Why I Suck.. Series 3, Episode 9 - Brent Mason!

 Yee-ha, y'all. Yes, this month we're going down Nashville way... and full disclosure here, I have a HUGE soft spot for the type of “hot country” playing exemplified by Nashville virtuosos like Brad Paisley, Albert Lee (incongruously enough a Brit) and the subject of this month's post, Brent Mason. There's something about the twang of a Telecaster through a Fender Twin, double stop bends, chicken-pickin' and sixths that just makes me grin like a lunatic.. so I'd been looking forward to this one.

First a little on the man himself. Born July 13, 1959 in Van Wert, Ohio, Brent taught himself to ply at a very young age - various sources state five, although in interviews Brent says seven or eight, but he began entirely by ear. In an interview for Premier Guitar from 2007 he states that he used a table knife on an old nylon-string guitar, playing slide and picking out melodies and licks by ear. In the same interview he lists Chet Atkins and Merle Travis as early interviews, as well as a Jerry Reed album called “Nashville Underground” which he cites as a real eye-opener.. so yeah, expect that to crop up in next year's blog at some point. Remember, if you want to get inside the style of a player you admire, go check out who influenced them.

In fact.... https://www.youtube.com/playlist?list=PLiVNfZmNYxSMxV_DIhGlSTbLQgayhVRhK

You're welcome.

In his mid-to late teenage years (there seems to be some confusion about exactly when), Mason moved to the electric guitar – in a 2020 interview with Guitar Player magazine he cites his first electric guitar as a Hagstrom Swede, bought for him by his dad aged fifteen.

Interestingly, if correct, this is an archtop jazz guitar, about as far removed from the Tele twang as if he'd been given a Charvel...

Changing from nylon to electric broadened Brent's horizons to include jazz and rock players like Pat Martino, George Benson and Jeff Beck -  (who would have been releasing Blow By Blow at around about that point) – and you can here that influence on the beautiful track “Cayman Moon” which a lot of this months' examples are taken from.

After graduating from high school, Mason moved to Nashville to pursue a career in country music, and his first break came with the Don Kelley Band, a working Nashville cover outfit. It was with this band that he would make the jump to the Telecaster, acquiring a secondhand one covered with grey car primer.. this guitar would form the basis for his Fender signature model many years later, which you can pick up for (brace yourself) £8,500..

A stiff drink, and now back to the story.

The big break came when the legendary Chet Atkins was recording his “Stay Tuned” album which would include guest spots by Larry Carlton, Steve Lukather, Mark Knopfler, George Benson and more. This album came out in 1985, so this would put Mason at around 25. This put him on the fast track to a wildly successful session career, playing on well over a thousand records by a huge range of artists and making him (along with Larry Carlton) one of the most widely recorded and heard guitarists in history. In 1997 he signed to Mercury records and recorded his album Hot Wired, and the title track being specified by the Registry of Guitar Tutors as one of their tracks for the the FLCM performance diploma.. which is where I came in!

Hot Wired album onYouTube:

So we'll leave the history lesson there and start looking at some of the licks.

I've taken this first pair of examples from the ferocious chicken-pickin' tour de force that is the title track, “Hot Wired” and can broadly be regarded as being in A Mixolydian (R 2 3 4 5 6 b7 – A B C# D E F# G). We kick off with the classic country technique of major sixth intervals moving down the scale, and I would recommend hybrid picking these with the pick playing the G string note and the middle finger pulls the high E. The second part of the run moves down the B and G strings from F# to A, alternating a conventionally fretted note with a muted one. This is the classic “chicken-pickin” technique which can be performed by picking the string as normal and alternating it with a note picked with the middle finger on the pick hand curled round to mute it. This gives a clucking sound similar to (guess what) a chicken, and is a hallmark of hot country players like Mason.

The second example follows straight on and illustrates a bluegrass – inspired chromatic lick in open position. You can see the five note pattern that starts off the line before it mutates into a blur of chromaticism before resolving to the root note A.

The second two examples are from “Cayman Moon” in Eb and illustrate the jazzier side of Mason's playing. This phrase is based largely around an Ab arpeggio (the IV chord of the key), and decorated with chromatic passing notes before resolving down a second inversion Eb triad to end up on the G (the 3^rd). Note the use of hammer-ons, pull-offs and slides to smooth the line out.

