One Million Guitars – A chance for all children to discover music


Music is the only true universal language. The transformative power of music is unparalleled. It unites continents and humans like no other medium. Yet access to music education for our most vulnerable communities continues to diminish.

One Million Guitars is a 501(c)(3) Non-Profit Foundation on a mission to impact the lives of millions of children around the globe through the power of a musical instrument. Having early access to music education can transform the future of a great learner and affect the trajectory of their entire life. Apart from the subjective notion that music lifts the soul, it has been empirically shown that learners with the benefit of a musical training excel in other academic and creative domains. Yet so many of our brightest minds, those that can inspire future generations to improve our world, do not have access to a music education.

One Million Guitars, 1MG, is going to fix this dilemma, one guitar at a time. Under the leadership and vision of master musician David Broza, a lifelong peace ambassador and children’s advocate, over the next five years, 1MG will distribute more than one million guitars worldwide to children and leverage social media to create an online music academy and community of engaged, young learners.

These millions of kids will each be empowered by and granted a 1MG scholarship that includes a beautiful professional instrument built to last, online training by world renowned recording artists and professional musicians and access to local events and peer to peer training.

This all starts and ends with a kid with a guitar. Given the opportunity to surface the best version of themselves., millions of like minded children around the world will unite in a global chorus of personal growth, potential, diversity and peace.

Join us on this quest to bring the empowerment of music education into the lives of millions of kids.

How does it work?

1MG offers a 1MG Scholarship to young students that includes the 1MG signature guitar, extra strings as well as the 1MG starter instruction book. Students then need everything they need to start on their transformation journey. Additionally they will have access to online video tutorials created by some of the world’s leading artists as well as community contributors.

How can I help?

You can join the community of passionate individuals making a difference in million of kids lives in a variety of ways. Contact us to join the 1MG team and help in creating instructional content, doing community outreach and starting a 1MG group in a community in need as well as help our fundraising efforts. Contact Us

How do I contribute?

Head over to our GoFundMe.com page to contribute to our tax-exempt 501(c)(3) Foundation. Your contribution will go directly towards facilitating the 1MG program and manufacturing and distributing 1MG Guitars. Every $100 contributed facilitates another life altering event for a child that would otherwise never experience the transformative potential of a musical instrument.




Intuitive Guitar – Major Scale Modes. A fantastic new App for guitarists



Why is it that many video courses, guitar lessons, guitarists, apps and tutorials explain the concept of modes for guitar over and over again? Because they are very useful of course, but somewhat fail as one usually ends up with fretboard diagrams filled with dots and patterns and it all seems like a big intellectual challenge to memorize all positions at once, all keys, all strings… so many different combinations, and how to make them sound musical and flow through them without sounding like a robot is going up and down a scale?

We believe the solution is learning through intuition and repetition with carefully designed objective oriented practice routines. Time is important, so optimizing your practice time is essential to make progress and stop wasting time.

This approach to learning the modes of the major scale for guitar is simple and effective, just play along a practice routine for 10 minutes a day and the whole fretboard will start to open up for you. The routines cover all seven modes of the major scale parallel to each other in the key of C. We are approaching guitar fretboard visualization in 3-string shapes that cover only one octave, which makes them easy to manipulate, instead of large 6-string shapes, CAGED, 3 notes per string or other conventional shapes. This process will allow you to always keep in mind the intervallic relationship of the note you are playing against the root. Basic modal theory is included and we focus on the 7 modes of the major scale: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian.

Features:
– New effortless approach to learning music theory and skills
– Fly through the 7 Modes of the Major Scale
– 21 well designed guitar practice routines for daily practice
– 14 Backing tracks/modal loops with advanced audio pitch-shifting, tempo variations, and an equalizer
– Fully featured tab section with zoom, fast scrolling, loops, tempo and tonality change
– Modal Music Theory
– Built-in Metronome

We think that in today’s digital world privacy is of the utmost importance. You can read the complete policy here: http://www.amparosoft.com/privacy

NOTE: If you run into any issues, have questions or suggestions, please email us to amparosoft@gmail.com

All content is property of AmparoSoft
All music is composed and played by Otto Reina

