a common resolution $g\colon W\to X$ and $h\colon W\to Y$ such that
$E:=g^*D-h^*D_Y$ is effective and $\Supp g_*E$ is equal to the union of the
exceptional divisors of $\phi$.
If ${D}_Y$ is semi-ample, we call ${Y}$
a \emph{good} minimal model of $D$.
A standard way of obtaining a minimal model of $D$ is to run a \emph{minimal
model program} on $D$, if possible. Such a program can be defined exactly
as in the case $D=K_X+B$ for a klt pair $(X,B)$.

When $(X,B)$ is klt and $D=K_X+B$ the above definition of minimal model
is equivalent to the usual definition of log minimal models.
Moreover, if $K_X+B$ is pseudo-effective
and $B$ is big, then $K_X+B$ has a good log minimal model by \cite{bchm}.

\textbf{Section rings.}
For a $\mathbb Q$-divisor $D$ on a
normal projective variety $X$, the \emph{section ring} of $D$ is defined as
$$
R(X,D)=\bigoplus_{0\le m\in \mathbb Z} H^0(X,\rddown{mD})
$$
If  $\phi\colon X\dashrightarrow Y$ is a partial minimal model program on $D$, i.e. a finite
sequence of divisorial contractions and flips with respect to $D$,
then there is a common resolution $g\colon W\to X$ and $h\colon W\to Y$ such that
$E:=g^*D-h^*{D}_Y$ is effective and $\Supp g_*E$ is equal to the union of the
exceptional divisors of $\phi$. In particular, this implies that
 there is a natural isomorphism
$$
R(X,D)\simeq R(Y,D_Y)
$$

\textbf{Kodaira dimension.}
Let $f\colon X\to Z$ be a contraction of normal varieties and $D$ a $\mathbb Q$-Cartier $\mathbb Q$-divisor
 on $X$. By $\kappa(D/Z)$ we mean the Kodaira dimension of $D|_F$ where
$F$ is the generic fibre of $f$.\\

\section{Proof of Theorem \ref{t-main}}

In this section, we prove the following result which is of independent interest and it
immediately implies Theorem \ref{t-main}. The proof also works for $\mathbb R$-divisors but
for simplicity we only consider $\mathbb Q$-divisors.

\begin{prop}\label{p-aux}
Let $(Y,\Delta_Y)$ be a projective klt pair with $\Delta_Y$ a $\mathbb Q$-divisor, $g\colon Y\to T$ a contraction,
$M_T$ a nef and big $\mathbb Q$-divisor on $T$, and $M_Y=g^*M_T$. Assume that $b\ge 0$ is a rational number
such that
$$
K_Y+\Delta_Y+bM_Y\sim_\mathbb Q D_Y ~~\mbox{for some $D_Y\ge 0$}
$$
 Then, we can choose $D_Y\ge 0$ in its $\mathbb Q$-linear equivalence class such that
there exist a resolution $\phi\colon W\to Y$ and
a $\mathbb Q$-divisor $G$ on $W$ such that

$\bullet$ $0\le G\le \phi^*D_Y$,

$\bullet$ $\alpha \phi^*M_{Y}+G$ is semi-ample for any $\alpha\gg 0$, and

$\bullet$ $R(W,lG)\simeq R(Y,lD_Y)$ for some integer $l>0$.
\end{prop}
\begin{proof}
For any morphism $U\to T$, $M_U$ will denote the pullback of $M_T$.

\emph{Step 1.} Let $\pi\colon Y'\to Y$ be any log resolution of $(Y,\Delta_Y)$. There is
an exceptional$/Y$ $\mathbb Q$-divisor
$E'\ge 0$ and a boundary $\Delta_{Y'}$ such that $(Y',\Delta_{Y'})$ is klt and
$$
K_{Y'}+\Delta_{Y'}=\pi^*(K_Y+\Delta_Y)+E'
$$
Let $D_{Y'}=\pi^* D_Y+E'$. Then,
$$
K_{Y'}+\Delta_{Y'}+bM_{Y'}\sim_\mathbb Q D_{Y'}
$$
Now assume that the result holds on $Y'$, that is, assume that
we can choose $D_{Y'}\ge 0$ in its $\mathbb Q$-linear equivalence class such that
there exist a resolution $\psi\colon W\to Y'$ and
a $\mathbb Q$-divisor $G$ on $W$ satisfying:

$\bullet$ $0\le G\le \psi^*D_{Y'}$,

$\bullet$ $\alpha M_{W}+G$ is semi-ample for any $\alpha\gg 0$, and

$\bullet$ $R(W,lG)\simeq R(Y',lD_{Y'})$ for some integer $l>0$.\\

We will show that the result also holds for $Y$ by taking $\phi=\pi\psi$.
Since $D_{Y'}=\pi^* D_Y+E'$ and $E'\ge 0$ is exceptional/$Y$,
$$
R(Y,lD_{Y})\simeq R(Y',lD_{Y'})\simeq R(W,lG)
$$
It only remains to show that $G\le \phi^*D_{Y}$.
Put $C=\phi^*D_{Y}-G$. Since $E'$ is exceptional$/Y$,
$$
\phi_*C=\phi_*(\phi^*D_{Y}-G)=\phi_*(\phi^*D_{Y}+\psi^*E'-G)=\phi_*(\psi^*D_{Y'}-G)\ge 0
$$
On the other hand, $\alpha M_{W}+G$ is semi-ample for any $\alpha\gg 0$ and
$M_W\sim_\mathbb Q 0/Y$ hence $G$ is semi-ample over $Y$. So, $C$ is antinef over $Y$
which implies that $C\ge 0$ by the negativity lemma. Therefore, $G\le \phi^*D_{Y}$.\\

\emph{Step 2.}
Since  $M_Y\sim_\mathbb Q 0/T$,  $K_Y+\Delta_Y\sim_\mathbb Q D_Y/T$ hence  $\kappa(K_Y+\Delta_Y/T)\ge 0$.
By taking a log resolution and applying Step 1 we could assume that the relative Iitaka fibration of
$K_Y+\Delta_Y$ over $T$ is a morphism $Y\to S'/T$ where $S'$ is smooth.
In particular, this means that $\kappa(K_Y+\Delta_Y/S')=0$.
By applying Fujino-Mori \cite{fm00}, we can find a commutative diagram
$$
\xymatrix{
  & V \ar[ld]^\tau \ar[rd]^h & \\
 Y \ar[rd]^g & & S\ar[ld]^\theta \\
  & T &
}
$$
where $\tau$ is a resolution, and $h,\theta$ are contractions
such that we have the following data:

$\bullet$ a klt $(S,\Delta_S)$ where  $\Delta_S$ is a $\mathbb Q$-divisor,

$\bullet$ a nef $\mathbb Q$-divisor $L_S$ on $S$,

$\bullet$ $K_S+\Delta_S+L_S$ is big$/T$,

$\bullet$ $\kappa(K_{Y}+\Delta_{Y}/T)=\kappa(K_S+\Delta_S+L_S/T)=\dim S-\dim T$,

$\bullet$ and
$$
\tau^*(K_{Y}+\Delta_{Y})+R^-\sim_\mathbb Q h^*(K_S+\Delta_S+L_S)+R^+
$$
where $R^+,R^-$
are effective $\mathbb Q$-divisors with $R^-$ exceptional$/Y$, $h(R^-)$ has no
codimension one components, and
$h_*\mathscr{O}_V(\rddown{iR^+})=\mathscr{O}_S$ for every $i>0$.

 The above properties imply that for any rational number $\alpha\ge 0$, we have

\begin{equation*}
\begin{split}
 \tau^*D_Y+R^-+\alpha M_V & \sim_\mathbb Q \tau^*(K_{Y}+\Delta_{Y}+bM_Y)+R^-+\alpha M_V\\
&= \tau^*(K_{Y}+\Delta_{Y})+R^-+bM_V+\alpha M_V\\
& \sim_\mathbb Q h^*(K_S+\Delta_S+L_S)+R^++bM_V+\alpha M_V\\
& = h^*(K_S+\Delta_S+L_S+bM_S+\alpha M_S)+R^+\\
\end{split}
\end{equation*}

\emph{Step 3.}
Fix a rational number $\lambda\ge 0$ so that $b+\lambda>0$.
By construction
$$
0\le \kappa(D_Y)=\kappa(K_{Y}+\Delta_{Y}+bM_{Y})=\kappa(K_S+\Delta_S+L_S+bM_S)
$$
so there is a $\mathbb Q$-divisor $D_S\ge 0$ such that
$$
D_S\sim_\mathbb Q K_S+\Delta_S+L_S+bM_S
$$
Since $D_S$ is big$/T$ and
$M_T$ is big, there is $a>0$ such that $D_S+aM_S$ is big. Thus, we have
$$
D_S+aM_S\sim_\mathbb Q A+B
$$
where $A$ is ample and $B\ge 0$.

 Pick $\epsilon>0$ sufficiently small. This ensures that
$$
\beta_\lambda:=\epsilon \lambda-\epsilon a+b+\lambda\ge 0
$$
Moreover, since $A$ is ample and $L_S$ and $M_S$ are nef,
there is a big boundary $\Gamma_{S,\lambda}$ such that $(S,\Gamma_{S,\lambda})$ is klt and such that
 we can write
\begin{equation*}
\begin{split}
K_S+\Gamma_{S,\lambda} &  \sim_\mathbb Q K_S+\Delta_S+L_S+\epsilon A+\epsilon B +\beta_\lambda M_S\\
& \sim_\mathbb Q  K_S+\Delta_S+L_S+\epsilon D_S+\epsilon aM_S+\beta_\lambda M_S\\
& \sim_\mathbb Q  K_S+\Delta_S+L_S+b M_S+\epsilon D_S+\epsilon \lambda M_S+\lambda M_S \\
& \sim_\mathbb Q  (1+\epsilon)(K_S+\Delta_S+L_S+b M_S) + (1+\epsilon)\lambda M_S\\
& \sim_\mathbb Q (1+\epsilon)(K_S+\Delta_S+L_S+b M_S+\lambda M_S)\\
& \sim_\mathbb Q (1+\epsilon)(D_S+\lambda M_S)
\end{split}
\end{equation*}
By \cite{bchm}, we can run an LMMP on $K_S+\Gamma_{S,\lambda}$
which ends up with a good log minimal model of $K_S+\Gamma_{S,\lambda}$. By the relations above,
this also produces a good minimal model of $K_S+\Delta_S+L_S+b M_S+\lambda M_S$.