This final example follows the same idea, being based seemingly on the Bb blues scale but leans heavily on non-diatonic notes being emphasised and given vibrato – the Gb, the A, the B – before once again resolving it's way down the same second inversion Eb arpeggio.

As always, we've barely scratched the surface of the incredible playing of this month's subject, but I do urge you to dive in and give him a listen – and if you're unfamiliar with the dizzying breakneck speed licks of the hot country genre, get listening! It's hugely entertaining from a listening and playing point of view nd will only help your development.

Next month – Shred legend Paul Gilbert, so make sure you're warmed up!

Why I Suck... Series 3, Episode 8 - Shawn Lane!

 OK, confession... Shawn Lane was a big guy and I had planned to make a few tongue-in-cheek jokes about “a giant of the instrument” “crushed by the weight of his own talent” - but then I read his story and chanced upon a tragic story of ill health and talent gone far, far too soon. Which goes to show if you're going to make a fat joke, do your research, because there's every chance you're going to end up regretting it.

Born March 21, 1963, Lane would just make it to 40 before passing away September 26 2003. But despite his tragically short life, his musical accomplishments were off the scale. I thoroughly recommend out his album “Powers Of Ten” for the incredible breadth and depth of his musicality, and his technical command of the guitar was simply jaw-dropping.. liquid legato runs incorporating all manner of wide intervals and outside notes that he would somehow resolve and make sense of, played with a speed, accuracy and dexterity which makes Yngwie sound like... well, me.

Then you discover that he also was a blinding pianist. And that Powers Of Ten was recorded with Lane playing drums on the keyboard, inventing technique as he went along to create the sounds he heard in his mind. You can't even be jealous, really – it would be like a bacteria being jealous of Brian Cox.

Sadly, there was a dark side to this prodigious talent. Lane struggled with psoriasis, which as he moved into adolescence, morphed into psoriasitic arthritis, causing pain and inflammation in his joints – including whilst playing guitar. Hydrocortisone was used to treat these ailments, but this came with it's own problems – weight gain which developed into Cushing's Syndrome, a horrible condition where his metabolism essentially rebelled against him causing massive weight gain, loss of the body's ability to regulate itself, diabetes, sleep disorders and more besides. It sounds utterly miserable, and it was really the maladies associated with this that would end his life aged 40. A massive, tragic loss of a truly otherworldy talent – and it should be noted, he recorded “Powers Of Ten” follow up “The Tri-Tone Fascination” whilst in the grip of this condition. Check out his MIT live performances – it's clear he was already struggling, but his playing is simply phenomenal.

It's worth noting here that for most of his adult life, Lane was working as a freelance self employed musician, moving from gig to gig – crucially, this meant no health insurance. Which in the US, means you're pretty much on your own. Arguably, had he had access to an NHS or equivalent, he wouldn't have been left to self-medicate, might have had alternative treatments recommended.. and he might still be here today.. worth bearing in mind the next time you're grumbling about being called in for a check up.

Anyway, with that rather sad and all too short potted history, out of the way, let's take a look at some of the man's breathtaking guitar playing. All the licks below are taken from various versions of the classic track “Get You Back” - and the fact that you can learn so much from just one song is testament to the man's genius. So, deep breath, limber up with a few stretches and let's dive in!

This first example is based around an E major arpeggio (the V chord, as “Get You Back” is at least largely in the key of A) – the deft use of slides keeps things slippery and the wider intervals are particularly melodic and ear catching. Notice the perfect 5^th interval between the A and E notes at the very end of the lick – more typical of a classical violin piece.. and as it happens, in his REH tuition video, Shawn mentions spending time transcribing violin and flute classical pieces for guitar. So guess how I'll be spending my evenings from now on.

One thing that marked Lane out even during the hyper technical shred eras of the late 80s and early 90s was his absolutely monstrous speed and accuracy and in this second example you can see some of the legato groupings that helped him with this. I've slowed them down for mortal fingers but take note of the different rhythmic groups – in this instances, fives. Counting fives across a beat is quite difficult, so I use the word “opportunity” as it has five syllables in it. Match each note to a syllable and before too long this will start to feel natural.