Download The App Here




A Fantastic Musical Project In Uganda by Innocent Wodonya

FFM’s  Uganda Ambassador,  Innocent Wodonya is raising money to help young musicians in Uganda. They need to buy instruments to continue the fantastic work already being done by the David Kiwana Wind Orchestra. Please visit their GoFund Site and pledge a few pounds/dollars/yen to help them give music to young people in Uganda.
Innocent Wodonya
Innocent Wodonya 
“We are a starting a wind classics band and we intend to give chance to our players  to play music and we really need your support for us to do it please whatever you give will help give a chance to one African child  to play music .
Thank you all  friends around the world .
Help spread the word!”
 Innocent Wodonya

The international language of music spreads love and friendship around the world and FFM Records will ultimately record and distribute a digital album for our Ugandan friends to create a sustainable source of income for the future.
The music education outreach that music provides is a priceless lifeline for many Ugandans creating  opportunities for personal development much needed in the area.

Please help us help these wonderful musicians be the best they can.
Roger Moisan LTCL PGCE
(CEO Freedom For Musicians)

Please Visit our GoFund Page



Why do we learn to play the recorder at school?


400 years ago, the recorder was so popular that people were writing concertos for it. Now, we associate it with primary school music lessons. We’re here to explain why…

Long before it was used as a teaching instrument, Renaissance and Baroque composers like Monteverdi, Purcell and Bach loved to compose for this small, whistle-like instrument. Here’s Vivaldi’s lovely Recorder Concerto in C:


Back then, all recorders would have been made from wood and ivory – a far cry from today’s primary school plastic numbers.

So why did we start using them to play ‘Mary Had a Little Lamb’?

Fast forward to the 1900s, when Carl Orff – that’s the German composer who wrote Carmina Burana (the cantata which includes the epic ‘O Fortuna’) – thought it would be a great idea to use the soprano recorder as a teaching tool.

Aside from writing excellent music that would later be poached by The X Factor, Orff became instrumental in shaping music education theory in the 20th century.

His Orff Schulwerk encouraged learning music through rhythm and creative thinking, methods he thought to be much more effective (and enjoyable) than learning by repetition.

The work also called for a wider range of simple, easy-to-play instruments, specifically those with a similar vocal range to a child. Orff figured that if a child could sing the notes they were playing, they’d be more likely to understand it.

To him, the soprano recorder’s lack of strings, reeds, bow – or need to develop a good embouchure in order to make a half-decent sound on it – made it the perfect instrument to inspire children to play music. You could say the same for other teaching instruments, like the glockenspiel or the tambourine.

So do people still play the recorder seriously?

Sure they do! Recorders can be as small and simple as the soprano recorder, and as big and practically impossible to play as the contrabass recorder (there’s also the sub-contrabass recorder, which is even scarier). It looks like this:

Contrabass recorder

Imagine trying to play ‘Mary Had a Little Lamb’ on THAT.

Here’s the Palisander Quartet, making the recorder look advanced and awesome:

Palisander: The Nightmare Concerto
Palisander Recorder Ensemble playing Vivaldi’s ‘The Nightmare Concerto’, arranged by Miriam Nerval.



Listen to Mozart played on Mozart’s VERY OWN piano


Please watch this amazing video of pianist Robert Levin playing Mozart’s piano sonatas on Mozart’s ACTUAL PIANO.

Last year, pianist and musicologist Robert Levin was announced as the first Hogwood Fellow of the Academy of Ancient Music. So, we filmed him playing on Mozart’s very own instrument.

The fortepiano, from around 1782, was used by Mozart for both composition and performance from 1785 until his death in 1791.

The piano was originally made by Anton Walter, one of the most famous Viennese piano makers of Mozart’s time. It is two octaves shorter than a modern piano, and is much lighter and smaller than modern pianos, weighing only 85kg. It’s also much smaller than a modern piano, at just 2.23m long.

It can currently be found in Salzburg, where Robert Levin is using it to record Mozart’s piano sonatas.

“The voyage and discovery of playing on period instruments is to move in a world – physical, emotional and aesthetic – that is inhabited by the geniuses that wrote this music. It brings us very, very close to them,” said Levin.

“So sitting down at Mozart’s piano, sitting down at an organ which Bach played himself, you understand things about the weight of the keys going down and the repetition and the balance in sound.

