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Our Native Daughters
(L-R) Rhiannon GIddens,Allison Russell, Leyla McCalla, Amythyst Kiah
Photo: Daniel Mendoza/Recording Academy
Our Native Daughters Look Back To Move Forward american-roots-music-supergroup-our-native-daughters-look-back-move-forward-newport
American Roots Music Supergroup Our Native Daughters Look Back To Move Forward | Newport Folk 2019
The banjo-based quartet discuss how their new album drives the conversation of race in America forward. "We're looking back at the past, but the music is for today"
Newport Folk has always hosted historic musical and cutural moments, but when the roots music supergroup of Rhiannon Giddens, Leyla McCalla, Allison Russell, Amythyst Kiah know as Our Native Daughters close out their debut run of shows, history took center stage.
Best described by Smithsonian Folkways, the album Songs Of Our Native Daughters "shines new light on African-American women's stories of struggle, resistance, and hope. Pulling from and inspired by 17th-, 18th-, and 19th-century sources, including slave narratives and early minstrelsy, [Giddens, McCalla, Russell and Kiah] reinterpret and create new works from old ones."
"Black women have been makers and markers of social change in the United States for centuries, at this point," McCalla said. "I think this album is a part of that," adding, "We're looking back at the past, but the music is for today."
Just after their landmark first-ever set on the Newport Folk Quad Stage, the Recording Academy sat down with the quartet to hear how the project came together, what tools they used to create it, how they hope it will affect the narrative of history and more.
Why was Newport Folk the right place for Our Native Daughters perform in this brief initial tour?
Giddens: Well it just seemed like the right thing, because Newport folk festival has such a history to it and I know that they've been really trying especially recently to really build on that legacy. In a way, even more than they have in the past. You know, just really make it about the folk music and about what folk music can do. And so when the offer came in, it just made so much sense. If we could build a tour around it and let this be the sort of finale to this part of the tour, it's really amazing.
Obviously, this is a and very historical and research-heavy concept for an album, but the music rings out fresh and very alive. How did you approach the daunting task of balancing the historical elements with the musical elements?
Russell: Well I think we really approached it song by song. I would say Rhiannon was struck with the idea to do something like this when she was given a private tour of the National Museum of African American History and Culture with her daughter. And that's a painful experience for anyone, let alone a descendant of some of the people who were enslaved. And a quote, a William Cowper quote really sparked the idea, and it was a quote to the effect of, "slavery is terrible, but how could we do without our sugar and our rum?" And the correlation to our modern day dependence on technologies that are being supplied by slave labor… that connection really resonated in her mind and she invited all of us to come and join her and sort of explore some of that history.
Initially the project, the idea was to kind of explore some early slave songs and minstrel music and we did a little bit of that with, with her adaptation of 'Better Get Your Learnin'." But we really realized we had a lot, we're all songwriters and we had a lot of feelings to process around all of this painful history, which is so much in evidence that these ghosts have not been laid to rest. Clearly the divisiveness in our country, the kind of outright racist and fascist rhetoric that's coming from the highest offices in our land is indicative of the fact that this history is not sleeping easy. It is affecting our present on all of us directly and all of you, directly. And so we, we felt like we had some things to say.
Giddens: I think it's also just the recognition of the lack of reckoning around the effects of slavery in the United States and the Atlantic Slave Trade. And even though we come from this place of a lot of research and reading and engaging with like academic material, I think that we've been living in our skin our whole life and that's a part of our experience. We've inherited some of this trauma in different ways and we represent different parts of the African diaspora. And so it made sense for us to come together and try to process this together. And honestly we didn't really know what exactly that was going to land us. And, like Alli said, I really think it was song by song. It was like; 'I have this musical idea, I have this musical idea, I have this phrase that has been turning in my mind,' 'Well, oh, I just came up with something that plays off of that.' And it was very collaborative.
2019 ARTIST ANNOUNCEMENT: Please welcome Our Native Daughters (@RhiannonGiddens @jtandalli @LeylaMcCalla @amythystkiah) to this year's Sunday lineup. @newportfestsorg has made a donation on their behalf to @kidz_notes. Learn more: https://t.co/9IjxshNW2W pic.twitter.com/5JCaqe6Qr8
— Newport Folk Fest (@Newportfolkfest) April 10, 2019
Can you tell us more about the instrumentation and the instruments you used?
Kiah: The banjo was the centerpiece, all of the songs in some capacity needed to revolve around the banjo because the banjo is a descendant of the West African loot family. And historically, at least in contemporary music times, it has been very long associated with white male, three finger style bluegrass players. And that history has been sort of muddled and lost because of the segregation of the commercial music industry. There were black banjo players, black fiddlers and once the record executives wanted to market music, they assumed that, 'well only white people are going to listen to string band music,' so black people had to put down their banjos and fiddles and pick up a guitar and play the blues or play jazz if they wanted to make a living making music.