The third example shows Lane in absolute Beast Mode, to the point where even at 0.25 speed I'm basically transcribing a blur! Here he's injecting a dose of chromaticism into his legato – more for dynamic effect than melodic, I think, a feeling of “shifting gear”. Again, some odd note grouping here – notice the group of 7, for which I use the phrase “what-an-opportunity” to be able to “feel” seven notes to the beat.

At this point, it would be tempting to dismiss Shawn Lane as all flash and no soul.

It's not true, but it's tempting.

However, he was just as (sickeningly) adept with a melodic phrase as he was with a jaw-dropping technical one, and in this last example we can see a signature melodic legato pattern – combining A major scale tones with an E6 arpeggio, and note the three against four rhythmic effect (known as a “hemiola”)

As always, we've really just scratched the surface here, but hopefully these are some concepts that will make their way into your own playing. Go check out YouTube to see the man's incredible talent – I really don't have enough superlatives to apply here!

Next month, dust off the Telecaster and the compressor, we're going down Nashville way for the lunatic genius of Brent Mason!

Why I Suck... Series 3, Episode 7 - Yngwie Malmsteen!

 Hooooooo boy... this was the big 'un, the insane Viking Shred God himself! The man who has an entire level of Guitar Hero devoted to him.. (allegedly) – got to admit, I was equal measures excited and nervous for this one.

So, first off, cards on the table – I've never been a huge fan of metal in really any form, classic rock has always been my thing and anything heavier than “Enter Sandman” has usually seen my attention waver... endlessly chugged E5 chords with “WHHOOOAAARR!!!! THINGS ARE BAD!!! AMERICA IS BAD!!” lyrics across the top of them doesn't really do it for me.
But that's just me. And I'm willing to admit to being wrong about things.

That said, I absolutely will admit to the metal genre producing some absolutely INCREDIBLE guitar players, and during the Grunge/ Britpop Era of the 90s the genre was really the sanctuary for more technical players. Marty Friedman, Kirk Hammett, Kerry King – these guys could absolutely rip up the fretboard and whether you were a fan of the style or not you had to admit that these guys could really play. Just because you're not a fan of the end product, doesn't mean you can't appreciate the skill that goes into making it.

And with that in mind, let's turn our attention to the player who tipped guitar playing on it's head and arguably defined a whole genre – Yngwie J. Malmsteen (the J is for Johan, just in case you were about to get him confused with any of the other Yngwie Malmsteens out there...).

Born Lars Johan Yngve Lannerbäck, third child to an already musical Swedish family in 1963, Yngwie's guitar story begins (at least officially) with the death of Jimi Hendrix. His first musical venture at age 10 consisted of himself on guitar and a school friend in drums... well, we've all been there! During his teenage years, Malmsteen immersed himself in many different styles of music, but along with classic rock such as Deep Purple (see last month) and The Scorpions, he also absorbed classical music from composers such as Bach, Vivaldi and the notorious violin virtuoso Nicolo Pagannini. This is an important point, because while researching this (yes, I do research things), Yngwie is always very insistent that whereas players like Blackmore, Uli John Roth and Michael Schenker were essentially blues based payers who added classical elements to their styles, he instead applied violin technique to the guitar.

Now, I'm not 100 % sure about this – having spent a month transcribing his solos, I didn't find anything that made me think Yngwie plays in a completely unrecognisable way compared to a Vai or a Petrucci or a Satriani... different? Yes. Recognisable? Yes. Distinctive? Yes. But one a mortal player such as I can absorb? ...well, yes. Just be prepared to put some time into it!

Yngwie's big break came in 1982 courtesy of Mike Varney's now-legendary Shrapnel Records (who never got back to me regarding Two Pint Solos, but oh well..) and after a brief and ill-fated stint with the bands Steeler and Alcatrazz (the latter seeing him fired on the spot and replaced by Steve Vai), his solo career began in 1984 with the album Rising Force and although the band has gone through numerous line up changes, he's pretty much found his niche and stayed with it. During the “anti-shred” eras of the 90s and early 00's Yngwie rode out the storms with a strong fan base in Japan and Eastern Europe, who presumably hadn't been out from behind the Iron Curtain long enough to be told what to think by the NME. 2003 saw him go on tour with Vai and Satriani as part of the G3 iteration for that year, and in 2019 he recorded a blues influenced album “Blue Lightning” and during COVID he recorded his new album “Parabellum” which returned him to his classical roots.