For any $\alpha\ge \lambda$, we have
$$
K_S+\Gamma_{S,\alpha}\sim_\mathbb Q K_S+\Gamma_{S,\lambda}+ (1+\epsilon)(\alpha-\lambda)M_S
$$
If $\alpha\gg \lambda$ and if we run an LMMP on $K_S+\Gamma_{S,\alpha}$, then
$M_S$ is numerically trivial on each extremal ray contracted in the process:
this follows from the boundedness of the length of extremal rays due to Kawamata \cite{ka91};
indeed if $R$ is an extremal ray such that $(K_S+\Gamma_{S,\alpha})\cdot R<0$, then
$(K_S+\Gamma_{S,\lambda})\cdot R<0$ and there is a rational curve $C$ generating $R$
such that
$$
-2\dim S\le (K_S+\Gamma_{S,\lambda})\cdot C<0
$$
If $\alpha\gg \lambda$
and if $M_S\cdot C>0$, then  $(K_S+\Gamma_{S,\alpha})\cdot C>0$, a contradiction.
The same argument applies in each step of the LMMP because the Cartier index of $M_S$ is
preserved by the LMMP (by Cartier index of M$_S$ we mean the smallest natural number $n$
such that $nM_S$ is Cartier). Therefore,
the LMMP on $K_S+\Gamma_{S,\alpha}$ is also an LMMP on $K_S+\Gamma_{S,\alpha'}$
for any $\alpha'\ge \alpha$.
In particular, if $\overline{S}$ is the good minimal model of $K_S+\Gamma_{S,\alpha}$
obtained by the LMMP above, then
$\overline{S}$ is also a good minimal model of $K_S+\Gamma_{S,\alpha'}$ for any $\alpha'\ge \alpha$.\\

\emph{Step 4.}
Let $\overline{S}$ be the model constructed in Step 3.
 By construction, there is a
commutative diagram
$$
\xymatrix{
&& W \ar[ld]^\mu \ar[rd]^e &&\\
  & V \ar[ld]^\tau \ar[rd]^h & & \overline{W} \ar[ld]^c \ar[rd]^{d} &\\
 Y \ar[rd]^g & & S \ar[ld]^\theta \ar@{-->}[rr] & & \overline{S}\\
  & T &  &
}
$$
where $\mu$ is a resolution, $e$ is a contraction, and $c,d$ are also resolutions.
By Step 3, we have $e^*d^*M_{\overline{S}}=e^*c^*M_S=M_W$ because $M_S$ is numerically trivial on each step of
the LMMP that produced $S\dashrightarrow \overline{S}$. Moreover,
$D_{\overline{S}}+\alpha M_{\overline{S}}$ is semi-ample for any $\alpha\gg 0$.\\

\emph{Step 5.} In general, $D_{\overline{S}}$
may not be nef. However, the LMMP on $K_S+\Gamma_{S,\alpha}$  in Step 3 is a partial LMMP on $D_S$, that is,
each step of the LMMP on $K_S+\Gamma_{S,\alpha}$ is also a step of an LMMP on $D_S$ but it may not be
a full LMMP on $D_S$.
In any case, there is a $\mathbb Q$-divisor $\overline{P}\ge 0$ on $\overline{W}$ which is exceptional$/\overline{S}$ and
$$
c^*D_S=\overline{P}+d^*D_{\overline{S}}
$$
Now put $G=e^*d^*D_{\overline{S}}$ and $\phi:=\tau\mu$.
Then, for some integer $l>0$, we have natural isomorphisms
$$
R(Y,lD_Y)\simeq R(S,lD_S)\simeq R(\overline{S},lD_{\overline{S}})\simeq R(W,lG)
$$

By construction,
$\alpha M_W+G$ is semi-ample for any $\alpha\gg 0$.
Since $M_W\sim_\mathbb Q 0/Y$,
we deduce that $G$ is semi-ample over $Y$.
Moreover,
\begin{equation*}
\begin{split}
 \phi^*D_Y+\mu^*R^- & \sim_\mathbb Q \mu^*h^*(K_S+\Delta_S+L_S+ bM_S)+\mu^*R^+ \\
  & \sim_\mathbb Q e^*c^*D_S+\mu^*R^+\\
  & = e^*\overline{P}+G+\mu^*R^+
\end{split}
\end{equation*}
Put $D_Y':=\phi_*(e^*\overline{P}+G+\mu^*R^+)$. Since $e^*\overline{P}+G+\mu^*R^+\ge 0$, we get
$D_Y'\ge 0$, and since $R^-$ is exceptional$/Y$, we get $D_Y'\sim_\mathbb Q D_Y$. So,
$$
 \phi^*D_Y'+\mu^*R^-\sim_\mathbb Q e^*\overline{P}+G+\mu^*R^+
$$
and by the negativity lemma we have equality
$$
 \phi^*D_Y'+\mu^*R^-=e^*\overline{P}+G+\mu^*R^+
$$
Let $N=\phi^*D_Y'-G$. Then,
$$\phi_*N=\phi_*(N+\mu^*R^-)=\phi_*(e^*\overline{P}+\mu^*R^+)\ge 0
$$
On the other hand, we know that
$G$ is nef over $Y$ so $N$ is anti-nef over $Y$. Therefore, by the
negativity lemma we deduce $N\ge 0$ hence
$\phi^*D_Y'\ge G$. Now replace $D_Y$ with $D_Y'$ and this completes the proof of the proposition.
\end{proof}

\begin{proof}(of Theorem \ref{t-main})
This follows from Proposition \ref{p-aux} using the same notation.
\end{proof}

\section{Fujino-Gongyo conjecture}

As mentioned earlier the smoothness assumption of $f$ in Theorem \ref{t-FG-conj} cannot be
removed.
If $f:X\to Z$ is a surjective morphism between smooth projective varieties with $-K_X$ nef, then  Zhang \cite{zh96} proved that either $Z$ is uniruled or $\kappa(Z)=0$. In particular, if $\dim Z=1$, then $-K_Z$ is semi-ample. Therefore, a counter-example to Fujino-Gongyo's conjecture without the smoothness assumption on $f$ is possible only when $\dim Z\geq 2$. We give few counter-examples
of different flavours.

\begin{exa}
Let $B'$ be  the $(4,4)$-divisor on $Z'=\mathbb{P}^1\times \mathbb{P}^1$ which consists of 4 lines vertical with respect to the
first projection and 4 lines vertical with respect to the second projection. Let $\sigma \colon Z\rightarrow Z'$ be the blow up of the 16 intersection points in $B'$. Let $B$ be the strict transform of $B'$. Then $\sigma^*(B')=B+\sum_{i=1}^{16}2E_i$, where $E_i$ are the irreducible exceptional divisors over the 16 points. So $B$ is an even divisor in $Z$, i.e., $B\sim2L$ for some divisor $L$ in $Z$. Let $f \colon X\rightarrow Z$ be the double cover ramified over $B$. We will show that $-K_{X} $ is semi-ample but $-K_{Z}$ is not semi-ample.

By construction, $K^2_{Z'}=8$ and from $K_{Z}=\sigma^*K_{Z'}+\sum_{i=1}^{16}E_i$ we get $K^2_{Z}=-8$. Therefore, $-K_{Z}$ is not nef, and thus not semi-ample. Since $f:X\rightarrow Z$ is the double cover ramified over $B$, $K_{X}\sim_\mathbb Q f^*(K_{Z}+L)$.  On the other hand,
$$
K_{Z}+L\sim_\mathbb Q \sigma^*K_{Z'}+\frac{1}{2}(\sigma^*(B')-B)+\frac{1}{2}B=\sigma^*(K_{Z'}+\frac{1}{2}B')\sim_\mathbb Q 0
$$
So $-K_{X}\sim_\mathbb Q 0$ is semi-ample. In this example $f$ is a flat morphism but not a contraction.
\end{exa}

\begin{exa}
 Let $r$ and $s$ be positive integers. Let $\mathscr{E}=\mathscr{O}_{\mathbb{P}^s}\oplus\mathscr{O}_{\mathbb{P}^s}(1)^{r+1}$  and let $Z_{r,s}$ be the smooth $(r+s+1)$-dimensional variety $\mathbb{P}(\mathscr{E})$. The projection $\pi_{r,s}\colon Z_{r,s}\rightarrow \mathbb{P}^s$ has a section $\sigma$ with image $P_{r,s}\subset Z_{r,s}$ corresponding to the trivial quotient $\mathscr{E}\to \mathscr{O}_{\mathbb{P}^s}$.  Let $f\colon X_{r,s}\rightarrow Z_{r,s}$ be the blow-up of $P_{r,s}$. One can check by calculating intersection numbers and using Kleiman's ampleness criterion that
 when $r>s$ the divisor $-K_{X_{r,s}}$ is ample but $-K_{Z_{r,s}}$ is not nef. For details see \cite{de01} Example 1.36 and Example 3.16 (2).
In this example $f$ is a contraction but not a flat morphism.
\end{exa}

For the convenience of the reader we reproduce
another counter-example due to Hiroshi Sato given in \cite{fg11}, Example 4.6. In this case $f$ would be
both a contraction and a flat morphism.

\begin{exa}[H. Sato]\label{exa-counter}
Let $\Sigma$ be the fan in $\mathbb{R}^3$ whose rays are generated by
$$\begin{array}{l}x_1=(1,0,1), x_2=(0,1,0),x_3=(-1,3,0),x_4=(0,-1,0),\\
y_1=(0,0,1),y_2=(0,0,-1),\end{array}$$
and their maximal cones are
$$\begin{array}{c}\langle x_1,x_2,y_1\rangle,\langle x_1,x_2,y_2\rangle, \langle x_2,x_3,y_1\rangle,\langle x_2,x_3,y_2\rangle,\\
\langle x_3,x_4,y_1\rangle,\langle x_3,x_4,y_2\rangle, \langle x_4,x_1,y_1\rangle,\langle x_4,x_1,y_2\rangle.
\end{array}$$
Let $\Delta$ be the fan obtained from $\Sigma$ by successive star subdivisions along the rays spanned by $$z_1=x_2+y_1=(0,1,1)$$ and
$$z_2=x_2+z_1=2x_2+y_1=(0,2,1).$$
We can see that $V=X_\Sigma$, the toric threefold corresponding to the fan $\Sigma$ with respect to the lattice $\mathbb{Z}^3\subset \mathbb{R}^3$, is a $\mathbb{P}^1$-bundle over $Z=\mathbb{P}_{\mathbb{P}^1}(\mathscr{O}_{\mathbb{P}^1}\oplus\mathscr{O}_{\mathbb{P}^1}(3))$. The $\mathbb{P}^1$-bundle structure $V\rightarrow Z$ is induced by the projection $\mathbb{Z}^3\rightarrow \mathbb{Z}^2:(x,y,z)\mapsto (x,y)$. The toric variety $X=X_\Delta$ corresponding to the fan $\Delta$ was obtained by successive blow-ups from $V$. The maximal cones of $X_\Delta$ are:
$$\begin{array}{c} \tau_1=\langle x_1,x_2,z_2\rangle, \tau_2=\langle x_1,z_1,z_2\rangle, \tau_3=\langle x_1,z_1,y_1\rangle,\\
\tau_4=\langle x_3,y_1,z_1\rangle, \tau_5=\langle x_3,z_2,z_1\rangle, \tau_6=\langle x_3,z_2,x_2\rangle,\\
\sigma_3=\langle x_1,x_2,y_2\rangle,  \sigma_4=\langle x_2,x_3,y_2\rangle, \sigma_5=\langle x_3,x_4,y_1\rangle,\\
 \sigma_6=\langle x_3,x_4,y_2\rangle, \sigma_7=\langle x_4,x_1,y_1\rangle, \sigma_8=\langle x_4,x_1,y_2\rangle.
\end{array}$$

 To check  $-K_X$ is semi-ample, we can either apply  the base-point-free criterion on toric varieties (see \cite{cls} Theorem 6.1.7), or the fact that on toric varieties,  semi-ampleness of a  divisor is equivalent to nefness (see \cite{cls} Theorem 6.3.12). Here we apply the base-point-free criterion (see Remark \ref{rem-bpf-toric}).