So this was obviously spun from Rhiannon's Inspiration, but her idea to take the banjo and to reclaim it as something that is also part of black culture because all of us in some capacity have lived like on the in-between of you know, not being black enough or not being white enough because of our interests and, even though by default, if someone is moved by music or move by something, they should be able to like it. There shouldn't have to be a birthright to be able to enjoy your love something, but just in case here is the historical backstory this instrument. And so that was really important to have that because that more or less blasts away the myth of like, 'what is blackness?' You know, what it means to be black, it goes to show that we're not a monolith and there's all sorts of ways to express yourself regardless of what your race is. So the banjo was really important. And then we had fiddle, we had drums and really just song by song, we kind of pieced together what instruments would make sense to serve the song. I think that's kind of kind of how we pieced arrangements together.
Giddens: Yeah, we were in Louisiana, we worked with Dirk Powell, who's a got a lovely, very small studio and it's kind of a built out of a very old, one room house that was once owned by a Creole family nearby. And it's just got all this history to it and he was great to work with, in that he was really very much setting up the sounds and then we just got in there and just did our thing… It was a very much a kind of fostering of like; 'I want what you want.' You know? 'I just wanna make it sound really good,' And so that it became a very safe space and it was a space where we all just felt very comfortable to, "oh and let me try this banjo or that or do that." And we weren't afraid to put electric guitar on and we weren't afraid to put modern instruments on it because it's not a historical record. It's something inspired by histories and inspired by these instruments and we wanted to use those sounds just because that's what we play.
Russell: We're all multi-instrumentalists, as well. We all do play banjo, different banjos, each of us. Rhiannon plays a fretless minstrel banjo, I play a five string, gut-string banjo, Leyla plays a tenor banjo, Amythyst plays a steal string. So we all have different banjos, but we also play other things. Amythyst is an incredible guitarist, Leyla is a classically trained phenomenal cellist. I tootle along on the clarinet and plink on the Ukulele [laughs humbly] and Rhiannon plays like eight to 25 instruments as far as I can tell-
Giddens: I play also fiddle [laughs humbly].
Russell: So we all, you know, we were kind of bringing all our little babies into the project as well.
McCalla: I think it's also that the banjo, like despite how much research we've done on the history of the Banjo, the Banjo is a modern instrument and it is relevant to the conversation of, 'what is folk music and what is American music?' I think the banjo is essential to that conversation. We're looking back at the past, but the music is for today.
What types of conversations are you hoping listeners will have from experiencing this album?
Giddens: Well, I'd like to think that maybe people that are possibly on the fence with the whole... I think this will really be helpful for the people that are like, "Well, isn't racism over? We elected a black president. Isn't racism done?" I think this is a record for people that are asking that question and these subjects are difficult to talk about just face to face. You can talk about it academically with other academics but when you talk to a person that doesn't know the history... A lot of people don't necessarily understand it or people get too upset and don't want to talk about it. Like they kind of go into like a bit of an emotional crisis of either not wanting to hear about it or being defensive.
And so music has a way of disarming people. It's like sugar for the medicine, if you will. You know, these are these harsh realities of things that happened. Because these things happened, this is why things have evolved the way they have, socially, in our culture. This is a way to to disarm people and allow them to think and realize, "oh, this is why we still need to talk about this," you know? Because we're all sort of wrapped in this trauma of that part of our history that still affects how we interact with each other and the kind of legislative policies that we make and all those kinds of things that affects that, whether people see it or not. And hopefully with this record, people can maybe start thinking about it and having that conversation.
The album's liner notes serves as an emotional, historical and contextual companion to the album, and the song by song information is very insightful Can you talk about how they support the music?
Giddens: Well, the liners were collaboration. I wrote the essay.
Russell: It's a great essay.
Giddens: I got together the bibliography, I really wanted people- I mean the problem is that people forget that something always comes from something else. So knowledge is always coming from a place and I have such a respect and such a debt to the scholars who really found such amazing, you know, facts and figures and put them all together. And especially nowadays, these incredibly sensitive, like really, really just well done books. And so I wanted people to know where to go, you know and also to say this is where I got my information from, because I'm not making any of it up and I don't want credit for that.
And then I asked the ladies to give what they would want people to know most about each song, and Dirk wrote something. I just think it's important also to acknowledge him, all of the folks at the Smithsonian Folkways, most of which are white dudes. There is a relationship with allies going on here and I think that that's really important because, in this day and age, there's a lot of kind of, us versus them and I'm like, the only way forward really is to accept the platform that's given to you and the help that comes along with that and then you say your thing. It was like we weren't in any way needing anybody to help us say what we wanted to say, we just needed the space to do it.
So it's really important, I think, to acknowledge that, and to say, "This is how we can work together and not by you guys writing our story, but by you guys letting us have the space to write our story." And in this day and age, that's what it takes, and that's okay. You know what I mean? That's the way to turn it around. It's not like, "No, we don't need your help." It's like, "No, actually, because of the behemoth that we're shifting, it's going to take that." It's going to take the handout and then, "thank you. I got it now." You know what I mean? "Thanks for giving us the space." So I just think that's really important to say, and I'm glad that the Smithsonian has the budget to put liner notes in [laughs].