“And all of these things bring you very, very close to the music and make you say ‘A-ha, that’s why it’s written that way’, which is not the kind of thing you’re going to get if you’re playing on the standard instruments that are being manufactured today.”



10 Traits That Prove You Were Born to Be a Musician



It’s not a secret that musician brains are a little different from “normal” brains. As with any skill or profession, most of it can be learned, but certain things that you need to be a good musician come from nature, not nurture.

Do you show the symptoms of musicianship? Here are 10 established correlations.

1. You’re naturally curious

That door in your apartment that’s nailed shut? You’ve got to know what’s behind it. That trail through the woods that you see when you’re riding the bus? Sooner or later, you’ll get off a stop early to explore it. What happens when you put a bunch of big ball bearings on piano strings? You’re just the person to find out. Curiosity, exploration, and experimentation are bread and butter for musicians.

2. You’re not slowed down by rejection

Like salespeople, musicians have to hear “no” on a regular basis. No matter how great your act is, it won’t be right for every gig or every venue. No matter how talented you are, you’ll lose opportunities to someone who got there just a little sooner, someone who knows someone, or someone who sounds a little bit more like that club owner’s favorite artist. Although these rejections always sting, they also don’t deter you. You believe in your own voice and will keep working until it’s heard.

3. You have systems and rules for yourself and your surroundings

If musicians have a hard time accepting external structures, we tend to be eager to impose rules and restrictions of our own making. Musicians know intuitively what the right thing is. We’re likely to have strong opinions about domestic issues like dishwashing, laundry, and home organization.

A musician might have a no-eating rule in his or her car, or insist that all T-shirts have to be hung up rather than folded. This sense of correct practice is what builds the conventions and habits that form an artist’s personal style.

4. You’re reasonable in your dealings with others

Musicianship takes a lot of teamwork. You collaborate with bandmates, session players, studio staff, live sound techs, and (of course) your audience. You might be the brightest light in the room, but it’s highly unlikely that you’re the biggest diva.

If someone has unreasonable expectations or inflexible demands, it’s not you. Whether this skill is learned through your art, or whether your natural talents led you to become a performer, you’re always more likely to be peacemaker and negotiator than an instigator.

5. You don’t stay down for long

Ever work in the studio all day and hate the result? Ever lose a bandmate right before a series of shows? If you tackle anything passionately, you’ll have lots of little triumphs and little disappointments along the way. But if you’re moping on Monday, you’ll be back in the studio or on the stage on Tuesday. You don’t let a bad mood engulf you and color what you’re trying to do.

6. You have a lot of empathy

What makes a good songwriter? It’s not just wordsmithing – it’s empathy. How many great songs have been written about hardworking people crushed under some harsh system? Songwriters feel for others, so much so that they write songs from others’ points of view. This is why you’ll see so many musicians who have day jobs in caring professions, particularly helping the disabled in schools or job-coaching environments.

7. You get along well with animals

That empathy also translates into a love for animals. Tons of musicians have pets and many are animal lovers. Quite a few are animal rights activists. I challenge anyone to think about Sarah McLachlan without visualizing that ad with the sad puppies and hearing “In the Arms of an Angel.”You probably cried, too, even if you’re in a nasty punk band and have a safety pin through your nose.

8. You like science fiction books and movies

The real world? Boring. Artistic types like to create new worlds and explore worlds created by others. We like sci-fi and fantasy for this reason, and enjoy shows in which new viewers would be completely lost because they don’t understand the complex backstory.

Of course, since we’re veterans of creating things ourselves, we also tend to deconstruct scripts, calling out predictable lines that actors are about to utter. We like making fun of bad special effects, clunky direction, and bad acting.

9. You like fixing and building things

Music is a hands-on field, made to order for people who hate lectures and chalkboard notes and want to just jump in and do it. That’s why so many musicians modify their instruments, customize their band vans, and build all sorts of hacks in the studio or rehearsal space. A lot of us are drawn to carpentry, computers, electronics, and mechanics. We’re not afraid to rip things apart and see what makes them tick.

10. You laugh a lot

News cycle got you down? We’re all stuck on planet Earth, dealing with violent extremism, climate threats, and atrocious fast food. And we all have two weapons to battle the blues: art and humor.

