CPIII News & Info

Sociology for Music Teachers CH 2

Silky Carter

Sociology for Music Teachers CH 2

How do institutional objectives clash with ‘real’ objectives in schooling today?  Why would one call schools a bureaucracy?   How have you deal with hierarchy inside bureaucracies?

The Hierarchy of the Department of Education has many layers. There are many divisions to consider; local, state, and federal, the teacher, (vice) principal, superintendent, and Board of Education by county, The Federal Department of education with Duncan/Obama and all of the in between(s). With so many hands in the pot, who determines how the dish is ultimately made? Technically speaking the student, then teacher is the last in the chain of command.

This makes it difficult for the teacher to teach what they deem important and even harder for students to communicate what they feel is pertinent. Institutional objectives “seem” to be to further students, with Legislations such as No Child Left Behind and standardized test such as the HSPA, High School Proficiency Assessment, but the measure taken and result of actions reveal other wise. Teachers are going crazy, because of the harassment they receive from students, students’ parents and their higher ups. The Teachers responsibilities are to provide tools for survival, knowledge and skills for functioning of everyday continued existence, and expertise to perform various occupations.

There are many veiled complexities teachers suffer, such as turning in a year worth of lesson plans, pressure for students to produce better test results, intimidation of “superiors”, music teachers fighting with superior and equals for students to attend music class.This is not conducive to a healthy school environment or prepping future citizens for humankind. While teaching should be about some of the above mentioned things it should also be about the love of education and developing good human nature.

Our educational system reminds of the phrase, “You are what you eat” or in this case “You are what you learn/ you are what you teach.” Students learn information, but the manner in which they are taught promotes leisure momentary success. Most students, and I can say this because I am a student and through observation of my colleagues I know this to be true, will study for a test only when their knowledge of information is going to be tested or performed. So students are living an unstructured, artless, and non-fulfilling life. Music teaching and the relationship between students and teachers have an unspoken association with self-worth on both ends. If the student or teacher is not successful at communicating with each other conflicts arise and lead to the butterfly affect. This process of communication is even more grueling with obligatory assignments from “superiors.”

Dr. Froehlich says “For teachers at all levels and for all subject areas, institutional bureaucratization demands compliance with recommendations and directives from professional associates, teacher unions, and/or state educational reform agencies. They become added objectives that have to be met in addition to all instructional objectives and, in the eyes of many teachers today, meeting such institutional objectives take time away from ‘real teaching’.”

Why do Educators  need recommendations from professional associates, etc. if they too are professionals? According to Dr. Froehlich’s categorization of teachers, they settle into the labor group. Professional: “control of clientele, determining fee structure, supervise their own work…” Semi-Profession “…have supervised skills that they apply in relative supervision” Neither of these categories apply to music teachers. Labor “ little to no personal decision making” (check), most tasks are assigned or under the direction of the supervisor, and fees are pre-determined (check) is where Educators fall.

There is no wonder the educational system has lost value. Teachers are being treated poorly and as inferiors instead of a part of a team. This too, is why students’ astuteness is declining at an alarming rate, and why parents feel that Doctors, Lawyers, etc are more proficient than teachers. It is ever clearer to me that a shift in perspective and community is needed. Instead of concentrating on being at the top/bottom of commanding power we need to create an atmosphere that aids us in creating a community of equality and acceptance of all identities. Bureaucracies need to be abolished, for the people and by the people is a statement that should be true of everything pertaining to civilization. If we are to create a humane society, then we should act like cultured humans and not an eco-system of animals that “kill” each other off in the name of their own survival.