Russell: And I think, something that you said, this idea of allyship and moving forward and we move forward together. It's a family, it might be a dysfunctional, broken family, but it's a family. This country is still very young and its strength is also where the fault lines can, you know, when there's fear-mongering going on, those fault lines can crack and break and people can have the illusion of some sort of inseparable gulf between themselves and someone they perceive as other. But as Rhiannon's other album posits, there is no other and it's a we, you know, it's a we, and we have to figure out how to talk to each other.
And you know, we were talking about so many of these songs, the reason we wrote them and the way that we connect with them emotionally ourselves, it's a lot of them are trying to make things personal. It's personal, it's not academic, it's not dusty, it's not ancient, dead history, it's personal, it's present. Empathy comes from being able to imagine yourself, your child, your family in that situation, in a given situation. And that's what our hope is, that we're building empathy and sharing empathy and being more empathetic ourselves and I think that is the only way forward.
McCalla: I think it's also so important to talk about the strength of black women in this country and worldwide, really. Because a lot of the time we talk about the victimization of black people, and I think that that's certainly part of the story, but it's not the whole story. And black women have been makers and markers of social change in the United States for centuries, at this point. So, I just think this album is a part of that. And I don't see any other completely black groups at the Newport Folk Festival, for example, you know? And so, it's a step forward. You have to start with one foot in front of the other.
Yola Ascends To 'Walk Through Fire' & Become The Queen Of Country Soul | Newport Folk 2019
Meet The Queen Of Country Soul: Yola yola-ascends-walk-through-fire-become-queen-country-soul-newport-folk-2019
Backstage at her Newport Folk Festival debut, Yola talks her new Dan Auerbach-produced album, transcending genre, her love for Elton John and more
The spirit and soul of Yola's breakout album Walk Through Fire was nothing if not well-earned. Even the title came from overcoming hardship, as her kitchen literally caught fire before the project, a symbol of the adversity the Bristol-born singer/songwriter faced—and overcame to create her own masterpiece.
Yola On Being The Queen Of Country Soul
Yola graced us with her infectious energy backstage at Newport Folk Fest after her show-stopping set and opened up about her breakout album, working with The Black Keys' Dan Auerbach and what it means to be the Queen of Country Soul.
Love love love @TheHighwomen https://t.co/l6GfrUvbOm
— Yola (@iamyola) July 27, 2019
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Congratulations on your album, Walk Through Fire. What are you most proud of in how this album came out?
I think how people are connecting with it. One of my specialist subjects is that connecting to what I'm saying. And I hope by doing that then that helps people connect as well with what I mean. And that gives us a relationship across airwaves, across oceans, across an arena.
And so, that's the most important thing, for people to be connecting and for things to be going crazy. We're not into six months yet and things are going super crazy.
But that's not just a hype machine situation. It's so down to people connecting in a real way and I think it's very easy for that to not happen. For people to get swept away with hype.
What can you say about the collaboration with Dan Auerbach? It sounds like you guys wrote a ton of songs together.
Yes, we did.
How was it working with Dan on this album?
He's just a machine. I always thought I was kind of a quick writer once I got into my flow, my flow state, if you will. Yeah, he's a machine and his sonic palette, his kind of delicacy in the mix is unrivaled, it's unbelievable what he can do.
I was actually a fan of his album that came out, his solo album that came out, "Waiting on a Song." When I listened to just all the layers and I was like, "I love this, wouldn't it be amazing if I could do an album like this with him?"
Anyway, that's what Dan and his people bump into me in '17. I must've just put that into the Ether or something, that was serendipitous at the very least.
He's a complete machine and the upside, especially when it comes to things like production means, I could be hands-off. I don't have to be concerned and idea of what you going to come across is going to be turned into something other than something utterly beautiful and so yeah... It's the most relaxing production experience I've ever had because you deliver your vocal and you know everything is going to sound beautiful.
It's in good hands.
Very, very, very capable hands indeed.
"Faraway Look," I think that was the first song that I heard of yours. Can you tell me about how that came together in the studio with Dan?
When we were writing, Dan and I would be in the room and we'd invite a third party, if you will. And that third party would be the spice, so me and Dan had talked about our common ground musically. The things that we loved, even the things that we loathed. So, then that would form the kind of people he would invite.
And Pat McLaughlin is a dreamy kind of guy and so yeah, it became... we had, obviously Pat came in with this song and that we had Dan Penn and Joe Allen and Roger Cook. So, really kind of stellar writers and so the idea was to kind of bring in the spice would occur. And allow me to explore the range of things that I'm into like classic pop music, classic country, classic soul music.
And so, the way that lyrics tend to come with me... and thankfully with both Dan and Pat is, what I like to call the mumble write. Where you're kind of dowsing for the vibe and I think most of the songs came like this.
