The Oxygen Mask Principle is simple. Everyone has heard it at least one time while flying in an airplane. But have you listened to what it means?
Should a sudden change in cabin pressure occur, oxygen masks will fall from above. Place the mask over your nose and mouth and breathe normally. If you are traveling with children please secure yourself first, and then assist the child.
The Oxygen Mask Principle is one my preferred analogies to our social lives. An extension of that simple principle to life goes like this: we are unable to help anybody else if we are not taking care of ourselves well enough.
Some people devote their lives entirely to helping someone else, other people etc, but the only way of doing that as best as we can is making sure we are on a great spot in most areas that are central to our own well-being (say, our emotional, rational, spiritual, financial, professional and physical worlds, to name a few).
This general principle applies even more to families or groups that have to care for people with special needs. As a father of an autistic child, I for a few years forgot about the oxygen mask principle myself (although I would always share its wisdom with friends in need and in general), devoting day in, day out, every hour to providing a perfect place for him to live. That until I figured out that the only way of helping him in the best way for both of us, was to take up caring for myself again, making that a better place for me too, and feeding that inner feeling of strength and happiness back to him.
A simple idea that can make a huge difference to our lives.
Saturday, May 8, 2010
Tuesday, March 23, 2010
1 + 1 = 3: The Resonant Mathematics of Love

So the theory here is not the silly idea that two people together will eventually produce offspring, thus leading to the "physical"
1 + 1 = 3.
Not exactly. What happens in the behavioral or emotional 1 + 1 = 3 is not exactly a non-linearity, but I will call it that anyway, since the combinations resulting from the 1 + 1 grow out of a resonance mechanism associated with love. The vision of this "quasi-nonlinear" behavior of relationships came through my own experience, of course. Throughout life we learn that when two people come together in love relationships, they are two individuals who will, regardless of how close they become, keep alive from that moment on many of the individual personality and character traces they developed throughout their bachelor(ette) lives or elsewhere in other previous relationships.
The union then creates a third entity, out of resonating love, which tends to behave like a separate being, with character and personality traces of its own, since the two individuals united behave slightly or largely different to what they would when you meet them by themselves. As simple as that, and perhaps somewhat obvious, this proves that the outcome of a sum of two in a love partnership is
1 + 1 = 3.
The consequence of this is the fact that when two people spend a lot of time together and there is a strong bond between them, they have to learn how to manage three different levels of relationship that become ongoing: the one, the other and the two. Many psychologists have warned people about that they should be aware of this when caring for their own relationships, as many people enter a couple's life by either remaining excessively selfish, or overly bonded.
The truth is, the two ones in a couple should be both excessively selfish and overly bonded. And there is where the pair gives two the chance of becoming a form of art or a torn apart.
(Perhaps the idea of 1 + 1 = 3 could be extended to any type of relationship between two or more people, but the links tend to be somewhat weaker, so that a "real" third person only de facto appears systematically in relationships of love.)
Now let's extend this idea to when the physical 1 + 1 = 3, that is, when a couple has offspring or a child is adopted. What happens to the quasi-nonlinear interactions there? The expansion of the behavioral, two-people 1 + 1 = 3 theorem to the inclusion of a child leads to
1 + 1 + 1 = 7.
With the turning up of a third person, as deeply bonded to the other two through love as themselves, the interaction levels at the behavioral/emotional front increase twofold plus one. Of course, although time seems to contract when caring for a child, the new addition will keep things unchanged in the prior 1 + 1 = 3 side, but will create a new "one", two new (1 + 1)'s and a completely new invented "independent" being, the threesome (1 + 1 + 1). That is equal to seven.
In other words, there are now three individuals that need their own, hey, individuality (eg, = 3 beings), who sometimes interact altogether as the full "family" being (eg, = 1 being), and sometimes interact in doubles, such as one + two, one + three and two + three (eg, = 3 beings), thus
1 + 1 + 1 = 7.
Family relationships can become very difficult when people are not prepared to see things that way. And seeing things that way requires some preparation that goes way beyond a simple "mathematical" view of how people interact. It requires many subjective traits such as maturity and respect and independence and trust and self confidence and independence and so on so forth.
I will not elaborate on the consequences of adding a fourth member to our nonlinear family, but one can easily show with little algebra that
1 + 1 + 1 + 1 = 15.
Our sympathy, luck and love to the families of N >= 4.
(The little algebra in the derivation of the interaction levels above is the sum of N combinations without repetitions, where N is the number of people involved, so that the number of interactions will be = N elements taken 1 by 1 + N elements taken 2 by 2 + N elements taken 3 by 3 + [...] + N elements taken as a block ("N by N"). One may want to learn more about Pascal Triangles and Binomial operations in those airs.)
Monday, December 7, 2009
Back to The Bassics