Oh, and the “UNLEASH THE FURY” meme? In 1988 he was on a flight to Japan, drunk and behaving “obnoxiously” - he then proceeded to fall asleep until a woman poured iced water on him (presumably for reasons best known to herself) at which he awoke and bellowed “YOU'VE UNLEASHED THE F**KING FURY” several times at her and anyone else in her general vicinity. His bandmates recorded this, because that's what bandmates do, and eventually it became the title of his 2005 album.

So there we go, potted history over, let's take a look at some licks!

First thing to master – fours. Yngwie's style places a huge emphasis on diatonic scales sequenced in fours, although obviously played with insane speed and accuracy. This first lick is inspired by the solo from “Blitzkrieg” and features the F# natural minor (aka Aeolian mode) and features a blistering sequence in fours followed by a soaring bend on the E (b7) into the F# root – give this HEAVY vibrato, Yngwie's vibrato is often overlooked due to the fact that he tends not to hold notes...

In the next lick, we can see Yngwie taking the same idea but this time mapping it horizontally across a single string – in this case, the B. Once again, the scale is F# natural minor. Strict alternate picking is the order of the day and you'll want to check out the YouTube demonstration video to see how to handle the position shifts.

Another signature technique associated with Malmsteen are sweep-picked arpeggios – although he didn't invent the technique, classical-style arpeggios form a huge part of his style. This is definitely the Paganini violin influence at work here, although the difference in tuning between violin (tuned in 5ths) to guitar tuned largely in 4ths. He tends to favour the B, B & high E strings for his triad fingerings – I've tabbed out a Bm triad (B D F#) in root position (R 3 5 ), first inversion (3 5 R) and second inversion (5 R 3). Sweep picking is a tricky technique to explain, if you're unfamiliar with it, so keep your eye on the YouTube channel where I will be endeavouring to show rather than tell!

For the final lick, I noticed that (in common with EVH ad Pantera's Dimebag Darrell) Yngwie is fond of using the occasional atonal pattern imposed across the fretboard. This technique is used in Van Halen's “Jump” solo where he hammers across the 15^th, 16^th and 18^th frets, creating an atonal blue of notes that resolves to the G, and Pantera's “Cowboys From Hell” using the same idea across the 12^th, 15^th and 18^th frets. This idea takes the same approach, but rather than going vertically in one position, Yngwie applies the idea diagonally, shifting positions as he goes and ending on a heavily vibratoe'd B note (the 4^th of the key of F#m). Don't try to analyse the harmonic content, as it's basically chord tone – garbage – chord tone! A perfect demonstration of that fact that if you start and end on a good note, whatever sins you commit on the journey in between the two will be forgiven by the listener's ear!

Well, it's been a brutal month, but I've learnt a LOT – primarily the fact that Yngwie actually uses a lot fewer ideas than I initially thought! What he does do, however is play those signature patterns and ideas with utterly ferocious speed and accuracy, and in so doing, has forged a sound that is unmistakeably his own.. something we can all aspire to.

Right, it's not getting any easier next month, as we pick apart the gone-too-soon fusion virtuoso Shawn Lane... see you soon!

Ritchie Blackmore Style Analysis Video

 

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Why I Suck.. Series 3, Episode 6: Ritchie Blackmore

 Let me candid with you, readers. Have you ever been convinced that you remember reading or hearing an interesting snippet of information, only to find out you were completely wrong?

Well, I have. You see, I was convinced I remembered reading an interview with Yngwie Malmsteen referencing the Deep Purple “Fireball” album as one that was a major influence on him, to the extent that he learned the entire thing by ear, even copying Ritchie Blackmore's pickup changes.. and it wasn't. It was “Made In Japan”. Unfortunately we were 28 days into June before it occurred to me to go and check this.

Sigh.

(EDIT – in fairness to my Swiss Cheese brain, Yngwie has claimed “Fireball” was an influence on him.. just not the one he spent hours learning note for note...)

Still, although I can't claim to be a Deep Purple fan, I've definitely picked up a few tricks. Ritchie Blackmore often gets overlooked in the pantheon of British 60's and 70's guitar heroes relative to the likes of Clapton, Page, Jeff Beck and so on, but he occupies an interesting position as guitar techniques start to move away from bluesy pentatonics and embrace more exotic sounds, but before the Van Halen revolution that kick started the 80's shred era.