In this case, maybe Pat is strumming something and going [mumbling] and starting to mumble something and so then out of the mumble... and then you carry on, you pick up that mumble [mumbling], making no sense at all. But trying to decipher a more elegant meaning out of their aesthetic, out of the shapes that are coming to you. And really they're actually batting around the idea in the back of your mind.
And there's some deep meaning there that you're trying to discern through the fog and that's how much the songs came together, it was Dan or Pat strumming of the 30 songs and in some cases, me strumming. And just feeling out what we were doing. And then obviously something salient-like comes forward.
So, in this case it was the chorus melody, that was the first thing to come. And then we're starting to try to figure out where that goes but this whole process was like we were trying to unveil it, more than going in with a preconceived idea of the genre that we are going to have a look at that day or what the whole album was going to be. It was like we were going to write a whole bunch of songs and then we're going to figure out what the hell we'd done.
And see whether there was a sense of continuity through it, which there was. And so, that was the kind of saving grace with the writing of that song. I think of this record it was very open because people have been describing this as a country soul record. But then you listen to "Faraway Look" and it's not country or soul. It's classic pop.
While I think Queen of County Soul is really a perfect moniker for you, it captures a lot of what you do, but there's always so much more. How do you feel about genre today?
It's like you're trying to help people understand something they just need to listen to. And it's feels like we are dissecting to understand like we're in Biology and we're doing the frog dissection. And in that dissecting of the thing where it separating out, all of everything. Putting that over there, that over there, that over there. And they didn't start that way. They all started together.
And we're separating it out to be able understand the constituent parts and so that feels like the opposite of what I'm trying to do with music. I'm trying to find the common ground. I'm trying to bring all those constituent parts and show how they were linked to all the tissue all the fascia. And, so that's what I'm passionate about in music, is that gray area, that's why I love the band, that's why I love Little Feat, that's why I love staple singers, that's why I love Aretha. They didn't stick... that's why I love Elton John. C'mon, right?
There constantly listen to Honky Chateau, right? It's got this and then it's got this. Everyone I love, Bee Gees- Man, that early Bee Gee stuff, that "Run to Me." That's a bowl of soul. And I was thinking disco and I'm like, "Boo, there's more." "Run to Me" is a massive tune.
For sure. So, how does it feel to experience this type of accelerated rise to success, and did you ever think that was possible when you were going through some of the harder times in your life, dealing with homelessness and loss of your mother.
Well when I was four I saw this [passion for music]. I was like, "Yep. This is entirely feasible. Sure, why not? I feel ready. Let's do this." And so I'm kind of my 4-year-old self right now and I went kind of... I grew up and moved away from that person, which was a mistake. 4-year-old me was on point.
Yeah, instincts like that are usually correct.
Yeah. I nailed it, and I just got talked out of being that person. You should be ashamed of your dark skin, you should me ashamed of your natural hair. You should try and sing more R&B. You should drop some weight. All the kind of things that are shaming and the number of times that I get pulled up by women of color, certainly people darker than Oprah kind of, which is the line in the sand.
"Thank you, thank you for being upfront, thank you for not being in the back, thank you for just being, not being apologetic about it or shrinking in some way." And yeah, that's been a journey, that's been a long road to get it to that point.
So, in that process of being talked out of this willingness to just be myself, I went through bad company. And that bad company pushes you into that realm and when I was in that moment of homelessness, the thing that was making me sad was that, the bad company. Was that sense of lack of connection with the people around me, the people I was working with. People that I was social with who were also people I was working with. That's always been the thing, that has been the heartbreaker, as much as the loss of my mother.
That whole sense and period of neglect, so this period is very much been about that rise to accepting yourself and that's been reflected in how quickly this has risen that's what people want to see. They want to see love, love and connection, to people, to the people you're working with, to yourself.
Maybe it took the 30s to get to that, but yeah. It's been unreal and all the sparkly stuff aside, which there's lots of sparkly things. I didn't think I would be playing Bridgestone or Ryman multiple times or whatever. All of this stuff is mind blowing to me but the connection has always been top, that the most self-actualization.
You mention the Bridgestone, Kacey Musgraves, Maggie Rogers gig. Can you talk a little bit about preparing for that big of a show and playing an arena?
When I was early 20s, late teens, I had a little bit of arena experience but as kind of fronting other peoples' outfits. So, I was that fronting gun for hire. And so you'd have to learn to prowl the stage and all your gestures had to be super massive because people might not see you. If you're just doing this, no one is seeing that ten rows back kind of thing.
So, yeah that was one massive thing that I had to pick up that I'm going to be able to draw back on for this show and yeah and we got the full band, so we should be ready to kick booty.
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Molly Tuttle
Bluegrass Heroine Molly Tuttle On Her Debut LP molly-tuttle-when-youre-ready-her-modern-nashville-bluegrass-classic-newport-folk-2019
Molly Tuttle On 'When You're Ready,' Her Modern Nashville Bluegrass Classic | Newport Folk 2019
Hot off four nominations for this year's International Bluegrass Music Awards, Tuttle took time to talk with the Recording Academy at Newport Folk Fest about her groundbreaking debut album & more
Bluegrass master Molly Tuttle continues to accumulate accolades. Last year she was named Guitar Player of the Year at the International Bluegrass Music Awards, the first female ever to receive the honor, and just this week she received four nominations for this year's IBMAs, including Female Vocalist, Guitar Player and Song of the Year, all before clearing her first quarter-century. But what's striking about Tuttle, beyond her staggering talents, is her authenticity as an artist and a human being.