We have $-K_X=\sum_{i=1}^4D_{x_i}+D_{y_1}+D_{y_2}+D_{z_1}+D_{z_2}$, where $D_{u}$ denotes the invariant Cartier divisor corresponding to the ray generated by the point $u$. The Cartier data associated to $-K_X$ are as follows:
$$\begin{array}{l}m_{\tau_1}=m_{\tau_6}=m_{\sigma_3}=m_{\sigma_4}=(-2,-1,1),\ \ \ \ \ m_{\tau_2}=m_{\tau_3}=(0,0,-1),\ \ \ \ \\\ m_{\tau_4}=m_{\tau_5}=(1,0,-1),\ \ m_{\sigma_5}=(4,1,-1),\ \ \ \ \ m_{\sigma_6}=(4,1,1),\ \ \\\ m_{\sigma_7}=(0,1,-1),\ \ \ \ \ m_{\sigma_8}=(-2,1,1).
\end{array}$$

One can check that all $m_{\tau_i},m_{\sigma_j}$ are in  $P_{-K_X}$. So $-K_X$ is base point free. Moreover,
 $-K_X$ is  big as $X$ is a projective toric variety. So $X$ is a toric weak Fano manifold.  The morphism $f:X\rightarrow Z$ induced by the projection $\mathbb{Z}^3\rightarrow \mathbb{Z}^2$ is a flat morphism onto $Z$ since every fiber of $f$ is one-dimensional.

On the other hand, $-K_Z$ is not nef since $-K_Z\cdot C<0$ where
$C\subset Z$ is the image of the section of $Z\to \mathbb P^1$ corresponding to the trivial quotient
$\mathscr{O}_{\mathbb{P}^1}\oplus\mathscr{O}_{\mathbb{P}^1}(3)\to \mathscr{O}_{\mathbb{P}^1}$.
\end{exa}

\begin{rem}\label{rem-bpf-toric}
Here we recall some basic facts about toric varieties.

(1) Base point freeness on toric varieties: We follow the notation of \cite{cls}. Let $X_\Sigma$ be a complete toric variety of dimension $n$ and
 let $D=\sum_{\rho}a_{\rho}D_{\rho}$ be a torus-invariant Cartier divisor on $X_{\Sigma}$. We define a polytope
$$
P_D=\{m\in M_{\mathbb{R}}|\langle m,u_{\rho}\rangle\geq -a_{\rho}\text{ for all }\rho\in \Sigma(1)\}\subset M_{\mathbb{R}}
$$
Let $\{m_{\sigma}\}_{\sigma\in \Sigma(n)}$ be the Cartier data associated to $D$, where $m_{\sigma}\in M$ with $\langle m_{\sigma},u_{\rho}\rangle=-a_{\rho},\text{ for all }\rho\in \sigma(1)$. Then,  $D$ is base point free if and only if $m_{\sigma}\in P_D$ for all $\sigma\in \Sigma(n)$.

(2) Kodaira dimension: Now assume that $D$ is nef. Then, the Kodaira dimension $\kappa(D)=\dim P_D$.
In particular, if $X_{\Sigma}$ is projective and $D=-K_{X_\Sigma}$ is nef, then it is not difficult
to see that $\dim P_{D}=n$ hence $D$ is nef and big.\\
\end{rem}

\begin{proof}(of Theorem \ref{t-FG-conj})
By Lemma 2.4 of \cite{fg11}, we can assume that $f$ is a contraction:
this is achieved by taking the Stein factorisation which preserves the smoothness assumption.
We may assume that $\dim X>\dim Z$ otherwise the theorem holds trivially.
Pick a closed point $z\in Z$.
Since $-K_X$ is semi-ample, for some $m>1$ we can find a divisor $D\in |-mK_X|$ such that
if we put $B=\frac{1}{m}D$ then we have: $K_X+B\sim_\mathbb Q 0$,
$(X,B)$ is klt, and $D=\Supp B$ is  smooth (note that it is also possible
to have $B=0$ depending on the situation).
Since $f$ is smooth, we can choose $D$ so that there is a neighbourhood
$U$ of $z$ such that $D=\Supp B$ is relatively smooth over $U$.
In particular, this ensures that the discriminant part $B_Z=0$ near $z$.

Let $\sigma\colon Y\to Z$ be an Ambro model for $f$ and $(X,B)$.
Then, possibly after shrinking $U$ around $z$, we have $M_Y=\sigma^*M_Z$
over $U$ by \cite{fg11}, Remark 4.3, or by \cite{ko07}, Proposition 8.4.9 (3)
and Theorem 8.5.1.
 Since $K_X+B\sim_\mathbb Q 0$,
$$
K_Z+B_Z+M_Z\sim_\mathbb Q 0 ~~ \mbox{and} ~~ K_Y+B_Y+M_Y\sim_\mathbb Q 0
$$
 and
$$
K_Y+\Delta_Y+M_Y \sim_\mathbb Q D_Y:=E
$$
where $\Delta_Y$ and $E$ are as in the Introduction.
Since $E$ is exceptional$/Z$, $D_Y$ is the only effective $\mathbb Q$-divisor in its
$\mathbb Q$-linear equivalence class. Moreover, we have $\kappa(K_Y+\Delta_Y/T)\ge 0$ since
$$
\kappa(K_Y+\Delta_Y+M_Y)=\kappa(D_Y)\ge 0
$$
where $Y\to T$ is again as in the
Introduction.

By Theorem \ref{t-main}, there is a resolution
$\phi\colon W\to Y$ and a $\mathbb Q$-divisor $G\ge 0$ such that $\alpha M_{W}+G$ is semi-ample for any $\alpha \gg 0$
and $G\le \phi^*D_Y=\phi^*E$.
In particular,
this means that $\alpha M_{W}+G$ is semi-ample over $U$ for $\alpha \gg 0$.
Since over $U$ we have $M_W=\phi^*\sigma^*M_Z$, we deduce that $G$ is semi-ample over $U$.
But $G$ is effective and exceptional over $U$ hence by the negativity lemma it is zero over $U$, that is,
$G$ is mapped into $Z\setminus U$. Thus, we can find a rational number $\alpha\gg 0$ and a
$\mathbb Q$-divisor $P_W\ge 0$ such that $\alpha M_{W}+G\sim_\mathbb Q P_W$ and that $P_W$ does not contain any
irreducible component of $(\sigma\phi)^{-1}\{z\}$. But $P_W$ restricted to $(\sigma\phi)^{-1}\{z\}$
is numerically trivial so $P_W$ does not intersect $(\sigma\phi)^{-1}\{z\}$.
Therefore,
$$
\alpha M_{Z}\sim_\mathbb Q P_Z:=\sigma_*\phi_*P_W\ge 0
$$ and $z$ does not belong to $\Supp P_Z$  which
implies that the stable base locus of $M_Z$ does not
contain $z$. By construction, $\Supp B_Z$ also does not contain $z$. Therefore, $z$ is not
in the stable base locus of $-K_Z$. Since $z$ was chosen arbitrarily, we deduce that
$-K_Z$ is semi-ample.\\
\end{proof}