Bachelors of Music in Education vs Bachelors of Education in Music

One of the things covered in our Skype chat with Hidegard Froelich was the difference between the education at schools who offer a degree in Education with a specialization in music, as opposed to schools that offer a degree in Music with a specialization in education. The former focuses primarily on making someone a teacher, and the second focuses on making someone a true musician and performer, who can then teach their art to others. This distinction went into my decision in choosing colleges during my senior year. Growing up, I was always surrounded by art and a decent art history background, as my mother went to art school and received her Master’s degree in aesthetics. In high school, I had an art teacher who had received her Bachelor’s degree in education with an emphasis in art, and was working towards her Master’s degree. I found her art background to be severely lacking. In many aspects, I felt I knew more than she did about the subject, in terms of both general knowledge and small details. I had several pet peeves about her, including her poor pronunciation of famous artists and works. Inges (Ayng) was pronounced ‘ihnghes’ and any self respecting artist knows to pronounce Michelangelo’s ‘David’ like ‘DahVEED,’ but apparently not this one. I felt cheated out of my education with this woman, who clearly had no passion for her subject. She may have had a passion for teaching, but the requisite knowledge to teach the subject was lacking, which frustrated me. This is something I took into account when I picked schools like Westminster Choir College, Ithaca College, and Indiana University as schools I wanted to attend. All three of them offer Bachelor degrees in music with specializations in music. University of Hawaii at Manoa and Adelaide, for example, focus more on the teaching than the music. While they may be fine schools, I decided it was better to be safe than sorry, and decided to attend a school whose goal was to train musicians – to make sure that their students are fully trained in their art, and also educators, who can pass down their knowledge to the next generation. I think this is a much more effective means of training, and apparently my opinion is shared. More and more schools are offering Bachelors of Music Education now, as an effort to get more trained musicians in the classroom.

Yet another Post- reflection

Silky Carter                             Dated…Reflection

So I was doing some intense thinking and of course it was about this course, other classes, and where all of this will lead me. The truth is it frightens me because the world around me is ever changing, and I don’t know what the future holds. It’s easy to say, I’ll work my ass off, get into Grad school then start teaching but then I’d be deceiving myself. While all of this is likely to happen the question that haunts me every day is will I possess a happy and successful life and can I produce that for my students. I am given all of the tools deemed ‘necessary’ for this journey but just because I understand it doesn’t mean I will execute. Or more importantly, just because I want something for my students that does not mean I will be given the assistance to give them all they require. I have come to the realization that I would like to teach in an Abbott district, because that’s the system I grew up in, while teaching in a Sub-urban area would seem to be promising, I would prefer taking my gifts and using them in a place that needs my guidance and relate-ability. At the commencement of the semester I wasn’t sure how I would feat in CPIII because I’m behind academically and was unsure of my abilities to keep up with my peers. However, I’ve never been a quitter and I’ve been able to “keep up suitably”. My first encounter with Block and the discussions that we’ve all had on his text has been mind blowing, and is also the very reason why I’m somewhat apprehensive. Block talks about community and belonging, possibilities, fear, dialogue, change through questions, accountability and more. While all of these concepts have challenged me to think critically, there are many I agree and disagree with, such as the idea of focusing on gifts. Block says that by focusing on peoples gifts we make people feel like they are a part of the community and provide room for them to feel welcomed without invitation, this may be true but my argument is if we work on what doesn’t need to be fixed then how will grow? I strongly believe that this concept of gift is situation based. Over all I feel that focusing on gifts will enable students to feel esteemed however if we are to create a world of possibilities we cannot teach them to be naïve.

Another huge concept I would disagree with Block is this notion of not changing the way we think but changing the conversation. Well to me the conversation is the way you think inevitably. Block does not believe we should take a psychological perspective but again my argument is that you can’t teach an old dog new tricks. I believe that in everything you do you think about it before it takes place. There isn’t a thought that hasn’t been thought of before and my alteration of this concept is that there needs to be conversation but it needs to be posed in what he says are questions which then creates possibilities.  With all of this said, I know that music is the connector which relates us universally. In some way, shape, form or fashion music can be used to our advantage and it is up to us to figure out how. Block also enforces accountability in which he says we need to care for the whole, which I feel he unconsciously contradicts himself. By saying we want a community that is caring for the whole yet posing the question “whom do we want in the room?” Yet we want to be inclusive of everyone who wants to be included. If everyone one isn’t included then everyone isn’t being represented.

However I love and value this concept of accountability, it creates a sense of leadership among everyone which then promotes citizenship instead of consumerism. I believe as educators once we teach students to become citizens instead of consumers then they will become liberated. Student’s eyes will be opened, similar to Eves when she ate from the tree of knowledge/life.  Students will become aware of why they indulge in different practices, and eventually will want to give meaning or be consciously aware of everything else they do. I believe that true progression comes from great leaders but leaders are those who know, love and teach the people. The leader should not be the sole decision maker but should extend the power; this I believe would strengthen the community. If everyone knows they have the power of change and become accountable for their selves and neighbor’s then meaningless conversation about the past is unnecessary (unless in my opinion you point out mistakes not to be retraced then) create conversation about how we can change the future.