Molly Tuttle On Newport, "Million Miles," More
Born into a bluegrass family band in Northern California, Tuttle relocated to Nashville not long ago, where she'd write all the songs for her debut LP, When You're Ready. The album blossoms from her deep bluegrass roots and blooms into a sound all her own, with sweet dashes of pop, weeping streaks of Americana and the simple sincererity of country.
Backstage at this year's Newport Folk Festival, we caught up with Tuttle to talk about When You're Ready, working with GRAMMY-winning producer/engineer Ryan Hewitt, what it means to be a strong female role model and much more.
Let's start with Newport Folk Festival. It's your second time here. What do you think makes this festival special?
This festival is so historically incredible. I grew up listening to folk and bluegrass, and so many of my heroes have played on the stages here and have had really historic musical moments. I remember seeing footage of Bob Dylan going electric here for the first time and Pete Seeger, of course, playing here and Joan Baez, and also bluegrass people like Ralph Stanley. So I think the legacy of this festival, it's always been pushing the boundaries and it's always been really inclusive to tons of different styles, which is why I think the audiences here are so incredible, because they get exposed to so many different styles of music. And it just feels like a really welcoming and really special event.
Is there anybody on the bill that you're excited to see?
Today I'm really excited to see Kacey Musgraves. And I just watched part of I'm With Her earlier, they're always incredible. I think Maggie Rogers is playing this weekend; I've never seen her before, so I'm really stoked for her. I haven't downloaded the app yet, I need to do that and really plan out my schedule.
Let's talk about When You're Ready. It's officially your debut album, but as your career and life have been centered around music, and I'm curious how you feel about it now that it's out. Also, what do you think you accomplished with this project?
I think I've just taken my music a step further in the direction of really having it feel genuine to who I am, including all my different influences. I grew up playing bluegrass, but I've always listened to so many different styles of music, and with this record I really just wanted to follow my muse wherever it took me with songwriting and then build the album around the songs. To not try to stay in one particular style of music or keep with one kind of instrumentation, but really just follow what the songs wanted and what I thought would be best. I think I achieved that. I think it's a lot different than all the music I've made in the past, and it's been fun playing the songs on the road with a totally different band, it feels really reenergizing to me.
What was it like working with Ryan Hewitt on the album? He's new to Nashville, and he's done all sorts of rock projects.
It was amazing working with Ryan, we instantly connected. We met at one of my shows in Nashville and talked for only a couple of minutes, and he was telling me about all these bands he'd produced, engineered and mixed. He'd worked with [GRAMMY-winning super-producer] Rick Rubin a lot, with Blink-182 and Red Hot Chili Peppers, also the Avett Brothers. And it felt like he was just naming all these bands that I listened to at different ages of my life, and I was totally fangirling about all of it, like, that's amazing. But beyond that, when we kept talking further, we really just connected about different things we loved about music and about our favorite bands and favorite records. It really flowed well with and we work together really well.
Is there a song on the album, maybe "Million Miles," that you want to talk a bit about how you wrote it?
"Million Miles" is the first track on the record, and that one came about through my friend Steve Poltz, who's a great singer/songwriter and lives in Nashville as well. We were writing together a bunch one summer, the other song we wrote on the album together was "Don't Let Go."
One day we had finished writing a couple of songs, and I had known Steve had written a bunch of incredible songs with Jewel back in the '90s; they wrote "You Were Meant For Me" and a bunch of other really incredible songs that ended up on her records. So we'd finished up the writing session for the day, and he said, "Hey, I just remembered the song that I started writing with Jewel over 20 years ago, and we never finished it." They had a verse and a chorus, and he played that for me, and I recorded it on my phone and he was like, "Maybe you would want to take this and finish it."
So I did. A couple months later I sat down, and the song was kind of haunting me because I instantly really loved the song, and I was a little intimidated to try to write another verse. But I sat down and finished the song and sent it back to him, and he said he really liked it, and I knew I really wanted to record it on the album. I had to get Jewel's permission somehow, but I didn't really know how to get in touch with her, so I asked Steve if he could send my version of the song to her.
He did, and I didn't hear back. She wasn't really responding back to the song. I found out later she had been on a meditation retreat for the whole time we were trying to get in touch with her, so she wasn't checking her phone. Steve actually just decided to tell me it was okay with her, which I found out a year later. He had never heard back, but then months later, she eventually heard it and really liked it. Luckily, it was totally fine with me recording it and we got to play it. The three of us played it at a festival earlier this summer at Telluride Bluegrass Festival. That was really cool and really special.
Talk about a full circle moment.
Yeah, it was cool.