redpajama_set_name: RedPajamaArXiv


text:
The Perfect A. Zildjian...
Thread starter D. B. Cooper
D. B. Cooper
DFO Veteran
Hey dudes!
I was really admiring my 18" 50's A Crash last night and thought having a ride would be great. But ai don't know what to look for.
What would you guys say is your favorite A Zildjian ride they ever made and why? Can be any era, diameter, weight or model.
I'm excited for your answers!
gretschdrummer
jefferson county missour
A zildjian
Med ride
Covers everything
Great bow and bell separation
Really cant go wrong
70 and 60 model best as later makes a bit heavier
Reactions: gbow, Johnny D and funkypoodle
Tama CW
SE Connecticut
I have my 3 favorites I'd rank in order. But I prefer the darkness and complexity of the 50's over the 60's, 70's, and 80's.
1. 21" Trans stamp (early 50's) 2375 gms
3. 20" Large stamp (mid 50's) 2133 gms
All with 5" bells.
My best "A" crash is also in this era (18" 1950's small stamp - 1280 gm).
Find thee right 60s 20", and you're set.
Around 2000-2200g for a meatier, yet still washy sound, or la ighter one for a jazzy/washy type. I like both a 2000g one and an 1870g (with rivets). Higher stick-to.wash ratio and slightly higher pitch with the heavier one, but they're both really nice. No Trans stamp etc. needed, if you find the right one. I based my decision on soundfiles of a certain boutique NY store , payed a bit more, but both cymbals were worth it.
Reactions: Johnny D
zenstat
Senior Cymbal Nerd
Seb77 said:
Has your 1870g got the most common 5" bell (Medium die) Seb? Or either the 4" (Small die) or the 5.5" bell (Special cup)? It's a little beyond the current weight range I've got for Crashes (they go up to about 1765g in my data so far). I'm still collecting up info on bells and other info on specific models and how to tell the model when the model ink has been removed. But 1870g could be a Thin model (yes they were around right back to the 1930s). Especially if it has the Medium bell. If it has the little larger Special bell we're into maybe Crash or Crash Ride territory.
My 3 favorite A Zildjian ride cymbals today are (in deceasing order)
20" mid 50s 2318g
20" late 50s 1990g
20" 2010 A Zildjian & Cie Vintage 1790g (nice, but seems more like a crash to me although mine is at the low end of the weight range for these)
Ask me on another day and the order might swap between 1 and 2.
I'm with Tama CW. I prefer the darkness and complexity of the 50's over the 60's, 70's, and 80's. That being said I've got a 60s (2275g) which is actually a bit darker than my mid 50s. But it lacks the complexity. I suspect the 60s comes from the time (very late 1960s or very early 1970s) when Zildjian started pressing into shape. The production changes and trademark changes don't happen right on the decade boundaries, but I'm using the usual shorthand in talking about 50s vs 60s vs 70s. There are some similarities in sound between my 80s Medium Ride and the 60s (plus my other A Zildjians which post date pressing into shape) which leave me thinking my 60s is pressed. But it could be other factors I can't yet control for.
The 1990g late 50s is a little higher perceived pitch than the mid 50s, which I think reflects the weight distribution. The old "plays lighter" applies because much of the weight is in towards the bell of the mid 50s (lots of taper in the lathing). The mid 50s has a strong ping and low wash, versus the late 50s where the percussive stick sound is more woody. Then there is the A Zildjian & Cie Vintage which weighs hundreds of grams less than the mid 50s yet has just a little lower perceived pitch. The A Zildjian & Cie Vintage has a higher profile which helps control wash and improves the stick sound, although it still has a lot more wash. These three act as a cautionary tale about just predicting what a cymbal might sound like from weight alone.
As far as what to look for, I like 50s ride cymbals. I like ride cymbals with the 4" bell (improves stick and help control overtones). People pay a bit of a price premium for Trans Stamps (late 40s early 50s) so if you allow price as a proxy for desirability, 2644 people vote Trans Stamp. However they may not be just influenced by sound alone. The Trans Stamp trademarks are more identifiable (people are more confused about the other trademarks) and there is more effusive prose written about them, so that may explain part of the price lift.
M is Modern (post 90s) and by then you are starting to see prices be higher because some are quite recent cymbals (better condition which also effects price), although there is still lots of variability. The A Zildjian & Cie Vintage cymbals (Cievint) are a bit of an exception because they are popular, discontinued, and were emulating the Transitional Stamp cymbal production era. I'm not surprised by where they sit in price. This graph was done on data before the A Avedis series came on the scene as used cymbals. I've got an 18" A Avedis in my study collection to try and pin down where it sits sonically and morphologically relative to other production eras.
Use your ears not your eyes, listen to lots of examples, and enjoy the process. That's all I've got. Oh, and I'm still on the hunt for as many examples of 60s and earlier cymbals with the model ink still on so let me know if you spot any along the way.
Reactions: Bri6366, Tama CW and D. B. Cooper
zenstat said:
I'm with Tama CW. I prefer the darkness and complexity of the 50's over the 60's, 70's, and 80's.
I suspect the 60s comes from the time (very late 1960s or very early 1970s) when Zildjian started pressing into shape.
Use your ears
How do you measure a cup? (measuring using a cup I know )
I'd say large bell, crash ride would fit. It's larger than the current meidum ride bell.
Agree 60s As, even the good ones, sound brighter, but I like that sound. Maybe the slight low-mid sound underneath comes from the higher bow (which might be pressed).
I learned a few things from that recent Z video: the rotary hammer being an actual wheel, and the pressing taking place after hammering and back-bending.
jptrickster
DFO Master
Every era has its gems. I prefer the older stuff, hand hammered 30's 40's 50's, on the darker , smoother ,lighter. softer feeling side......I've had a ton of them over the years never been disappointed. You'll often find a 20 Large Stamp on my set up, 1850 g. does it all, rides, washes, crashes, bells, looks beautiful
Reactions: Tama CW, zenstat, DrummerJustLikeDad and 1 other person
funkypoodle
gretschdrummer said:
I think I've finally found "the one" for me. Yup, 20" 60's medium A ride. I'll weigh it when I get a chance. It's got that Goldilocks "just right" thing going on.
Reactions: CC Cirillo, Tracktuary, zenstat and 1 other person
Jeannette, Pa.
D. B. Cooper said:
May be Of interest
Bill H. is releasing 3 of his culled flock into the wild
Zildjian 20" trans stamp 1954 vintage | eBay
Surprising that's the only defect I can find on it. It weighs 2289 grams. The sound is both dark and complex and slightly on the dry side. The tonal qualities in this cymbal are uncommonly good, and the stick definition is always prominent.
A. Zildjian & Cie. 20" early 1960's vintage | eBay
Find many great new & used options and get the best deals for A. Zildjian & Cie. 20" early 1960's vintage at the best online prices at eBay! Free shipping for many products!
Zildjian 26" medium early 1960's vintage | eBay
Right on the nose. Normally he works on nuclear reactors. His repairs were quite successful and this cymbal sounds just exactly as it did before the repairs were done. And this one is flexible with plenty of "stick give back" characteristics.
Zenstat with a good point on bells size and weights. All my favorite 20/21" rides have 5" bells. I've yet to find an A ride I liked in the 5.5-6.0 bell size regardless of era - unless it was a 22/24. I've had a 60's 20" at 1905 gms (6" bell) and recently a 20" 60's 1809 gm (5.5-6.0) and I didn't like them much other than as crashes....too much wash. The 60's 1809 gm was most surprising as it gave me nothing over the other cymbals in the 2000-2300 gm range. If I hadn't weighed it, I'd have guessed it sounded like a 2000 gm cymbal. In fact, it crashed no better than the much heavier ones....a good reminder that weight only doesn't ensure success.
One thing I have found so far is that any 50's large stamp/trans stamp 20" in that 2000-2300 range has worked out great for me. I've yet to find a clunker.
Reactions: zenstat
Very well Known Member
Mid Atlantic, USA
I am kinda new to searching out A Zildjians, but I do think the 60's stamp hats and 60's stamp 22" ride I have sound great. The ride has a shimmer to the wash that almost sounds like the cymbal has rivets. Our band does a couple Miles Davis tunes and it's a perfect ride cymbal for those songs. I defintalty got my 165 dollars worth with that blind purchase. The hats are 879/1077g and the ride is 2665g. For comparison my 20" K Custom Dry Ride is 2859g. The bell on the K Custom is 2nd to none, but the bell on the old Avedis is pretty decent too.
rculberson
The finest example I've found (been through probably 75-100 over the years) is my 22" type 1 trans at a featherlight 2052g.
Reactions: Johnny K, zenstat, funkypoodle and 4 others
JDA said:
That & Cie looks awesome. Kind wish it was a 21".
CC Cirillo
Before I talk cymbals, I'd like to refer back to to funkypoodle's post if I may, and with me being new here I am ignorant as to ettiquete when someone posts a video of one playing, but: Great sounding ride, great sounding drums, great playing. I love it when there is such joy in that holiest of groove configurations-- the organ/guitar/drum trio. Really enjoyed that and wished I'd been there.
I have several A Rides, all 20", and my favorite at the moment is a newly aquired 60's that weights 1884 grams. First time buying a cymbal without hearing it beforehand and took a leap of faith based on the weight. I've only played it a few times but so far I think it will fufill it's purpose. I needed something that would work as a ride in low to medium reheasal situations/gigs and also work as a combination big crash and crash-ride at mic'd up gigs.
I think this cymbal will fit that Clark Kent/superman requirement....
For rehearsals: I play in a variety of band practice settings and prefer to only bring ride and hats. These reheasals take place in small spaces where the band is on top of each other...in a law office, in a small studio rental, or in a small garage built for a Model T.... I really needed something low pitched, not too much in-your-face, and crashable. This 1848 gram "ride" has enough definition, and it's far less washy than I assumed it would be. I can also gain a lot of stick clarity by simply switching to nylon tips if the song requires more definition. (I do this at gigs too, switch from wood to nylon depending on the song.)
For a gig that's mic'd in a club: This crashes in a way that reminds me of a K, which I love--an initial compressed sort of metallic crunch followed by a very short "whoosh" followed by a tonal ringing that ends politely. I'm thinking that this will go on my left as a crash and also used to crash-ride certain passages. I'll try it that way soon.
I have no idea if this now unmarked and oddly patinaed 20" A Ride was originally a ride or a crash or just a cymbal at that weighed 1884 grams.
Reactions: Johnny K
Ludwigboy
funkypoodle said:
I like your two other cymbals...are they both 60's Zildjian A medium thin crashes or? Also, what are each of their weights?
Ludwigboy said:
There are 3 others! From left to right: 14" 60's Paper Thin A, 16" Sabian HHX Evolution crash & 17" Sabian HHX Legacy crash. I don't have weights, but they are all ultra thin and you could probably easily fold any of them in half with little effort. oh, and the hats are 14" 60's New Beats.
Thanks! They sound great in a live setting!
I wish I could get a nutshell answer as to the diff (besides price) between the A's and the K's. I've asked once already...
You have to read the Zildjian history. From 1623 forward. 1929. 1978..
there's "K's" made in Canada prior to Sabian, and there's K's made in Norwell Mass.
Generally these are called "AK's" or "HH"
Avedis Co. was established in 1929.
There was a Zildjian operating in Turkey since 1623.
There was a " K" made in Turkey from at least the 1900s up until 1978.
So there is overlap among "AK's" and Turkish K's.
What Avedis made in 1929 in America was called Avedis Zildjian.
Around 1957-58 they- Avedis Co. took Gretsch- who imported from Turkey- the Turkish K- to court and lost. Gretsch proving the K Zildjian from Turkey differed from the Avedis Zildjian cymbal made by Avedis Co.
But it wasn't over. Avedis Co. went back to court and in 1968 was granted the K. Zildjian trademark.
This was the beginning of the end to the K. Zildjian in Istanbul,Turkey.
Over a 10 year period K. Zildjian in Turkey was closed in 1978.
American Avedis Zildjian Co. a couple years prior had already begun work on their version of -now legal owners of the trademark- a North American K "AK" in Canada ("Can-K" and later was transferred to Massachusetts.
The Difference between "A" and "K" (either "AK" , the Turkish Istanbul(city) "oldK" K, the"Canadian K" or even the Sabian HH) is another subject for another day.
But it's generally thought more "random" (and or manual) handwork /was/is/ involved in the latter and current "K" 's- resulting in a 'different' type of tone. Some ( Avedis Zildjian themselves) will say drier darker while others will argue or add, more brilliant. So it's a taste preference choice thing ........once built concurrent on two continents, but since 1978........on one.
Feet Notes:
Avedis Zildjian Co. -- Company History
www.company-histories.com
TurkIsh Cymbal
It is thought that cymbals have been in existence in the Middle East and Asia since the first millennium BC as tiny finger cymbals. Cymbals as we know them now developed later, and were made from vari
www.turkishculture.org
Zildjian Vs Gretsch – Trademark Dispute 1957-58
This is the Official court report of the case 251 F.2d 530 116 U.S.P.Q. 216 AVEDIS ZILDJIAN CO., Plaintiff-Appellant, v. The FRED GRETSCH MFG. CO.,
www.vintagezildjians.com
Application of Avedis Zildjian Co, 394 F.2d 860 (C.C.P.A. 1968)
Application of Avedis Zildjian Co, 394 F.2d 860 (C.C.P.A. 1968) case opinion from the U.S. Court of Customs and Patent Appeals (1909-1982)
law.justia.com
old K Istanbul Zildjian - YouTube
Reactions: Tama CW and AtlantaDrumGuy
AtlantaDrumGuy
Like others have stated, you just need to go through some to find the right one(s) for you. Sound files and videos might be the easiest way to make the journey shorter. Otherwise, you just take a chance and do some buying and selling. I think some nice ones exist from 50s to the 70s. There can be some real variances among rides from these periods...no big surprise there.
I've held onto two 22s from the 50s and a 20 that I believe is from the 60s. It's like the baseline for the cymbalholic. Any dedicated lover of cymbals should have some As. Part of our history.
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What's a good all around cymbal that could be used for jazz fusion, pop rock?
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Do you lube your tension rods?
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Desperately seeking Floor Tom
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The orphanage - drums to complete your set
Drumeo at NAMM
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redpajama_set_name: RedPajamaCommonCrawl