After dusting the cobwebs off the old bass gear, I figured it would be OK for this So Brazil performance tomorrow to use the little Peavey amp rigged onto a 12 inch external speaker. The combination sounded pretty forte with a six-string SDGR bass and the welcome mediation of an Alesis nano compressor.
Our idea is to play a first set with me playing the guitar, Juliana cantando and one of our guests for the night, Rick Goncalves, playing mostly percussion, and also his main instrument, the cavaquinho. We'll be starting a second set featuring other guest musician, Mike Boase, drummer and percussionist who created his own samba school in Perth, Beleza. Mike would bring in a smallish kit, so I heard, plus other Brazilian percussion bits.
I look forward to that second half of the gig, where I would count on Mike and Rick, so that I can finally be back to bassics.
Thursday, November 5, 2009
High on Technology

That said: I love technology. In music, I thrive in being able to use a laptop and a high definition audio interface, plus some type of semi-professional HD recording software with all those tracks and cool effects, to record at anytime, anywhere, music that sounds as good as the latest CD from any good'ol recording label.
Quoting an old song from an early rock band I had in the 80’s, called Libido, I just wish the day had 48h.
Thursday, August 20, 2009
How we miss our pandeiro friend...

More than a few anatomic differences to a tambourine (as well described here), the Brazilian pandeiro is the soul and central leverage point of many more traditional to contemporary Brazilian musical styles related to the their African roots. Such is the case of not only the more well-known styles such as samba or bossa nova, but also chorinho, and even folkloric rhythms from many parts of the Brazilian territory North to South, and East to West, even reaching far beyond the country's borders.
In Brazil, the pandeiro is a connecting point balancing the cadence of many different musical styles, rising from different ethnic origins. Have a look and a listen to these quick examples of how important a pandeiro is, when one is attempting to play Brazilian music with soul:
- Hamilton de Hollanda, Andre Vasconcellos e Marcos Suzano
- Lenine e Suzano
- Roda de choro (with Deon Rian's son Bruno on focus, and the pandeiro the second loudest instrument)
- Dueling pandeiros
- Pandeiro Solo
- Marisa Monte e Epoca de Ouro
- Epoca de ouro
However, as portable and simple as the pandeiro is, finding a pandeirista in Perth has been the hardest part of our work so far. Incredibly, Perth has a strong Brazilian community, brought here due to the surplus of qualified job offers in the mining and oil & gas industries, sectors in which Brazil has had a strong impact in both local production, technology and human resources. But we have not yet been able to find a pandeirista here!
In the duo, I have been able to incorporate a little of the pandeirista feel in my rhythmic guitar grooves. So that we now have a big Brazilian heart, a lot of soul, but we know that all this would grow to deeper dimensions in the hands of a good percussionist, with good knowledge of our good old pandeiro of course.
The pandeiro is one of the lightest instruments, but it has been a heavy duty to find a pandeirista around. If you know of a talented pandeirista who may be hiding behind a desk in Perth, please let us know, urgently!
Labels:
bossa nova,
chorinho,
Marcos Suzano,
pandeiro,
samba
Wednesday, July 29, 2009
A new guitar and So Brazil's concert
So Brazil, the duo I've created with Brazilian singer Juliana Areias, has had a great debut last Saturday (25/7/09) at a newish venue in downtown Perth, called Canton Lounge Bar. We had a great time during the gig, and so did the public, at nearly the venue's full capacity (they could fit up to 120 people, and we had a 110-strong public).