I want to ask you about the IBMAs. First of all, congratulations on the nominations.
And last year you became the first female to win Guitar Player Of The Year. We talk about gender issues a lot within the music industry. I'm curious how it feels for you to have that distinction as the first female guitar player to win that award.
Yeah, it felt really, really important to me. That was probably one of the biggest things that has happened to me in, I guess, my musical life or career. It felt really special to win that award because I've been a part of the bluegrass community and have grown up in that world. So to feel the whole community lifting me up in that way was really special, and it was just really meaningful to me to be a woman playing lead guitar. Sometimes it doesn't really dawn on me that there aren't a lot of other women playing lead guitar. It's always just felt really natural to me to play guitar. It's something that's really important to me to hopefully get more girls playing guitar. I studied guitar in college and I was always the only female in my classes.
I think it's kind of a combo of women who play guitar historically haven't really been recognized in the way that men have, their legacies have kind of been erased in a way. But I also think that there are fewer women playing guitar because we're not encouraging it as much as we encourage boys to pick up a guitar, maybe. I really hope that changes in the coming years and hopefully, if a girl sees me or sees other women playing guitar and being recognized, that'll encourage them to pick up a guitar too.
Thank you so much @intlbluegrass for nominating me for Female Vocalist, Guitar Player, and Song of the Year (Take the Journey), and Collaborative Recording of the Year with Roland White, @hiltnerj, @jonweisberger and @patmcavinue!! see y'all in Raleigh!! pic.twitter.com/EyjURmxsOI
— Molly Tuttle (@molly_tuttle) July 25, 2019
Back to the album; the songs were all written in Nashville, right? What about that city do you think added a specific touch of spice to this record?
Yeah, I think Nashville is just so full of songwriters, and it was fun in the first few years that I lived there. I just would reach out to anyone I knew, really, who I loved their songs or I knew they wrote a bunch of songs, and it was fun getting to meet so many new people through writing songs together. I think I wrote in ways that I wouldn't naturally have written on my own. And it was cool to see how other people worked with songwriting.
Nashville is such a collaborative city. The music community is just so intertwined, and everyone's kind of working with each other and supporting each other, which I felt right away when I moved there, that was really cool. I think this album kind of represents that because I had a lot of friends that I wrote with for it and I brought in a lot of friends living in Nashville to play on it. So yeah, the city definitely influenced the record a lot.
This is an optional question, but I was really touched by your article on No Depression, especially about your history with alopecia.
Oh, thank you. Yeah.
I just really want to point people to that interview, and I would love to know how it felt for you to share that story?
It felt really great. I loved writing about my journey with alopecia and playing at the conference that I went to. It was a conference for all people with alopecia, which is an autoimmune hair loss disease, and it's just something that's been a really big part of my whole life. But I haven't always been open about it with others and with the public and my fans. So it feels really freeing and great to be at a point where I can just share openly with people about it. And it feels like I've let the world see this other part of myself that I used to keep hidden, that I would only share with people I knew really well. But now it feels cool to get to share that with everyone.
That's great. I'm sure it'll inspire a lot of people to be themselves.
Yeah, I hope so.
I want to ask you about a big issue in music and entertainment; mental health. A lot of artists are under a lot of pressure, which can be difficult to cope with. I'm curious what you do to stay grounded and what your processes is for staying mentally healthy.
That's a good question. I think that's something I'm still learning, because it is challenging when you're traveling and you have all the pressure. I felt it a lot with having my first record come out, I was putting all this pressure on myself. But then, as you develop a team of people, you're feeling outside pressure as well. I found that seeing a therapist regularly when I'm off the road is really helpful, and there's a few different groups. There's MusiCares, which helps musicians afford mental health services, and there's other groups that do similar things. I've done meditation, which always helps me stay grounded on the road, if I can make myself get in the routine of doing it, which isn't always easy. Those two things have been big for me.
Do you have any dream co-write collaborators out there? Are there any artists that you'd really like to get in a room with?
Oh, yeah, there's a lot. I grew up just obsessed with Gillian Welch and Dave Rawlings, so both of them are huge songwriting inspirations to me. So they would be probably my biggest dream collab.
I've been working on the crosspicking that he does recently.
I love his playing. That really influenced me as well.
What is next for you? You've got the debut that you're touring on, what else are you looking at down the road?
We have some festivals, we're doing Pilgrimage Festival later this Summer. We're doing a little run in Colorado and we have a couple of festivals and tours in the works for this Fall. Going to IBMA, of course, for the award show, and then I'm playing there [in Raleigh] that weekend. We'll be doing the AmericanaFest, which happens in Nashville every year. it's gonna be a busy Fall full of tours and festivals and different events, but it'll be a lot of fun.