Death notice: John Presley Aiken Jr.
John Aiken Jr., of Craig, died Sunday, Nov. 25, 2018, at The Memorial Regional Health Hospital. Upon John's request, no services will be held. He is survived by his daughters, Lesley Aiken of Cheyenne, Wyoming, and Katie Aiken of New York; brother Gary (June) Aiken of Colorado Springs; former wife and friend Susan Aiken of Lincoln, Nebraska; and numerous nieces and nephews.


insanity take their toll .... but coffee & beer is too good to pass up.
gajin to judge in matters of taste ?
Columbian or the deep complex wine-like flavors of Ethiopian or Yemeni.
char aspect of high-roast coffee.  Simple & cocoa-like (McDonalds coffee).
bitterness is lost, acidity drops and only the char flavor remains.
grind and too much extraction time is the enemy.
beer I imagine the S.American coffee's nutty flavors would work very well.
Try a ratio of about 2 qts maple syrup to 2-2.5# honey.
> like on the racking cane or having earlier put it on the keg dip tube.
> long of an extract and I think it gets too harsh. YMMV.
> with your coffee before committing your beer!
> you wait until closer to the end.
> brewers tend to use about a pound per barrel for a prominent note.
> prep Brazilian coffee and once with a natural prep Ethiopian coffee.
Subject: Re: Got maple syrup, what should I brew?
i have used it in though is the porter so the rest are just ideas.
finished or damn near finished.


text:
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More Important Information About Your Travel to Schleswig
The Duchy of Schleswig (Danish: Hertugdømmet Slesvig; German: Herzogtum Schleswig; Low German: Hartogdom Sleswig; North Frisian: Härtochduum Slaswik) was a duchy in Southern Jutland (Sønderjylland) covering the area between about 60 km (35 miles) north and 70 km (45 miles) south of the current border between Germany and Denmark. The territory has been divided between the two countries since 1920, with Northern Schleswig in Denmark and Southern Schleswig in Germany. The region is also called Sleswick in English. The area's traditional significance lies in the transfer of goods between the North Sea and the Baltic Sea, connecting the trade route through Russia with the trade routes along the Rhine and the Atlantic coast (see also Kiel Canal).
Additional Information About Munich
Munich ( MEW-nik; German: München [ˈmʏnçn̩]; Austro-Bavarian: Minga [ˈmɪŋ(ː)ɐ]; Slovene: Monakovo; Latin: Monachium; Italian: Monaco di Baviera) is the capital and most populous city of Bavaria, the second most populous German federal state. With a population of around 1.5 million, it is the third-largest city in Germany, after Berlin and Hamburg, and thus the largest which does not constitute its own state, as well as the 11th-largest city in the European Union. The city's metropolitan region is home to 6 million people. Straddling the banks of the River Isar (a tributary of the Danube) north of the Bavarian Alps, it is the seat of the Bavarian administrative region of Upper Bavaria, while being the most densely populated municipality in Germany (4,500 people per km²). Munich is the second-largest city in the Bavarian dialect area, after the Austrian capital of Vienna, Munich was one of the host cities of the official tournament of the 2006 FIFA World Cup. The city is a global centre of art, science, technology, finance, publishing, culture, innovation, education, business, and tourism and enjoys a very high standard and quality of living, reaching first in Germany and third worldwide according to the 2018 Mercer survey, and being rated the world's most liveable city by the Monocle's Quality of Life Survey 2018.
Other Train Trips From Munich:
Munich to Teltow train ticketsMunich to Mengeringhausen train ticketsMunich to Delitzsch Unterer train ticketsMunich to Creussen Oberfr train ticketsMunich to Ulm Soflingen train ticketsMunich to Farchant train ticketsMunich to Cologne Chorweiler train ticketsMunich to Pressig Rothenkirchen train tickets
Munich to Tubingen trainsMunich to Konigs Wusterhausen trainsMunich to Hennigsdorf Berlin trainsMunich to Karlstadt Main trainsMunich to Stuttgart Vaihingen trainsMunich to Berlin Gesundbrunnen trainsMunich to Burg Und Nieder Gemunden trainsMunich to Reinbek trainsMunich to Hamb Klein Flottbek trainsMunich to Bad Bevensen trains
Munich to Neumuenster ticketsMunich to Schleswig ticketsMunich to Oldenburg Holst ticketsMunich to Neuburg Donau ticketsMunich to Cottbus Sandow ticketsMunich to Malente Gremsmuhlen Lutjenburg ticketsMunich to Dorum Weserm ticketsMunich to Augsburg Morell ticketsMunich to Finningerstrasse ticketsMunich to Ebenhofen tickets
To travel from Munich to Schleswig , trains would be the best travel choice, for several reasons:
2. Speed - Traveling by train is in most cases the fastest way to get from Munich to Schleswig .
* Trains always costs you less when you train travel Munich to Schleswig so remember to calculate everything.


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HRW calls on Turkey to reverse conviction of human rights defenders
Human Rights Watch has called on Turkey to reverse the convictions of four human rights defenders, saying that the sentences given to them are politically motivated. "We hope the higher courts will do their duty and reverse this miscarriage of justice," said Hugh Williamson, Europe and Central Asia director at Human Rights Watch.
Tuesday July 07 2020 01:09 pm
Duvar English
Istanbul court sentences four rights defenders to prison over 'terrorism' in Büyükada case
Human Rights Watch has called on Turkey to reverse the convictions of four human rights defenders, saying that the sentences given to them are politically motivated.
An Istanbul court on July 3 sentenced four rights defenders to prison during a hearing at the Çağlayan Courthouse of the Büyükada case.
The court sentenced Amnesty International Turkey's Honorary Chair Taner Kılıç to six years and three months in prison over "terrorist organization membership."
Günal Kuşun, İdil Eser and Özlem Dalkıran were handed one year and 13 months jail terms each over "aiding a terrorist organization."
Nalan Erkem, lknur Üstün, Ali Gharavi, Peter Steudtner, Veli Acu, Nejat Taştan and Şeyhmus Özbekli were acquitted.
Amnesty International urges acquittal of 11 rights defenders ahead of Turkish court's verdict
'Politically motivated'
"The conviction of four human rights defenders without evidence of any criminal wrongdoing, is politically motivated and an effort to stifle the legitimate work of Turkey's human rights movement," the HRW said on July 6.
"In three years the police and prosecutors have produced not a shred of evidence of criminal activity by any of the 11 rights defenders who stood trial," said Hugh Williamson, Europe and Central Asia director at Human Rights Watch.
"Four have been convicted for their legitimate human rights work in another trial which demonstrates how any independence in Turkey's justice system has collapsed under political pressure."
A total of 11 rights defenders were being tried in the Büyükada Case, including Kılıç and its former executive director İdil Eser, on various charges, including "being a member of an armed terrorist organization" and "aiding armed terrorist organizations."
They were detained in 2017 while they were attending a human rights workshop on Büyükada, an island near Istanbul.
Presidential spokesperson 'should be tried if writing for Gülenist daily is a crime'
After more than 14 months in prison, Kılıç was released on bail in August 2018. Eight of the others, including two foreign nationals, spent almost four months each behind bars before they were released in October 2017.
Human Rights Watch said that the ruling of July 3 cited no grounds for the convictions, adding that it is awaiting the court's full reasoned decision.
"The court's verdict convicts four people but is an attack on the entire human rights movement in Turkey," Williamson said.
"We hope the higher courts will do their duty and reverse this miscarriage of justice."
Topics Turkey Istanbul Turkish Ankara Turkish politics Turkish government human rights defenders Amnesty International Turkish judiciary Human Rights Watch human rights in Turkey
Mehveş Evin Why the Turkish government is coming after Boğaziçi University