Lesson Plan Block 10,11,12 Questions and Possibilities

Lesson Silky Carter, Westminster Choir College of Rider University

(Do you see what I see, Do you think what I think)

Materials: Computer with internet access, projector connected to computer, Various Arts and Crafts materials, various creative objects that could be used for props

This lesson can be applied to grades 7^th- 10^th

Objective: Students will be able to ascertain difficulties in community on a local, state, national, international, and classroom level by review of Michael Jackson’s “Earth Song”

Students will be able to develop possibilities through questions and think critically about accountability.

Students should be able to empathize with their peers, revisit personal accounts of negligence and create clarification of future actions for neglect-prevention through questions.

The teacher will give a brief history of Michael Jackson, his many contributions, the history of “Earth Song”, then a review of the video.

Students will pose questions in the sequence of a song as formatted by “Earth Song” related to one or more of the four levels of community.

Students will write an open-ended reaction to any question posed in “Earth Song” Or any question they themselves posed in their lyrical compositions.

Focusing Questions:

“In what ways have I contributed to the adversity presented in the video?”

“In what ways have I contributed to adversity in my classroom, home, city, etc.?”

PART II:  Students will break up into groups of 4-6 and create a simulated production of what Michael Jackson’s “Earth Song” video might look like in the Present year 2009 if we as a community continue mistreating each other and Mother Nature. Half of the class will do this while the other half will create a projection of what “Earth Song” might look like in the year 2009 if we initiate change and break negative habits that pollute the world and our minds.

This performance will be an assessment tool. Students can visit another classroom and perform for peers, or the teacher can record performances and post to YouTube with parents permission.

Abstract History for Students: Michael Jackson was born August 29, 1958 and died at 50 in 2009. He was born the eighth of ten children and of the ten Michael and five of his brothers became one of the most internationally known phenomenons in pop music during the early ’70s. Michael is to date the Largest Charity Donor in Pop Music History. Michael has gained critical acclaim for his electric voice, politically and emotionally charged lyrics, funky beats, and extraordinary dance moves. You may be familiar with the moon walk made famous by the man himself, pop-locking, and a Halloween Special video production by the name of “Thriller”

In 1996 Michael created a song and video called “Earth Song” to raise international awareness of our actions, similar to “We Are the World” but the first of its kind to talk about the depletion of the earth and animals.

“Earth Song Lyrics”   http://www.azlyrics.com/lyrics/michaeljackson/earthsong.html

Michael Jackson “Earth Song” Video   http://www.youtube.com/watch?v=4FZcAzZOyOg

Earth Song in Detail http://en.wikipedia.org/wiki/Earth_Song

Silky Carter old post, Block 4,5,6

Accountability and Fear
This concept of accountability reminds me of responsibility. Not responsibility or accountability as in taking out the garbage but accountability as in being in total awareness of your mind, body, and actions. Similar to a concept Dr. Jordan describes about body mapping and conducting. A conductor must be aware of everything that he or she is doing and attempting to produce, because it affects the way the choir sings. It is an interesting yet almost mystifying concept but it checks out quite relevantly when you analyze your actions. For example if a person was to conduct a choir and give a down beat and it was too high or un-centered it would cause the singers to take a high breath and raise the larynx, which is not appropriate for healthy/longevity singing. This is a task as with anything that requires your full attention, no matter how difficult. This concept is important because it influences the students who are the singers, the music and the audience, etc. There is a chain reaction inevitably, and I used this analogy to illustrate that the accountability mechanism is far superior then what we imagine it to be.

People forget that everything thing they do has a consequence, it isn’t necessarily a negative result but words or actions performed lead to larger phenomenon’s. In the words of Isaac Newton for every action there is an equal and opposite reaction. The same is true for the intentions of these actions. The energy that you give out is the energy you should expect back. Block says that we need to remove conversations of entitlement and create dialogue about accountability and possibilities. One can take on accountability but essentially it cannot be liability for one’s self, one has to have the ability to care for the well being of the whole.
It has to be for yourself and for the progression of your neighbor(s). When Block speaks of Community he is not speaking of a simple meeting or gathering, but a community in which visions and possibilities are given existence through common thought and understanding through conscientiousness.