Musicians are some of the funniest people you’ll meet, especially in groups. Ride to a show with any band that’s been together for a while, and you’ll be spitting out your drink. It’s a kind of amazing, vulgar, politically incorrect banter that screenwriters rarely get right. If we could just record chunks of that, we’d have enough material for a stand-up routine… or the lyrics to our next album.

Jesse Sterling Harrison is an author, recording artist, and part-time farmer. He lives in Massachusetts with his wife, three daughters, and a herd of ducks.


Trumpet Place – The New Agency for Trumpet Teachers and Students

Learn from the best.

Everyone starts playing trumpet at different ages, but we all start as beginners. From the first cracked note to all three movements of the Haydn Trumpet Concerto, teachers from all around the world skillfully nurture their students’ talent on the trumpet.

TRUMPET PLACE is a website dedicated to bring trumpet students and teachers together in a collaborative space. It seems that many trumpet players in school don’t take lessons, simply because they can’t find a teacher!

If you’re a trumpet player, TRUMPET PLACE is the new online trumpet hub for students, teachers, and performing players throughout the United States. The mission of this website is to provide an affordable listing tool for teachers, so that they can keep doing what they do best: teaching the next generation of trumpet players how to fanfare, flutter, and feel that jazzy rhythm.

One of the most difficult parts of being a trumpet teacher is finding private students. It seems that less and less musicians go into private teaching because not enough students want to take private lessons. The truth is, they don’t know where to find us!

Whether you choose to teach virtually or in person, TRUMPET PLACE provides the platform for students to find you where you are. Help parents learn about your location, your schooling, credentials, and any other information to help them make a decision.

You’ll even get your own fancy webpage, right here at TrumpetPlace.com!




It’s been 50 years since Hendrix’s ‘Electric Ladyland’ blew our minds


Go to the profile of Martin Johnson

The double album blurred the lines between musical genres and refused to let blackness be narrowcast.

For a kid born in 1960, I came to Jimi Hendrix’s music late. While I fondly recall lurking outside the door of my sister’s bedroom to sneak a listen of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, and loving the iconic introductory guitar on the Temptations’ “My Girl” emanating from my brother’s room, I can’t claim that I stood in the hallway of my childhood home, in Chicago, playing air guitar to the power chords that introduced “Purple Haze.”

Then I went college. One night in 1979, probably in between Pink Floyd’s Dark Side of the Moon and the Velvet Underground’s Loaded, a friend put on Hendrix’s Electric Ladyland and, like millions of other listeners, I was absolutely transfixed. At the time, I’d known Hendrix for remarkable three- and four-minute singles like “Manic Depression” and “Foxy Lady.” But hearing Electric Ladyland, whose 10th anniversary coincided with my freshman year, and whose 50th anniversary is upon us, was a game-changer.

On a personal level, it was an affirmation of sorts. As an African American with a diverse sonic appetite dating back to childhood, I’d been called an “Uncle Tom” by junior high classmates for liking Steely Dan more than B.T. Express, a taunt that left me with physical and emotional scars. Electric Ladyland confirmed that my interests were, and always had been, cool. Way cool. The album had a little bit of everything.

The jazz aficionado in me loved “Rainy Day, Dream Away,” while my inner blues lover dug Jimi’s take on Earl King’s “Come On (Let the Good Times Roll).” The rock head banger inside me loved “Crosstown Traffic.” By the time the recording ended, with a searing cover of Bob Dylan’s “All Along the Watchtower” and a fiery “Voodoo Child (Slight Return),” I knew I’d found my church.

So had a lot of people, especially African American listeners and musicians. More than any recording up to that point, Electric Ladyland refused to allow blackness to be narrowcast, and presented a vision of a diverse, accomplished African American future. Which is why it’s as powerful in 2018 as it was half a century ago.

Electric Ladyland’s inside cover. (Reprise Records)

In1969, legendary rock critic Robert Christgau raved that “no previous rock album flowed like [Electric Ladyland], and while jazz albums often support as many contrasting sonic moods, Louis Armstrong himself didn’t match Hendrix’s appetite for sound effects and general silliness. His spaced-out spirituality is the fullest musicalization of ‘psychedelic’ ever accomplished.” In 2017, Pitchfork ranked the recording number 11 in its top 200 recordings of the sixties. In his assessment, Nate Patrin wrote, “Hendrix was a master of both the boundless potential and the immediate simplicity of rock.” Yet this praise only skims the surface.