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Journalism instructors discuss COVID-19 implications with newsroom leaders
Public health restrictions are being loosened across the country as COVID-19 cases fall and more Canadians are fully vaccinated. But as Carleton journalism instructors heard in a recent briefing with newsroom managers, for many reporters, it's not yet time to return to normal or to newsrooms.
"Here in Alberta, as of (July 1) all health restrictions are being lifted, there will be no masking, there will be no physical distancing, everything is being lifted," Stephanie Coombs, CBC Edmonton's director of journalism and programming, told Carleton instructors.
"We're going to keep a cautious approach."
That means, for now, continuing to report remotely and, when that can't be done, keeping a distance of two metres between reporters and the people they are interviewing when possible, aiming to stay outside and not inviting guests into studios.
"The safety of our staff remains paramount, the safety of the people that we're interviewing, and our ability to serve the public, so all of the decisions that we've made around gathering (news) and around publishing are rooted in those principles," Coombs said.
Last week Coombs, Ottawa Citizen and Sun editor in chief Nicole MacAdam and Global Press's Washington, D.C.-based chief operating officer Laxmi Parthasarathy were part of a discussion about reporting safely through COVID-19 that was organized by faculty members Trish Audette-Longo and Christine Crowther.
"This session was a really important opportunity for us to connect with newsrooms to find out more about a year of change and get a better understanding what is happening with industry standards as public health guidance changes," said Allan Thompson, the journalism program head.
MacAdam said safety is still the top priority for newsroom managers.
"Moving into the summer and the fall, it's just making sure that we are being cautious in order to kind of keep people safe," said MacAdam.
"If and when the mask mandate (is) lifted for vaccinated people for example, I think I would probably still encourage staff to wear a mask themselves and at least ask their sources to comply as well. These are conversations that we're just starting to get into now as things are starting to shift."
Parthasarathy, whose organization includes more than 40 bureaus in 12 countries including Nepal, Mongolia, Zimbabwe and Argentina, said she does not expect significant changes to health safety protocols that had reporters shifting to conduct remote rather than in-person interviews.
"There's a lot that I think newsrooms can do to continue to keep reporters safe regardless of where they are in the world, because vaccinated or not I don't think we're out of this…" said Parthasarathy.
"I don't see a dramatic shift in our response happening for at least another year… given that we are seeing a third wave in many of these countries, and nowhere near the kind of vaccination rates that we have in Canada and the U.S."
In the last year, with university classes moved entirely online, students in Carleton's journalism program have learned to report and work remotely, producing innovative audio, video and multimedia story packages from their homes all over the world.
For some, as professor Dave Tait pointed out during the discussion, that means there are new questions about what it might be like to do in-person on-the-ground reporting when they finally get to work in a newsroom.
Coombs said journalists in newsrooms know the circumstances under which students have been training, and they will be ready to help them adjust to in-person reporting.
"We've all managed to adapt to this (video conferencing and remote reporting), and I'd never done this for 20 years, and then had to do it. I think that we all very much understand that it will be new for those folks joining our newsrooms too," Coombs said.
"We've had to be more flexible, and I think that if that results in us being more flexible about what skills students or young people are bringing into our newsrooms when they come, that probably is a good thing."
All of the news leaders who met with Carleton's journalism school talked about how newsroom conversations have changed through the pandemic.
"This has not been an easy 16 months with all of the restrictions and the fear and the anxiety around COVID, and then a number of really challenging stories to report on," Coombs said. "This has prompted a much bigger conversation around mental health within our newsrooms and normalizing conversations about it, normalizing conversations that news might affect you."
MacAdam said there have been more conversations and check-ins with reporters about how they are faring. "We've had a lot more conversations I would say in our newsroom than any newsroom that I've ever worked in about work-life balance, and mental health, and how important down-time is to kind of relieving pressure and stress."
Parthasarathy said she has seen a shift in the last year toward more explicit care: more newsrooms asking how to support their employees, more funders asking newsrooms what they are doing to take care of their teams.
"I'm really excited about this moment of reflection that a lot of news organizations are finally doing around safety, security, and not just safety and security," or just hostile environment training, she said.
"This is holistic, and so I think that's something I'm excited about, I'm excited that there is a moment for people to really learn from this pandemic."
Wednesday, July 7, 2021 in General, Journalism News
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Nothing But Thieves talk rhythm, tone and touring with Muse
( Total Guitar )
The UK guitar band on lessons learned on the big stages
(Image credit: Joby Sessions/Future)
Playing packed stadiums with Muse and taking the ego out of guitar playing; Nothing But Thieves aren't your usual proposition. And that's what might make them British rock's next success story
We find Dom Craik and Joe Langridge-Brown soundchecking in Bristol's church-turned-music-venue Trinity Centre in the midst of their unique version of living the dream.
Their self-titled debut's chameleonic mix of songs suggests players and songwriters who are way ahead of their years
The guitarists are travelling around the country on a headline tour with their band Nothing But Thieves, but darting off to mainland Europe in between to play stadiums as support act to Muse. And what's more, they're playing those massive shows in the round, thanks to Bellamy and co's 360° stage.
"There's a lot of running around," laughs Joe. In more ways than one. "We'd already planned to do the headline run and it was quite late in the day when we were offered the Muse dates," explains Dom. "Luckily our absolute saint of a booking agent has made it work together."
That Muse call wasn't as random as it might sound. Along with glimmers of Radiohead and Jeff Buckley, the globe-conquering band are one of the myriad influences that can be heard in the Nothing But Thieves melting pot, and back in 2015 the young Essex five-piece - completed by vocalist Conor Mason with his Adele-scale vocal range, bassist Philip Blake and James Price - first supported Matt Bellamy's trio in front of 30,000 fans in Rome, and clearly impressed.
That's not surprising, because their self-titled debut's chameleonic mix of songs suggests players and songwriters who are way ahead of their years and prepared to make big venues their second home in the future. And the way Dom and Joe approach their roles is integral to this.
Nothing But Thieves guitarist Joe Langridge-Brown talks debut album
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(Image credit: Olly Stabler/REX/Shutterstock)
So how have you been faring playing on a round stage in the middle of a stadium?
Dom: "As it's not a common thing, you obviously don't get a dress rehearsal. You're slung on to it for the first day and it's more a testament to Conor - him doing loops and laps of the stage.
On the first night we were saying, 'Did we do that right? Is that how you're meant to act on a 360° stage?'
"He was really reluctant to have a wireless mic like Britney or whatever but there's really no other way to get around it. Like Joe said, you burn a few more calories than on a normal stage."
Joe: "It was a bit cheeky from Muse, as it rotates for them!"
Dom: "I can't call them lazy as they have these ramps that go out and Matt Bellamy was pegging it from one side to the other. But by the third or fourth date we were feeling comfortable on it. On the first night we were saying, 'Did we do that right? Is that how you're meant to act on a 360° stage?'"
What have you learned most from Muse?
Dom: "I've learned a lot about the sound side of things; what they run with their gear. Their sound engineer is one of the best in the world. The desk he uses is only one of three in the UK.
"They run Kempers, and the way they have their pedals, their tech will change them under the stage for them and a lot of that side of things you don't normally get to see. And that's made me think about how our set up is and how we want to build it for the future. That's been quite enlightening."
(Image credit: ddp USA/REX/Shutterstock)
Splitting tones
Playing to that many people obviously has its advantages, have you noticed the effects?
Joe: "After we first supported them in Rome, we did a tour with headline dates and they sold out, so it worked really well for us."
That's how it started; I was the Tele and the Vox, and Joe was originally a Les Paul through a Marshall
Dom: "I think we just played a 1,000-cap venue in Rome and we've only been to Italy twice. So it shows you the power of supporting Muse. Obviously it says something for the band, because the music isn't a million miles away. So their fans appreciate it, and we love touring out there as well."
You don't have a traditional rhythm/lead split with your roles in the band…
Dom: "I get told that's quite weird…"
Joe: "I think it's a little old fashioned to do it that way now, though I get it when you're a singer that you don't want to take on too many lead duties. But we do it on sound, really."
Dom: "Yes, and there's things that suit Joe's playing more and things that are more suited to mine. Even down to the kind of gear we have. We have different pedals that can do different things."
Joe: "Largely I'm the more humbucker/ hollowbody sound and Dom's the Tele sound. That's kind of how we break it up."
Dom: "That's how it started; I was the Tele and the Vox, and Joe was originally a Les Paul through a Marshall. Over the last few years building the rigs and exploring gear more, we've expanded. Fundamentally it's the same sort of tone in terms of frequencies and sonics but it's a bit more expanded now I guess."
Joe, you're using Fender Bassbreakers…
Joe: "I'm using the Bassbreaker and a Super Sonic. I'm dancing all over the stage with pedals at the moment and I want to be able to press one pedal and three turn on. At that point I'm going to add my Marshall in as well. But it's a money and space thing at the moment. We're in a van so we have to hold ourselves back at the minute!
Now I'm much more aware of frequencies and gaps where things should be sitting
"I really like the Bassbreaker. We were given a Super Sonic from Fender and I love that and tonally you don't have to crank it too much but it really lacked bottom end. When Dom mixed our live recordings we could see what frequencies were missing.
"And we were really lacking this bassy and midrange punch to my sound. I considered getting a Fender Bassman but Neil [Whitcher, head of artist relations] from Fender suggested the new Bassbreaker. So I tried it out and loved it straight away."
Dom: "When Joe was running his Marshall with a 4x10 it was way too bass-heavy. Then we went to the complete other side of the spectrum, that's why he went for a 2x12. Then we thought, okay we've gone too small and it's a little too thin. So now we have a lot more fullness. There's a lot of trial and error, and it is so helpful that I get the [live] multi-tracks and go through them. I'm a bit of a loser with it…"
Joe: "Some might call it geeky, but we kind of enjoy it."
So you've assumed production role in the band as well to some degree, Dom?
Dom: "I produce a lot of music and did a few bits on the album. I never thought it would translate so perfectly to live knowledge but now I'm much more aware of frequencies and gaps where things should be sitting. So even stuff like what mics suit Conor's voice. What mics pick up the drum kit a little bit more… it's a lot of trial and error and a massive learning process."
Eschewing the formula
Dom, you run a Super Sonic with an AC30?
Dom: "I've always been an AC30 fan, because when I hear a guitar I want to hear the Tele rock sound. But sometimes it can sound honky and it won't break up loads so that's when I asked Fender if there was anything they could recommend that would give me a lot of, basically, sizzle and cut.
We hate albums that are just 11 songs that sound the same and you can tell that they've written a song and said, 'Well that works'
"I think every band should have at least one Fender amp in the rig because they cut straight through everything. So I added the Super Sonic and I run them both together and they work really well. The Super Sonic cuts and it's got a lot of fizzly distortion frequencies."
Joe: "That's what we both use the Super Sonic for."
The album's songwriting seems especially varied, and suggests there's different creative approaches going on in the band. Is that the case?
Joe: "Absolutely. I think that's partly choice and partly necessity. I don't think we're good enough as songwriters to have a formula. A formula didn't really work for us did it?
Dom: "That's almost a good thing. When it comes to starting points for writing, it's never the same thing; it could be lyrics, it could be a sound… or a drum loop, a riff or if we've heard something and we may see if we can do our version of that. That's why the album is so diverse in the songwriting."
Joe: "We hate albums that are just 11 songs that sound the same and you can tell that they've written a song and said, 'Well that works so let's duplicate it another 10 times.' It keeps it interesting for us. When you play these songs for two years…
Dom: "The last thing you want is to get bored." So do you both write primarily with guitars?
Dom: "Actually we write a lot with bass and drums, too."
Joe: "Do you know what? We often start with the bass and drums."
Rhythm is a dancer
That's interesting, because the likes of Trip Switch and Drawing Pins are really led by the rhythm section's groove…
Dom: "I write most of the drum and the bass parts. Don't get me wrong, the boys will take it and do their thing to it and it will change by the time we get to the album, but fundamentally that's how it starts off. Because we're a lot about groove, how something feels.
We think about tempos and what will make people want to dance, or whether it's going to be a head bopper
"We think about tempos and what will make people want to dance, or whether it's going to be a head bopper. That's quite a common instrumentation starting point for us. Which is weird when you think about it!"
And you're involved in the lyrics as well Joe?
Joe: "I do pretty much all of them."
Dom: "It's a strange dynamic for a band!"
Joe: "We spent so long figuring out what we were doing with the dynamics in this band and we spent years writing."
Dom: "When Joe was focussing on becoming a better lyricist, I was trying to get better at recording and production."
Those roles beyond guitar playing seem very important when you look at the bigger picture of your sound
Dom: "We're all about sparser playing. I think it's a very selfless way for a guitarist to think. Some guitarists have an ego issue where they need to play all of the time and be the loudest."
Joe: "We use the guitars for embellishment. The song is first."
Global elite
Dom's goes high end with his American Elite Tele…
Dom: "I was playing an 1982 reissue of a '52 Telecaster, which i loved, but I was worried about touring with it. I instantly fell in love with this, and I never thought that would happen.
You always think a classic guitar is going to sound better but this has completely changed my opinion on that
"You always think a classic guitar is going to sound better than a new guitar but it's completely changed my opinion on that because this thing has so many cool features; from the noiseless pickups to the compound radius neck.
"My tech Stu loves them; they've got locking tuners, so I can snap a string during a gig and he can run it off and have it restrung for the next song. I've actually got two of them now because I love them so much."
Why Joe loves his Gretsch Panther Center-Block…
Joe: "I was always a Les Paul guy and I was thinking of a 335. I picked up the Gretsch and it had similar characteristics. I love the new Gretsches because they've kind of taken away a lot of the problems from the hollowbodies.
They have less feedback problems. They play and sound amazing
"They have less feedback problems. They play and sound amazing. I feel like it has the depth that you get from a Les Paul-style guitar but when you dig in it brings out the hollowbody twang.
"I don't use clean and distortion, I have distortion on all the time but roll off the [guitar's] volume. I find it much more unique and you get so much more control; you can roll and get it completely clean depending on how hard you're playing. The Gretsch is perfect for that."