Block believes that people should be welcome without needing an invitation. We should be able to feast together as brothers without the tangible evidence of having known each other for years. Block believes that fear is what prevents us from becoming a Community. There’s true crime and exploitation occurring every second around the world so why wouldn’t people be afraid?  We cannot come to a state of tranquility or affirm generosity when people are afraid to offer. What do we do when people feel they don’t have anything to offer? How do we reshape a parent or students interactions with their neighbors if they were robbed by their neighbor, literally or hypothetically? I believe we should focus on gifts but the gifts can’t supersede the grand plan which is to build a better world; one of community, relate-ability, and possibility. We can’t become better if we don’t fix what’s wrong. I believe that fear exists because a cycle of exclusion and bias has not been broken. For this a change in perception is necessary, if we exploit that which was wrong in the first place and own up to our accountabilities then that is half the battle. I believe we can agree to disagree but all of us have to have and want identical goals for the greater good of humanity. If this is illustrated in the classroom, then we focus on gifts to build self-esteem and once those gifts are solid and unwavering we focus on grooming students for leadership. Music will be the tool by which we foster creativity and intelligence. Lessons in music education to produce leaders of excellence and concepts unheard of will look like composition, journaling, and exchange of musical flavors/ideas. There is much to be done but we have to be cognitively aware of how cause and effect affects us all.

I’d like you watch this short video and consider accountability and fear. It’s an extremist example but it isn’t too far off of our world today.

http://www.youtube.com/watch?v=AUXHXQos6nY

What Can Music do for Me? Chapter 3 Tia deNora

-Lili Koblentz

This blog on the third chapter of Tia deNora relates to my previous blog on chapter 5. In my previous blog, I introduced the major project of the music class where I am completing my Secondary Praxis course. Students were asked ‘What does music do for me?’ Where the fifth chapter deals with a large scale things, like social organization, the third chapter deals with individual people and their connection to music. Mentioned in the article was the idea of music affecting our emotions. This is certainly true of me. There are certain songs I simply cannot listen to. For example, Blink 182’s ‘Adam’s Song’ brings up incredibly painful memories for me, both of times when I personally was feeling very depressed, and the years I spent with a friend who spent most of his life in a deep depression. Listening to this song, as well as any other song concerning suicide makes me feel physically ill, causes a heavy amount of anxiety, and has a tendency to shoot my mood very far down. Conversely, songs I first heard when I was very happy generally make me very happy as well. I have discovered that I have the ability to control my mood through music.

Music therapy is a way that music is used to help people on an individual level. Evidence of music therapy goes back as far as World War I , II, and earlier – where soldiers suffering from physical and/or emotional trauma attended musical performances. Their response to the music was so notable that the nurses and doctors immediately pushed to have musicians hired at the hospitals as a part of therapy. Music therapy is enacted through playing and listening to music, among other things. The idea that something that sounds our lives as musicians can so thoroughly affect people is awe-inspiring. Music therapy can help many people – children with mental handicaps who have been mainstreamed, adults who have emotional issues, and the elderly who are slowly developing mental deficiencies; it has been shown to be an effective means of treatment.

I have one worry about using music as a therapeutic tool. If a person uses music solely as an emotional manipulator while they are sad, they might end up linking music with being sad, thus ruining listening to music for enjoyment. A friend of mine was involved in art therapy after her mother passed away. Before she entered, she was a fantastic artist, and the idea was that she could channel her talent towards healing. However, once she was through therapy, she rarely drew or painted again. Using what once made her happy as a coping tool for dealing with her mother’s death destroyed its ability to make her happy. We must be careful how we handle this idea of therapy, lest we take someone’s theoretical hiding place and turn it into a horrific place where someone is constantly confronted with what they were escaping from.

DeNora Ch 3

Victoria Neil

12.1.09

MAKE-UP essay

Chapter 3 DeNora

            Music is often referred to as a “need”; the women interviewed in this chapter need to settle down, they need to set a mood, or they need to send a message.  Often the statement is “what they need or needed”.  For example, many say that they would not listen to something upbeat late at night because it is not what they needed, rather, they needed to relax. 

            It seems that the music here is described in very urgent terms.  They are not just saying that they want or enjoy music at that time of day.  Rather, they are saying that without the right music, they cannot unwind or relax after a stressful day.  It is “emotional work” as DeNora says. 