Electric Ladyland was released in October of ’68, a little less than a year before Hendrix’s landmark appearance at Woodstock, where his solo guitar version of “The Star Spangled Banner” would solidify his place in the pantheon of American musicians. It’s fairly easy to draw a direct line from him to other great guitarists like Robin Trower, Joe Satriani, Ernie Isley, Prince, and Stevie Ray Vaughan, as well as shredders in different genres like Robert Randolph (gospel/Americana), Gary Clark (blues/rock) Eddie Hazel (funk), and Mary Halvorson (jazz), just to name a few. But Electric Ladyland’s impact goes deeper than just the work of a virtuoso guitar player.

“I think that the impact Hendrix’s work had on me was the sheer power of his visionary imagination,” Vernon Reid, a guitar wizard and leader of the group Living Colour, tells Timeline via email:

Hendrix painted murals of sound, a cosmology of artistic freedom. He didn’t seem to have any boundaries to his expression. Even as he was deeply connected to blues, he was not hemmed in by that traditional structure. He managed to find a way to be free within it. Jimi became a capital-O Obsession. The opener of Electric Ladyland, “And the Gods Made Love,” was hardcore psychedelia, total aural strangeness, a preamble to a dream question, “Have You Ever Been to Electric Ladyland?” The answer was decidedly NO, but I really, REALLY wanted to go.

Hendrix’s vision, his uncanny ability to be rooted in many genres yet see beyond aesthetic boundaries, is what makes Electric Ladyland an inspirational touchstone for so many artists. Reid notes that his group’s 1990 recording Time’s Up owes a significant debt to the Hendrix classic, adding that “a record like Prince’s 1999 or Sign ‘O’ the Times doesn’t happen without the existence of Electric Ladyland.” Neither, he says, does Lenny Kravitz’s Let Love Rule or Miles Davis’s Agharta or Funkadelic’s Maggot Brain or any seventies-era tunes by the Isley Brothers. And of course, he says, “the DNA of rock from Seattle is suffused with what Hendrix accomplished with Electric Ladyland, which makes all the more sense, given that Seattle was Hendrix’s hometown.

 

Electric Ladyland’s influence can be heard on recent recordings by Solange (left), Kamasi Washington (center), and Nicole Mitchell (right), despite the fact that none are rock albums. (Saint Records/Brainfeeder/FPE Records)

Evidently, Electric Ladyland’s DNA still runs strong in the current generation of musical artists. Or perhaps the confluence of Barack Obama’s presidency and the rise of Black Lives Matter have played a part in supporting a vision for a strong African American future. Either way, several recent, sprawling, epic recordings suggest a sonic itinerary that includes the multi-dimensional realm of Electric Ladyland.

A Seat at the Table, Solange Knowles’s 2016 exploration of contemporary black womanhood, draws on many styles, such as jazz, gospel, and hip-hop, and reimagines each to create a polyglot rhythm-and-blues sound that both is rooted in the past and reaches far into the future. Kendrick Lamar’s To Pimp a Butterfly, a 2015 meditation on African American masculinity, features a broad base of musical styles and goes so deep on the jazz tip that it provided the breakout moment for saxophonist Kamasi Washington, who then released his own appropriately titled recording, The Epic, which presents an Afro-futurist vision.

Flutist and composer Nicole Mitchell had her breakout in 2017 with Mandorla Awakening II: Emerging Worlds, which depicts a future world where technology and nature coexist peacefully. Mitchell, who was based in Chicago for more than 20 years, draws on blues, house music, and gospel, blending them seamlessly into an improvised context. None of these recordings are rock albums, so they haven’t been presented in the lineage of Electric Ladyland. But it isn’t hard to see their eclecticism and vision in a similar mold as Hendrix’s timeless double LP.

“Jimi Hendrix was lighting a pathway for, and setting a challenge to, subsequent generations of artists,” says Reid. “He showed me and many others what was possible to create and make happen. The greatest lesson of Electric Ladyland for me was finding myself.”

Back in college, while looking at the album’s liner notes (remember those?), I noticed that Hendrix was credited not just with producing the record but directing it, title that’s rarely used in recorded music. That’s because it isn’t simply a collection of songs; it’s one of the first concept recordings in popular music. What that concept is, of course, varies from ear to ear, listener to listener, artist to artist. “It wasn’t just slopped together,” Hendrix has said. “Every little thing you hear means something.”