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Review of Why Johnny Can't Sing Hymns, by T. David Gordon (2/7)
Zac Hicks November 29, 2010 Uncategorized2 Comments
This lengthy review is broken up into several blog posts, but you can read the full PDF here at any time. If you are jumping in mid-stream, scroll to the bottom to view and navigate to the other sections.
T. David Gordon, Why Johnny Can't Sing Hymns: How Pop Culture Rewrote the Hymnal. Phillipsburg: P&R, 2010. $12.99. 189 pp. ISBN 978-1-59638-195-7
SIX PROBLEMS WITH GORDON'S ANALYSIS
Problem #1: Lack of Musical Knowledge
Gordon makes an early admission, which is prophetic of where this book will fall short. He admits that his expertise is in the arenas of biblical studies and media ecology, not music: "Although I can read music, I do not currently play a musical instrument, have never played piano (a serious liability if one is to understand the properties of music),1 and have not formally studied music history or theory" (p. 19). Unfortunately, Gordon's lack of qualifications in these areas is precisely the reason he falls into so many fallacies throughout the book in his analysis of music. One further gets the sense that, throughout his analysis of so-called popular music, he is relying on second-hand information rather than careful research and patient, discerning, open-eared listening.
Popular music today stands within the family of rock and roll, which in turn is rooted in blues, gospel, country and western, and African American spirituals. The more one is aware of these historical nuances, the slower one becomes in dismissing pop music wholesale, for one starts to develop the ears through which one hears the artistry of continuity and discontinuity, preservation and innovation, technical skill and nuanced arranging. Similar to how my own appreciation of classical music skyrocketed upon taking music theory and history courses, one needs a base of knowledge to appreciate the subtlety within the simplicity of the rock family. Rock is not the high art that classical music is. Its forms are more restricted because of its inherited instrumentation, chord structure concepts, and song-form models. Still, even amidst the musical simplification, it is unfair and misleading to advocate that artistry cannot be discerned in pop music,2 or that such artistry can be discounted because the form itself is so laden with problems.
Gordon's brush is too broad, and one gets the sense from him that all popular music is a soul-killing wasteland. He does say, "I think contemporary worship music is often of a lesser literary, theological, or musical quality than most traditional hymnody" (p. 15). While he is careful to qualify himself with the word "often," one strains in the book to find any sympathy or appreciation for any modern music that does not employ the instrumentation and expression of classical music. Consequently, a more robust understanding of the nature and history of pop music is something of which Gordon makes no mention or acknowledgement. Because of all this, I am skeptical that Gordon can approach an analysis of popular music from a fair and educated perspective. Gordon can wax eloquent on the philosophical underpinnings of how popular music, as a medium, may negatively condition culture, but his lack of musical awareness does not allow him to nuance and qualify this discussion, largely to his argument's demise. He ends up placing the whole of contemporary worship into one irredeemable hand-basket known as pop music. Much of the argumentation of this book, then, fails because he is dealing with and reacting to an unfounded generalization—a kind of meta-straw-man.
Problem #2: Conflation of Music and Text in His Understanding of "Hymns"
What becomes clear fairly early is that Gordon is arguing in favor, not of hymnody broadly, but of hymnody in traditional, classically-influenced musical forms. This exposes another error—the conflation of music and text in the terms "hymn" and "hymnody." While this book, in design, layout, and length, is obviously intended for a popular readership, it is a confusing simplification (especially given that the focus of argumentation is on hymnody itself) to use the word "hymn" to refer to both text and music, when a hymn, technically, is text. Gordon's oversimplification of this term results throughout this book in a domino-effect of confused argumentation and false conclusions. The starkest example of this is in his statement, "The question is whether as a genre contemporary worship music is superior to hymnody as a genre" (p. 49, n. 7). In a discussion like this, "hymnody" cannot be used so generally without engendering false assumptions. Such assumptions would be: (a) contemporary worship is not producing anything definable under the category of "hymnody;" (b) "hymnody" is definable as a single genre (as though there aren't a multiplicity of styles associated with the corpus of historic Christian hymnody); (c) "hymnody" always refers to music. None of these assumptions are true, and this confusion emerges again and again throughout the book.
1It is surprising that Gordon makes this parenthetical statement and then proceeds, for not a small part of his book, to discuss properties of music (without much referencing when he does such analysis).
2One will notice that I am using the terms "rock" and "pop" interchangeably. It will become clearer later why I do that (see "Problem #6"), but suffice it to say that I believe it is fair to do so because Gordon seems to approach all "contemporary music" with one broad brush.
Section-By-Section Links:
Introduction & Appreciation
Six Problems with Gordon's Analysis: Problems 1 & 2
Six Problems with Gordon's Analysis: Problem 3
Final Questions and Remarks: Where does the Gospel Fit into this Discussion?
Final Questions and Remarks: A Fairer Approach Proposed & Conclusion
Download a PDF of the full review.
2 Comments on "Review of Why Johnny Can't Sing Hymns, by T. David Gordon (2/7)"
Marc Azada
I love this book. Johnny Can't Sing Hymns is one of the best book I've read this year. This book helped me a lot to understand music. Thanks for review!
Brother, if you both like the book and are thankful for my review, it sounds like you haven't read one or the other…or both. 🙂


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COVID Survival Rate For Under 20s Is 99.9987%; Stanford Epidemiology Prof Study
Tuesday, Jan 11, 2022 - 11:10 AM
Authored by Paul Joseph Watson via Summit News,
Top epidemiologist Professor John Ioannidis has published a new study which concludes that the survival rate of people under the age of 20 who catch COVID is 99.9987%.
The data used from the study was taken before the advent of mass vaccination programs, meaning the numbers apply to unvaccinated people.
Ioannidis previously published an analysis of seroprevalence (antibody) studies from 2020, which resulted in him being able to reveal that the infection fatality rate for COVID globally was around 0.15%. In Europe, the number stood at 0.3%-0.4% , while in Africa and Asia it went down to 0.05%.
Now the professor has published new information that breaks down infection fatality rates by age.
"From analysis of 25 seroprevalence surveys across 14 countries, Prof. Ioannidis and his colleague found the IFR varied from 0.0013% in the under-20s (around one in 100,000) to 0.65% in those in their 60s," writes Will Jones.
For those above 70 not in a care home it was 2.9%, rising to 4.9% for all over-70s. This means that even for the elderly, more than 95% of those infected survive – 97.1% when considering those not in a care home. For younger people the mortality risk is orders of magnitude less, with 99.9987% of under-20s surviving a bout of the virus. These survival rates include people with underlying health conditions, so for the healthy the rates will be higher again (and the fatality rates lower)."
The authors of the study concluded that the data reflects the reality that the infection fatality rate of COVID is substantially lower than previously reported estimates.
"The study's findings confirm that Covid is a mild disease in all but a small minority of cases. With Omicron now reducing the severity several-fold further, even the proponents of lockdown should be able to accept that this virus is well below a level where restrictions are justifiable," writes Jones.
The results of the study once again bring into question the rationality of giving COVID-19 vaccines to young people and children.
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Bill would cut U.S. funds to U.N. entities that upgrade Palestinians
By	Marcy Oster	 August 31, 2011 2:10 pm
(JTA) — Legislation was introduced in Congress that would cut off U.S. funds to any United Nations entity that upgrades the status of the Palestinians in response to their statehood push.
Rep. Ileana Ros-Lehtinen (R-FL), chairwoman of the House Foreign Affairs Committee, introduced the United Nations Transparency, Accountability, and Reform Act on Tuesday.
The bill, which has 57 co-sponsors, would cut off U.S. contributions to any U.N. entity that grants state-level membership or any other upgraded status to the Palestinian observer mission. The legislation also would withhold some U.S. dues to the United Nations if it does not change its funding system, making dues voluntary rather than assessed.
"It is time to use all our leverage to stop this unilateral Palestinian scheme — for the sake of our ally Israel and all free democracies, for the sake of peace and security, and for the sake of achieving a U.N. that upholds its founding principles," Ros-Lehtinen, a longtime critic of the U.N.'s operations, said in an Op-Ed in the Miami Herald in which she described the legislation.
Ros-Lehtinen pointed out that in 1989, when the Palestine Liberation Organization pushed to have a Palestinian state join the United Nations, that then-President George H.W. Bush "made clear that the U.S. would cut off funding to any UN entity that upgraded the status of the Palestinian observer mission in any way. The UN was forced to choose between isolating Israel and receiving U.S. contributions, and they chose the latter."
The Palestinian Authority reportedly will ask the United Nations to recognize Palestine as an independent state on Sept. 20, the first day of the body's new session.