Dolly Parton At Newport Folk 2019
Photo: Douglas Mason/WireImage
Newport Folk 2019: Relive The Music & Camaraderie newport-folk-2019-relive-all-surprises-highlights-exclusives
Newport Folk 2019: Relive All The Surprises, Highlights & Exclusives
From Dolly's big surprise to Brandi's big weekend, join us at the 60th Anniversary Newport Folk Festival in Newport, Rhode Island, as we round up the moments you may have missed, plus peek in on our exclusive backstage access
It's hard to believe the first-ever Newport Folk Festival took place 60 years ago, mainly because the vibe at this year's fest feels so future-facing, so switched-on, and so decidedly in-the-now. But in truth, Newport Folk has been a breeding ground for revolutionary change since the beginning. On-the-ground and by-the-sea at Fort Adams, you can't get far without talking to someone about Bob Dylan going electric here in 1965, or Mississippi John Hurt bringing Delta blues to a whole new audience three years earlier in 1963, or Judy Collins introducing two young songwriters to the Newport crowd a few years later who just happened to be Joni Mitchell and Leonard Cohen, or... or...
Newport Folk 2019: Recording Academy "On The Road"
History aside, the first force of nature you notice about this year's Newport Folk is the powerful and dynamic female-driven lineup, highlighted by Friday's headlining debut of the Highwomen, a new supergroup featuring Brandi Carlile, Natalie Hemby, Maren Morris and Amanda Shires. Saturday's surprise headlining slot, mysteriously marked on the schedule as four female symbols, turned out to be the first all-female collaboration in the festival's history. Also, remarkable performances by Sheryl Crow, Kacey Musgraves, Jade Bird, Maggie Rodgers, I'm With Her, Lucy Dacus and more.
But the surprise of the year—and each year at Newport there are many—was the Saturday night "Collaboration" when none other than Dolly Parton, joined by her frequent collaborator Linda Perry, jumped up on stage with Crow, Carlile, Collins and more, providing Newport '19's most memorable moment.
yeah… no big deal…..#LEGENDS https://t.co/Gca5VY6H7b
— Newport Folk Fest (@Newportfolkfest) July 28, 2019
Not to be outdone, Sunday was magical in its own way, highlighted by Hozier's soulful set with special guest Mavis Staples and Lake Street Dive's Rachel Price. But the most chill-producing musical moment Sunday beloved to Carlile, the same way the entire arc of Newport '19 seemed to belong to the incredibly warm, gracious and talented GRAMMY winner. She joined Hozier on-stage for a rendition of her GRAMMY-winning song "The Joke," trading verses with Hozier, then silencing the crowd with her vocal delivery of the songs climax before an uproar of applause.
Brandi Carlile On Forgiveness & "The Joke"
Festivalgoers had plenty to cheer for at this year's Newport Folk, but what they didn't see was the action backstage. It's not uncommon to see impromptu rehearsals, joyous reunions and excited first meetings between artists while walking through the all-access areas of the festival. The Recording Academy setup shop to speak with some of Newport's brightest stars, one-on-one, for exclusive interviews.
For instance, we caught up with Friday's main event, The Highwomen, to hear about their new singles and forthcoming album. We spoke with well-traveled Texas country breakout artist Charley Crockett, who also came well-dressed in a brand-new bright-red suit. We sat down with rising star and Queen of Country Soul, Yola, who ended up making guest appearances everywhere during the weekend, winning over new fans in droves.
We were also honored to talk with Judy Collins about her rich history at Newport dating back to the days of Bob Dylan, Joni Mitchell and Leonard Cohen. We even got to talk with Our Native Daughters, the powerful new group featuring Rhiannon Giddens, Amythyst Kiah, Leyla McCalla, Allison Russell to hear about their moving debut album and performance.
For all of this coverage and much, much more, including interviews with Amy Ray, Molly Tuttle, Lukas Nelson and many more, visit our exclusive photo gallery and see who else stopped by to say hello and snap some pics in our portrait studio.
.@molly_tuttle, @iamyola, @lukasnelson, @adiavictoria, and many more artists came through to discuss music, life, culture what makes @Newportfolkfest feel like home. https://t.co/48X4Pm5ghW
— Recording Academy / GRAMMYs (@RecordingAcad) July 28, 2019
At the end of the day, Newport is about the music and the people, and backstage in a beautiful side room of the Fort, artist after artist tells us how attentive the audiences are and how well the staff treat everyone. This is the spirit behind the festival that — 60 years after it's inception — continues to bring the music community together, push the boundaries of artistic conventions, give a voice to artists to fight for what they believe and build lasting friendships and connections with all those who make the journey to Newport. See you next year!
Backstage At Newport Folk Festival's 60th Anniversary
Billy Strings
Billy Strings On New LP, Bluegrass & Mental Health billy-strings-talks-new-lp-being-billed-bluegrass-future-heavy-metal-mental-health
Billy Strings Talks New LP, Being Billed As Bluegrass' Future, Heavy Metal & Mental Health
The virtuosic bluegrass guitar star opens up about his forthcoming album, his rock and metal influences and how he copes with the pressures of touring and being hailed as the future of a genre
Aug 8, 2019 - 11:31 am
Once you hear Billy Strings do his thing, you'll get it. His unhinged flat-picking guitar playing kicks the tradition of bluegrass into new territory with one foot while keeping the other firmly planted in the genre's rich tradition. As a young artist, his songwriting, already scary good, seems to only be improving. For good reason, Stings is being called the future of bluegrass. And even though seeing is believing, and he proves he's worthy of the attention every night he takes the stage, that's still a lot of pressure for one person.