What A Wonderful World-A Powerful Message From The Great Herb Alpert



“Though there is too much poverty, too many wars, too much hatred and divisiveness in the world, we believe that with love, understanding, kindness, compassion, warmth, respect and humaneness, this beautiful world of ours could be a much better place for every woman, man, child and all of the animals, creatures and nature that live on our planet.”

All proceeds are dedicated to the Louis Armstrong Foundation

The Louis Armstrong Educational Foundation, Inc. was founded and funded by Louis Armstrong in 1969 to give back to the world “some of the goodness he received.”

The Foundation is dedicated to perpetuating the legacies of Louis and Lucille Armstrong throughout the world with the following initiatives:

  1. Foster programs, workshops and lectures in schools on the history of music education, as well as supporting access to instruments and scholarships.
  2. Assist and contribute to schools and libraries for events and programs designed to educate students about jazz.
  3. Sponsor programs at all school levels to aid students in developing musical skills.
  4. Support music therapy.

His will left the estate and Foundation to his beloved wife Lucille

For more information about the Louis Armstrong Education Foundation please contact:

Jackie Harris
P.O. Box 3115
New York, NY 10163-3115
Email: permissions@louisarmstrongfoundation.org


3 key risks to cultural education in the UK

Anna Gower

Music Education Consultant | Trinity College London | Musical Futures International

The government believes that cultural education forms an important part of a broad and balanced curriculum, and that children and young people should be provided with an engaging variety of cultural experiences throughout their time at school. Policy Paper, cultural education DFE, July 2013

This week I was asked what I thought were the main challenges in the UK facing those of us who support a holistic cultural and arts education within our schools and local communities.

The obvious answers would of course include cuts to local authority budgets and national funding, which are now affecting some of the biggest arts venues in London as well as community venueslibraries and museumsacross the UK.

Or the EBACC, which as this article from Deborah Annetts, chief executive of Incorporated Society of Musicians and founder of the Bacc for the Future campaign suggests, negates the potential impact of the recently announced £96m of funding, promised to support the most gifted students with access to arts education. Music for a few not for many.

But in answer to the question I chose the following:

  1. The risk of forgetting those at the very end of the journey to opening access to arts education-the students.

In the UK there are a huge range of organisations all wanting the same things. To find ways to open up access to the arts for all. Many of these focus on work with teachers and schools. However, the danger is that funding can quickly be eroded by getting people round a table to talk about the issues and reach agreement whilst actually making things happen takes much longer.

How can we ensure that initiatives and projects are needs-driven and learner-driven and that data is used not just to measure effectiveness, but to identify key areas where diminishing funding and support for arts education can have the maximum impact for those who need it most?

2) Communication.

It’s difficult to reach the people who can most easily affect change. Where are young people? They are in schools. Where are parents who are part of their local community? Many of them engage with schools.

Schools are a central and vital part of the local community and provide a huge opportunity to open up access to organisations trying to engage and work with local communities.

Yet we constantly hear of organisations trying to reach teachers and teachers trying to reach organisations and still a gulf that lies in finding the right language, the shared aims, the pressures of time and knowing how to reach the right people to make those conversations actually translate into practice.

It would be great to find ways to create more relationships that truly work in partnership and establish a balance that responds to local need and the sharing of expertise where it’s most needed. Without doing so then the challenge of communicating the right information to the right people in the right way remains a key barrier to making things happen.

3) Sustainability.

Many arts opportunities are often high quality, large-scale events and those who participate (or watch) never forget them. However many can be ‘one hit wonders’, expensive to run and once over, there is little evidence of or support for sustainability and impact over time.

The question of how to reach more people and to engage them for longer has long been a key focus for organisations looking for solutions to the challenges we face in the UK around arts and cultural education and opportunities in the current climate.

It’s great that there are structures in place that support collaboration and shared aims and values for arts and cultural education such as the Arts Council funded Bridge OrganisationsThe Music Education Council, the recently announced Youth Music National Alliance and the grass roots campaign to save East Sussex Music Service from threatened cuts.

But perhaps the greatest risk of all might be a failure of more arts organisations to find success in working together. If ever there was a time that this was needed, it’s now.