Born April 1 945 in Somerset, Blackmore took up the guitar aged 11, having been given one on the condition that he learned to play it “properly”. To this end, he spent his first year taking classical lessons – because of course that is the only “proper” way to play the guitar... - however, by 15 his interests had broadened and he was studying with studio legend Big Jim Sullivan (who was also something of a mentor to Jimmy Page).

Around this time, in 1960, he left school and began playing with session band The Outlaws, who were essentially the house band for legendary producer Joe Meek. They would perform as backing bands for pop singers including Glenda Collins and the Monster Raving Loony himself, Screaming Lord Sutch. In 1967, at the invitation of musician Chris Curtis, Blackmore joined proto-hard rock/ psychedelia outfit Roundabout – ironically, Curtis was forced out before the band was fully finalised. Blackmore suggest the name “Deep Purple” as it was his grandmother's favourite song, and after a few more changes of line up, they recorded the first album “In Rock” in 1970 – following the riff-based hard rock trail laid out by Led Zeppelin and Black Sabbath. Much of this material was based on jams and Blackmore described his playing as simply wanting “to make as much noise and play as fast and as loud as possible.", which is something my teenage self would very much have related to.

“Fireball” was released in 1971, by which time the characteristic revolving door of band members had already begun – the core of Blackmore, keyboard player Jon Lord and bass player Roger Glover being joined by vocalist Ian Gillan, and was a roaring success, hitting No. 1 in the album charts and staying in the charts for over a year – and with that, let's pull the potted history up short and take a look at a few licks.

This first example is not really a lick at all, but the “Ritchie Blackmore Scale” - although fundamentally a pentatonic-based player, elements of classical music made there way into Blackmore's soloing, so this scale takes the minor pentatonic framework and blends in the 2^nd, b6 from the natural minor (although he would occasionally veer towards the major 6^th from the Dorian mode) and the b5 from the blues scale. I've presented it here in the key of A minor as it's a nice accessible key bang in the middle of the fretboard:

The second example takes the same ideas and moves them into the key of B minor and is taken from “Strange Kind Of Woman” - notice the use of the D# (8^th fret G) major 3^rd on the run up, as well as the position shift at he end to bend the E (4^th) into the F# (5^th).

I couldn't cover Ritchie Blackmore and not include something from “Smoke On The Water”, could I? This is a fairly conventional lick based around the “3 magic notes” template, but expanded on to contain the 2^nd (A) and b6th (Eb) notes from the G natural minor scale. Note as well as the quick position shift to get the A at the 2^nd fret G string, the use of repeated, repicked bends – another Blackmore hallmark.

The final example takes us back to A minor and Blackmore blasts through a run based around the A blues scale – notice the mix of picked (staccato) and pull-off (legato) approaches here. Overall I think he veers more towards a staccato approach, a clipped precision possibly with it's roots in his classical training. Note the use of the chromatic passing note G# - shouldn't work, as it's a major 7^th played in a minor blues context, but as it flashes by momentarily we only really experience it as “seasoning” to the main run before ending on an A root – the moral of the story being, it's not what's in the middle, but what's at the start and the end that counts!

So overall this has been an interesting look at a transitional stage of rock guitar, certainly one that arguably cracked open the door for the era of neoclassical shred that became popular in the 80s.

And speaking of such.. best get yourselves limbered up, as next month we Unleash The Fury with the one and only Yngwie J. Malmsteen! See you then.

Eric Johnson Style File

Why I Suck... Series 3, Episode 5: Eric Johnson!

 So we've discussed the style of Satan's own guitarist, we've discussed the guy who taught him.. where next? How about the guy who came out to jam with them?

The softly spoken but instantly recognisable style of Eric Johnson shot to prominence with the 1990 with the Ah Via Musicom album containing Grammy-award winning hit “Cliffs Of Dover” but there is a lot of history preceding this.

Born Austin, Texas in 1954 to a musical family, the young Eric initially began studying the piano, but he made the switch to guitar around the age of 11, recounting hearing one of his three sisters playing some blues out on the front porch at a very young age - “I remember thinking, 'what sound is that?'” he remarked in an interview with Total Guitar in 1996. Early influences included (of course) Jimi Hendrix, Stevie Ray Vaughan, but also country players like Chet Atkins and jazzers like Wes Montgomery.