My main concern was to be able to make a nylon string guitar have as much presence as possible. To that end, I did get a new guitar (a Jose Ortega CE Lina Australian/Chinese design/make , which was fit to better action/playability by master Luthier Graham Hawkes), and a new acoustic amp (a cute Laney LA20C). For the concert, I put a Shure mic in front of the amp, and pulled a cable from the amp's DI output, both onto the sound board. The two signals were panned full to L and R. I also used a Zoom guitar effects pedal to get the guitar through some compression, a little reverb, and delay and flanger (!) in a couple of songs.
To my delight, all worked well, it was incredible to see that people were getting up and dancing to the rhythmic sounds coming out of the guitar (the presence of the instrument did fool them to think I was a band! :) ).
I'll soon post in So Brazil's Myspace site some samples of how it all sounded like during the gig.
The only disappointment after the concert was to find out that a JVC Everio HD camera we had filming the open plan of our gig was a lemon for filming indoor environs, with dim lighting. The video came out of focus so that our facial features were not very clear. But it did provide us means of checking our stage positiong etc. What saved the day was having a little Olympus digital still camera, which has a 640x480 video recording capability at 30fps, sitting beside the stage. The video from that camera came out really well, which means we might be able to post at least one songs' video to our web site soon.

My main concern was to be able to make a nylon string guitar have as much presence as possible. To that end, I did get a new guitar (a Jose Ortega CE Lina Australian/Chinese design/make , which was fit to better action/playability by master Luthier Graham Hawkes), and a new acoustic amp (a cute Laney LA20C). For the concert, I put a Shure mic in front of the amp, and pulled a cable from the amp's DI output, both onto the sound board. The two signals were panned full to L and R. I also used a Zoom guitar effects pedal to get the guitar through some compression, a little reverb, and delay and flanger (!) in a couple of songs.
To my delight, all worked well, it was incredible to see that people were getting up and dancing to the rhythmic sounds coming out of the guitar (the presence of the instrument did fool them to think I was a band! :) ).
I'll soon post in So Brazil's Myspace site some samples of how it all sounded like during the gig.
The only disappointment after the concert was to find out that a JVC Everio HD camera we had filming the open plan of our gig was a lemon for filming indoor environs, with dim lighting. The video came out of focus so that our facial features were not very clear. But it did provide us means of checking our stage positiong etc. What saved the day was having a little Olympus digital still camera, which has a 640x480 video recording capability at 30fps, sitting beside the stage. The video from that camera came out really well, which means we might be able to post at least one songs' video to our web site soon.
Wednesday, July 22, 2009
On the radio, twenty years later...

Twenty years later, there I was, sitting in a comfortable couch inside a radio station, Australia's ABC (720AM Perth), for an interview about a new gig I am doing with a Brazilian singer/friend next Saturday. We were both a little nervous with the whole thing, but then, unlike 20 years ago when I'd get all fired up and tense like a wire during a live appearance, I started looking around, and just feeling lucky to be there once again. The views of leafless trees from the large studio windows, and how nice all people from production, technicians and the presenter, Geraldine Mellet, were being with us, all provided me a perfect setting to neutralize the hand-freezing effects of being there, live on the radio, twenty years later. Good to see time changes us for better in a few things, so I was just able to appreciate, and play as best as possible, and just feel good about it.
We played two songs from the repertoire of 15 we'll be playing on Saturday - Meu Erro (Paralamas do Sucesso) and Every Breath You Take (ThePolice). Both songs are from the rock/pop stream of music, but we reworked them onto a samba/bossa nova arrangement that sounds simply delicious for a voice and guitar duo. As a bass player, taking the classical guitar for this project has allowed me to focus on the rhythmic textures, taking advantage of the larger range of possibilities to throw in harmonic structures alongside the rhythmic thing. Of course, the singer loves it, as it gives her all the freedom and backing to float away in the melodic space that becomes all hers.
We are calling ourselves "So Brazil Duo", and everything has been fantastic about this experience.
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