            There is obviously a need, but how do they show this?  Luckily, many of the women described buying or owning a lot of CD’s.  What bothers me is that although almost everyone has the need for music at some point, very few are willing to dish out for it because there is an overwhelming feeling that you can get something for nothing.  Which is maybe why people see such an urgent and insatiable need for music in their lives, but no need for music education.  People are so apathetic, and do not see how it could relate to them directly.  They want the product but deny the source.  They want something for nothing. 

Tia Denora: Music as a Device of Social Ordering

Deidre Sheehan

Dr. Schmidt

Critical Pedagogy III

3 December 2009

Tia DeNora: Music as a Device of Social Ordering

Something I was drawn to in Tia DeNora’s article “Music as a Device of Social Ordering” was the data about music used strategically for retail and other such environments.  As the use of technology in our society increases, music can be used to market products on TV, in stores, on the internet, on the radio, and even in other ways.  Music is used on TV shows to further their image, it defines the image of private associations like pools or country clubs.

In other words, music has a utilitarian and strategic use in society that is increasing all the time and differs somewhat from the use of music in previous generations.  The question becomes, do we teach students to be savvy to this use of music?  Do we teach them to  manipulate it?  If most of our students will not become musicians by trade; more likely, more of them will be business, marketing, communications, and salespersons, shouldn’t we be teaching music as it will connect to their future lives?

For some reason I felt a sense of trepidation as I thought this.  I think it has to do with the word “manipulate”.  The idea of teaching the very young to manipulate anything seems to make me nervous somehow, but the more I ration it, I can’t think of any practical reason why young people shouldn’t be aware of the uses of music they will encounter in society.  In another class we have been examining the article “Music’s Dangers and the Case for Control” by Taruskin, in which he asks the reader to consider who takes music more seriously:  the person with a laissez-faire attitude towards music or the person who attempts to control it?  There is something in this.  Perhaps because I know what power music can exert over the emotions I am nervous that young people would more fully understand that music, to the companies that solicit them, is not a precious measure of identity but merely utilitarian.  I think I hesitate to dissolution.

However, that dissolutionment could have power.  If we teach students to understand how music plays into their construction of their own identities, and also teach them to recognize how the media and industry seek to manipulate that identity through their music, we might manage to develop students with a more solid self-concept and better self-esteem.  If students understand first how and which music is a part of their identity and why, the use of that music by others might not have as strong a pull on their emotions as it would have when music’s role in their lives was more of a mystery.  Students might no longer feel the need to look and act a certain way as strongly; they might know themselves better and more solidly and feel better about themselves.  Of course this might be an overly optimistic view, but it is certainly an avenue worth exploring in Music Education.

The final question that comes from this discussion is whether or not it is really our job was music educators to teach students the consumerist aspects of music.  The more music becomes related to technology, the more ways music functions in students’ lives and the more ways we might teach music.  Yet, there is always the question in Music Education of when we get to do music just for music’s sake in music education.  Shouldn’t we sometimes just make music together?  Isn’t that, ultimately, why we all love music?   These are big questions and they will certainly not be answered in one sitting.   Tia DeNora makes powerful connections and conclusions in her article, and from these come questions that we as music educators must answer.

DeNora, Tia.  “Music as a Device for Social Ordering” Music in Everyday Life. Cambridge University Press: Cambridge, UK, 2000.

Taruskin, Richard.  “Music’s Dangers And The Case For Control”. New York Times 9 December 2001.

Tia DeNora

Silky Carter

CPIII 12/3/09

Dr. Schmidt

Tia DeNora

Music as technology of self and Music as a Device of Social Ordering is very elusive yet lucid, in that it illustrates how important music is, and how we as musicians, teachers, and regular listeners sometimes take the power of music for granted. We do not understand it but music is truly a part of what makes us who we are. Music can shape and construct beauties as well as beasts. I can remember writing my first few drafts of my music education philosophy which said, “Music education is the portal through which we release our moral fibers, ambitions, and psyche and should be shared throughout the world so that we relate in nature.”  While I meant what I said, its appearance today comes back as a living testimony. I didn’t realize how dependent I was on music. Sometimes I can’t do homework or clean without listening to music. When I’m going through family issues, need a pick me up, or having surreal romances, I turn to music. I’m also a participant of using music to enhance or alter my mood. I say participant with the loom of victimization because music could be used as a manipulative factor. Major keys seem to make you happy while minor keys provoke sadness. While I have always been aware of music and the emotion it evoked, I was not aware of the influence music had on me subconsciously. Music acts as an agent to evoke memory, mood, and identity.