In 1969, aged 15, he joined his first professional band – a psychedelic rock outfit named Mariani, and the following year they recorded a demo (which has subsequently become something of a collector's item). The next few years were spent travelling in Africa with his family but in 1974 returned to Austin and joined a fusion band called The Electromagnets, before forming his own band – The Eric Johnson Group – in 1976, and spent the next two years recording his debut album “Seven Worlds”. Unfortunately, due to contractual wrangling, it would be an incredible twenty years until this was finally released in 1998.

The next few years saw Johnson working as a session musician with Cat Stevens, Carole King, Christopher Cross, Richard Marx and more, eventually being recommended by Cross to Warner Bros. Records and being signed as an artist in his own right in 1984. In that same year he would go on to appear on the popular “Austin City Limits” music TV show (think Jools Holland but in Texas) performing the career-defining anthem “Cliffs Of Dover”, and in March 1986 his first album “Tones” was released (featuring “Zap”, the track I managed to transcribe most of this month's examples from). May 1986's Guitar Player magazine ran a feature in him and the album, but it proved not to be a major scuccess commercially. It did, however, strengthen the cult following that had built up around Johnson's playing since the early days of his career. Due to the poor sales, Warner let his contract drop and in 1990 he switched to Capitol Records independent division, Cinema Records.

1990 brought the now famous “Ah Via Musicom” and with it the breakthrough hit “Cliffs Of Dover”, firmly establishing him as major force in the guitar world, and 1996 would bring the follow up “Venus Isle” as well as the first iteration of the G3 guitar tours woth Steve Vai and Joe Satriani.

That's where we'll leave the potted history for now, although it's worth mentioning that Johnson is still recording and touring, having recorded the albums “Yesterday Meets Today” and “The Book Of Making” and in 2023 will be touring both of them. Assuming that next year doesn't try and top COVID and war by slamming a comet into the earth.

Right, let's take a look at some licks -

This first is an “in the style of” to illustrate Johnson's unique use of the humble minor pentatonic. Crucial to his technique is the use of larger, often odd numbered note groupings – here, we're using position 1 of E minor pentatonic in descending run grouped in 5s. A side note to help get the rhythmic feel – it's tricky to count 5 to a pulse, so I use a five syllable word, “opportunity”. Practice saying that to a beat, timing the first syllable on the beat and you'll find it easier to get the rhythm. Then have the notes match the words you're saying.

In this second example we'll take a look at Eric's approach to chord voicings – specifically, a technique known as “open voicing” (worth checking out the Neil Zaza blog entry from last year for more examples of this). What's happening here is we're taking the usual chord inversion ideas – Root position (R 35), 1^st inversion (35 R) and 2^nd inversion (5 R 3) and breaking the sequence, and in doing so we raise one note of the chord into the next octave up. So an open voice chord will be played R 5 3, 1^st inversion 3 R 5 and 2^nd inversion played 5 3 R. For this example I've taken an A major chord (A C# E) to demonstrate how this applies on the fretboard. As a side note on technique, Johnson will often play these either fingerstyle or hybrid picked with a clean tone for a more “pianistic” sound.

Starting along the D string, we have Root position, 1^st inversion, 2^nd inversion and then the same idea extrapolated onto the A & E strings.

Moving on to an example from the classic “SRV” from 1996's “Venus Isle” (which features guest solo from Jimmie Vaughan), this is an absolutely devastating pentatonic blitz including some of Eric's signature harmonics. Take note of the large note groupings in the run down – this is a significant part of Johnson's sound. For the tapped harmonics, you're aiming 12 frets above the fretted note, and to begin with at least you'll need to eyeball it- so take note of reference points like pickups, polepieces etc.

Our final example comes from “Zap” on 1986's “Tones” in Ab, but our example uses the F minor pentatonic – this is nothing to clever though, most of you reading this will recognise the “3 frets back” or relative minor hack. Note some of the wide intervals and position shifts involved in this – and I would put money on Joe Bonamassa having spent some time working this one out...

It's been a fascinating month looking at this utterly unique player and rest assured he'll be going under the microscope again before long! Next up we're looking at Deep Purple's riffmeister Ritchie Blckmore, as a prelude to Unleashing The Fury with Yngwie! See you then , don't forget to subscribe to the YouTube channel to see these licks and ideas demonstrated.