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MBA trek from Texas to San Francisco reflects improved hiring climate
Businesses in the Silicon Valley have not had banner hiring years since 2000, but firms in the region appear once again to be inspiring confidence among MBA students seeking jobs.
AUSTIN, Texas—Businesses in the Silicon Valley have not had banner hiring years since 2000, but firms in the region appear once again to be inspiring confidence among MBA students seeking jobs.
A delegation of MBA students from The University of Texas at Austin's McCombs School of Business travels to the Bay Area this week, following a similar visit from MIT's Sloan School of Management earlier in the month.
The itinerary for the San Francisco trek includes company visits to Cisco, Yahoo!, Hewlett-Packard, WellsFargo and ChevronTexaco, among about a dozen firms visited on the West Coast swing.
A group of McCombs MBAs is also visiting San Diego to meet with executives from Qualcomm, Duncan-Hurst, Cisterra Partners, Hewlett-Packard and FoodMaker Inc.
Such visits were commonplace in the late 1990s but have not been popular since 2001, when MBA graduates found job prospects in Silicon Valley severely curtailed. Students in the recent delegations, however, indicate optimism about employment prospects in the region
The students from Texas travel to the Bay Area Jan. 12 to explore career opportunities not just in the technology sector, but also in banking, energy and biotech.
Pamela Palacios, a Bay Area-native and co-founder of the student group that initiated the trip from Texas, believes that while the rally of the technology sector in Silicon Valley has attracted the most media attention, the outlook for careers is positive in several Bay Area industries.
Palacios' optimism follows a hopeful fall for MBA students nationally.
MBA career services directors around the country, while they do not collect statistics on job offers this early in the year, have reported rises in the numbers of on-campus interviews.
During the fall semester at The University of Texas at Austin, McCombs MBA students logged twice as many on-campus interviews and 48 percent more company presentations than at the same time last year.
"I'm optimistic," said Chris Taber, an MBA '06 from McCombs, who is going on the trip as part of his search for a summer internship. "I have some contacts at Yahoo!, and I know that they've been doing very well and expect to hire a lot of people over this year and next year."
For more information contact: J.B. Bird, McCombs School of Business, 512-471-3314.


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'Science Fair' Documentary Makes Its Own Statement About Young Science Whizzes
By Mark Walsh — September 14, 2018 2 min read
In June, I wrote about the documentary "Inventing Tomorrow," about groups of students from around the world attending an international science fair in Los Angeles. I said that the film was one of the more entertaining and engaging education documentaries I had seen in a while. But I also noted there was another documentary this year on the same topic.
That other film, "Science Fair," produced by the National Geographic Society, opens in one New York City theater Friday and in other cities throughout the fall. "Science Fair," directed by Cristina Constantini and Darren Foster, has the same idea as "Inventing Tomorrow." It follows several groups around to the Intel International Science and Engineering Fair, meeting them in their home states or countries, watching as they nervously prepare to explain their projects to the judges and interact awkwardly with their peers, and waiting for the payoff—the awards presentations.
Both films have their quirks, but ultimately they promote science education in a lively way. Good thing it's not a competition, right? Except it was, as the two films went head to head at the Sundance Film Festival last winter. "Science Fair" won the award as festival favorite.
While "Inventing Tomorrow" explored in depth the science behind the science fair projects by its featured subjects (which included topics such as tin ore processing, crowd-source monitoring of bodies of water for contamination, investigating ground soil for arsenic contamination from tsunamis, and an idea for photocatalytic ceramic paint to purify air), "Science Fair" has a lighter touch.
We meet Kashfia, a Muslim girl at a sports-obsessed South Dakota high school, whose science fair successes go unrecognized but who forms unlikely ties with the school's football coach as her science fair mentor. Robbie is a math whiz from West Virginia who nearly fails his algebra class but scrounges computer parts in junkyards for his artificial intellience project.
Meanwhile, Dupont Manual High School in Louisville, Ky., supplies both Anjali, a young prodigy who doesn't let a defeat in the regional fair stop her from finding another qualifying competition and punching her ticket to Los Angeles; and the team of Ryan, Harsha, and Abraham, who focus on their innovative web-connected stethoscope.
One star of "Science Fair" turns out to be an adult mentor—Serena McCalla, the research coordinator at the Jericho, N.Y., school district, on Long Island. She had nine students qualify for ISEF and predicts that some day one of her students will win a Nobel prize
"Science Fair" has some fun footage of vintage fairs, the kind many viewers of a certain age will remember from their school days. But as two documentaries show, science fairs are now a big, international deal, with mind-blowing research performed by high school students.
If you see only one documentary about the ISEF this year ... Well, don't feel like you have to limit yourself to one or the other. Both "Inventing Tomorrow" and "Science Fair" are inspiring and fun.


The science behind staying cozy in the coldest of weather.
Last time, we talked about using optical illusions in fashion. Today, I'll be explaining the science of heat transfer, and the most up-to-date tips about how specifically to dress warmly when the weather is very cold – a topic very near and dear to my heart in the icy winds of upstate New York.
While we've talked about outfits for below-freezing temperatures before (check that out for specific ideas), today we're going to cover why your body gets cold and exactly how to dress strategically to keep it warm.
As you might remember from your high school physics class, heat is a type of energy, which means it can be exchanged between objects: things get warmer the more heat energy they take in from other objects, and get cooler the more heat energy they give off to other objects. Your body naturally produces heat, so dressing warmly is about making sure you hold onto as much of your body heat as possible.
The most obvious way that objects can lose (or gain) heat is through conduction. This is a process in which objects that are in contact with each other, as the vibrating particles that make them up collide with each other, giving off energy from the warmer object to the cooler one.
While to some extent heat loss by conduction is unavoidable (you have to touch objects around you, like the ground and the air), you lose more heat loss by conduction if there are more particles available to interact with each other – just think about how much colder you would feel sitting on a cold stone bench than you would just standing around in cold air. Gases have the fewest particles, liquids a bit more, and solids the most, therefore surrounding your body with a layer of warm, dry air is the easiest way to minimize heat loss by conduction.
Even if objects are not directly in contact, heat can be exchanged between them by a process called convection. You might recognize this term from the phrase 'convection oven', which is an oven that uses fans to move hot air in a cycle around the oven, cooking your food more quickly. In terms of heat transfer, convection works in the same way – warmer air or liquid moves around in a cycle through space, where it gains heat energy in warmer areas, and then gives it off in cooler areas.
Your body's circulatory system uses the power of moving liquid to heat and cool your body: your core stays warm, while your arms, legs, and head are cooler. As your blood flows through your body, it warms up as it gets nearer to your core, but then cools down as it reaches your extremities.
Heat can also be transferred between objects without any movement or contact. In addition to being transferred in the form of moving particles, heat can also move through objects and space in the form of an electromagnetic wave – the same as light energy. This type of heat transfer, known as radiation, is the hardest to prevent, because it can't be stopped without the use of heat-reflecting materials (which is how super-light emergency blankets can still be so warm).
In fact, because radiation occurs without the movement of any kind of particles, it is the only way that heat can move through outer space: so the heat and light from the Sun is received by Earth in the form of radiation.
In order to make a super-warm but not ultra-bulky outfit, it's helpful to stick to fabrics that trap in heat while wicking away moisture. In this outfit, a thermal base layer from Uniqlo's Heattech line traps heat close to your body, while a merino wool sweater keeps you warm without getting overheated and sweaty. A down jacket helps trap in more warm air and waterproof boots keep your feet dry, while a pair of relaxed-fit jeans keep you comfy while adding another layer.
Using high-performance materials like silk, wool, fleece, and down allow you to wear fewer layers, allowing you to stay comfortable from your freezing walk to class, to your chilly lecture hall, and even in your warm dorm room, without having to shed a ton of layers. You can even choose items in fun colors and textures, allowing you to look fashionable even when you're dressing to be practical. Buying with quality materials will cost you a bit more than the rest of your wardrobe, but it's worth it – because spending a bit more on a great pair of boots, a super-warm jacket, and a few extra-cozy sweaters will make sure you stay warm for years to come.
You can lose a lot of heat through areas where your blood vessels are close to the skin, therefore keeping your whole body warm is much easier if you cover up your hands, feet, neck, and head.
Wearing a fleece-lined beanie ensures your head and ears stay cozy, while smart-wool gloves keep your hands and wrists warm without losing dexterity. Wool socks and furry boots keep your toes toasty, while a turtleneck and a scarf make sure your neck stays warm – I love really big scarves because you can bury your face in them when the wind blows at you, and when you're in class you can wrap yourself up in them like a blanket.
Last, dry winter air can make your skin extra-sensitive, so putting on some lip balm is a great way to help seal in moisture not just on lips, but on anything that might get chapped or flaky.
When the temperatures really start to drop, it can be tempting to put on as many layers as possible to try to keep warm. However, experts say that even if you're on an Antarctic expedition, you should wear about four layers on every part of your body: a light base layer (like this silk long sleeved tee) to wick away sweat, a warm inner layer (like this pink fleece pullover, which adds a pop of color to an otherwise fairly basic outfit), an insulating layer (like this down jacket, which will hold onto lots of warm air), and a protective outer layer (like this wool coat, which will keep away the elements with its extra length).
It's okay to have a couple fewer layers on the bottom: Adding a pair of leggings under your favorite dark-wash jeans will protect against the wind. Pull on a pair of tall socks for a flirty detail, and these waterproof Chelsea boots to stay dry and trendy. I could see this outfit working for a casual date or super-comfy evening out if you don't want to sacrifice staying warm for looking stylish!
What do you wear to stay extra-warm in the winter?
Let's submit this to peer review – tell me what you think in the comments below!


How to Greet Guests at a Cocktail Party - CoAqua - The world's best tasting coconut water.
Cocktails are making a comeback, especially with the ladies who are opting for delicious mixed drinks to help preserve health as well as hangover.
In our cocotails series, we'll be taking you through cocktail party etiquette with tips and tricks on how to mingle like a pro. And with summer fast approaching, you'll soon be ready to throw your own cocotail soiree with confidence.
Here's a simple, fruity summer cocotail recipe to get you started. The refreshing quality of the Calada Italia make it ideal to serve to guests upon arrival. Don't forget to make a connection when introducing guests - to help make conversation easy between new acquaintances. For example, "Ann, this is Jono, I believe you both graduated Harvard Business School". Yup, It's really that easy.


Happy Sunday everyone! While these photos were shot before Zeus came down with Vestibular Syndrome of Old Dogs and pneumonia, the could easily be mistaken for yesterday.
I'm happy to report that my baby boy is pretty much back to his usual self (which does include a little stumble now and then, as his back legs are really showing the arthritis these days, but it's nothing we can't handle)! He had another check up with Dr. C on Thursday and she was thrilled! The pneumonia seems to be clearing nicely. His heart and lungs sounded so good that she didn't feel the need to take another set of follow up x-rays. We'll finish out his 21 day stint of antibiotics tomorrow and keep an eye on him for any signs of a cough (in which case we'll go for the x-rays and more antibiotics), but she is pretty confident it did the trick.
So glad he's feeling better. The best nursing care at home can contribute dramatically to a pet's recovery. Good for you!
How wonderful! So glad Zeus is feeling better. Good care starts with lots of LOVE, which I am SURE you gave him in just the right doses!
Hooray for Zeus! I've worried about your boy. Happy Sunday, Nic and Zeus (and everyone else, of course).
SO glad you are starting to feel better! Happy BW Sunday!