DeNora made me realize that in most instances, music is what feelings sound like. It’s important to consider how people feel, how do students see themselves and how do they want others to perceive them? If we do not engage in the music that influences students, and the actions and environment around them which prompts them to choose certain music then we make assumptions and draw improper conclusions about who they are, and what they have to offer. Their abilities are misperceived and then limits are put on them. Based off of everything we’ve discussed this semester this notion is not conducive to building a community of possibilities. Therefore it’s important to create moments and environments where people can meet, greet, and understand each other through music. DeNora speaks about using music as an agent for change. In an article Entitled ” The Power of Music: Europe’s commitment in the Middle East and in the world” It spoke of the Palestinian-Israeli conflict, and said that the solutions through music. The entire article is quite powerful but what struck me the most was this statement “In times of totalitarian or autocratic rule, artists have been able to remain uncompromising in their art under otherwise very restrictive circumstances. Culture, in this context, has often been the only avenue of independent thought. It is the only way people can meet as equals and exchange ideas freely. Culture then becomes primarily the voice of the oppressed and takes over from politics as a driving force for change” by Daniel Barenboim.

This to me is exactly what DeNora was expressing about using music as a social agent for change, but the key is to liberate students in the context of musicality, sociologically, and individualistically. The article also stated that despite geographic, cultural and social class differences we are all related and connected when we make music together. A perfect illustration of that is in this YouTube video, http://www.youtube.com/watch?v=aEW0BtFuj5I There are people of all sorts of back grounds and nationalities but they’ve come together with hopes to promote peace by lifting their voices together, singing Bob Marley’s One Love. Again, the question is how do I promote this in the classroom? How would I bring music as a private self into the classroom or use music as an agent for change? I believe students should keep a journal; it could be a weekly or daily thing. The teachers should read and respond to the students logs. The teacher should allow room for students to put any extra writing they would like but centrally to speak about the pieces of music they listened to outside the classroom and why? The teacher should have students speak about the pieces being worked on inside the classroom and how it makes them feel. What music makes them happy or sad, etc. I believe students should bring their playlist to school to share with their teachers and peer and vice versa. Then promote them to listen to music they’re unfamiliar with and have them describe its characteristics and how it makes them feel. This will give the teacher partial tools to come-into the students world. The more elaborate and sincere the teachers requests and responses are the better the chances are students will begin to open up, expose, and identify  their real self  as oppose to the idealized self.



http://www.youtube.com/watch?v=aEW0BtFuj5I Playing for change: One Love

http://www.danielbarenboim.com/index.php?id=36%22%20http://www.danielbarenboim.com/index.php?id=36 The Power of Music: Europe’s commitment in the Middle East and in the world

Music on a regular

While we use  our class discussions to speak about music and the power it has on people on an everyday basis, I can’t help but wonder “how on earth we as music teachers will teach music?” It’s no surprise that the modern world is light years ahead of its game. Not only with technology but with music as well. There are so many new and different types of genres that it makes it seem impossible to teach music. What do we teach now-a-days? do we try to stick with the ol’ baroque and classical or do we try and teach what our kids really want to learn? Genres like metal, scaw, or hiphy? (To tell you the truth, I really don’t even know what the last two are!) Students in today’s society have dramatically changed. Social matters have changed. An old professor of mine had it right the first time when she said “If it doesn’t mean something to them, then it really doesn’t matter.” Musically speaking, if our students feel that the lesson being taught is not to their benefit, then they won’t care about it and zone out. Trying to teach the “old” music becomes more difficult and time passes. So once again, what kind of music do we teach our students? We always want to teach and have it mean something, not only to our students, but to ourselves as well. Music has changed and will keep on changing. I feel as though we will always be trying to keep up with the latest music trend in order to teach with meaning and perception. Just like our older professors and technology of today. They do not know how to use it and alway do one of two things: Tries to figure out how to use it themselves or asks a student of today’s age (us) to teach it to them. One day, WE will become the “old professors” and do the very same thing with in future’s modern day. I can’t wait!….Well, maybe I can.