Billy Strings On Bluegrass, Playing Live & More
We sat down with Strings recently at Newport Folk to talk about how he handles the challenges of all the attention and success, how other genres like rock and metal have weaved their way into his astonishing guitar work, the collaborative process of making his forthcoming album, HOME, and more.
You're new album HOME is on its way, Sept. 27. Can you tell us how it was recorded?
We made it back in January over about 10 days or 12 days I think.
So lots of live tracking then?
Yeah, we just all were isolated in different booths and stuff, but we just try to lay the tracks down and I'll play it and live track it. Yeah, I think most of the songs we just end up doing that way. It kind of feels more live that way too than if we played the music and then did the vocals and then did this and that. We kind of just do it all at once like we do at our concert, you know?
I think there's a collaborative element of that, and a collaboration is a theme to this album. Why is it important to you, as a solo artist?
For me it's just I love playing music with my friends. Like I just did with Molly Tuttle up there [on stage at Newport Folk], but yeah, Jerry Douglas played some on the record and sometimes collaborating with people like that, it's just inspiring. It kind of puts a fire underneath you and keeps you going. When I get to play with my heroes, it really inspires me. It's good for you.
I am so happy to share that my next studio album - #HOME - will be released on September 27th with @RounderRecords. Preorder begins July 12.
40 brand new Fall tour dates are ON SALE NOW: https://t.co/he0cH4Wgeh
Illustration: #SquishyEyes
Animation: @steadyprime pic.twitter.com/3BkW6kriP7
— Billy Strings (@bstrings1) June 25, 2019
There are a lot of the people who want you to carry the torch for bluegrass, bring traditional bluegrass into the new generation. Obviously, you know the history and you come from the history, but you're doing something new. How do you navigate that as an artist?
A lot of people have said, and I would believe that it's true that you kind of have to know the origins and to know traditional bluegrass before you can then branch out. I think there's something true about that. I grew up playing bluegrass with my dad and very traditional bluegrass, I cut my teeth on it, but then somewhere along the way when I was a teenager, I got into heavy metal and rock and roll and all sorts of different music as I grew up and branched out a little bit.
As a writer, I try not to block off those other genres for inspiration as well. I'll let all the rock and roll and the metal and all that stuff that I've listened to inspire me while songwriting just as much as a bluegrass. And also, even if I'm writing a song that's not very bluegrass, it sort of comes out because that's how I learned how to play. It always kind of, you'll hear that flavor in there, I guess.
Yeah, is there something specific about rock or metal that has worked its way into your style?
I think it's more just about our live show. I think the most important thing that we do is our live show. I think that's where we are really best seen is on stage, in a concert venue somewhere. We're gonna make records and we're going to do our best to recreate that live setting on an album, but we're a live music band. Every night it's different. We could play the same song, but it's totally sometimes different. I don't know, we just try to jam with each other.
How often do you practice to play at such a high level?
I mostly even play on stage every day. Sometimes I never get to practice because I'm always on stage. I was talking to my friend David Grisman about that the other day and like, "Man, I never have time to practice." He's like, "Well you could work up new songs and play them and we do that." But, we play a lot of gigs, and sometimes when I'm not playing gigs, I finally get a day or two off after several weeks on tour. Man, it's almost like you just want to take a nap and catch up.
But, I would like to practice more. Honestly, I think I could do better about that. I'd like to write more music. I'd like to get out my metronome more and practice with that. I'd like to just practice learning my fretboard, everything. I mean I'm still trying to get better.
You spend a lot of time playing shows and touring. For a lot of artists, mental health has become a topic we talk about now, where it used to be avoided. What do you do to kind of stay grounded when you're away from home?
The main thing that I do is I see a therapist and I talk to that person and I've been doing that for a while. I had a lot of anxiety back in January maybe before we started making the record and I don't think it was based around the record. It's based around a lot of other things. Things when I was young and just everything, everybody has their own troubles and that kind of things, but certain things can haunt you or if you keep things inside and don't talk about them, that stuff can come out as an anxiety.
It's almost if you have a pot of boiling water, all these emotions and things that you wish you would have said or maybe thought about or this or that and you put the lid on, it starts boiling and a little bit of steam is gonna get out no matter how hard you hold that lid on. Might as well just take it off.
That's what I do is I talk, I see a therapist and I would recommend it to anybody who struggles at all in that way. I think it is an important thing to talk about and I'm certainly not ashamed of that or anything. I have to work on myself and I think a lot of other people do too. I've lost a lot of friends to, whether it's substance abuse or depression and anxiety and that kind of stuff is very real to me.
Unfortunately, I do believe in this line of work as a musician, entertainer, an actor or actress, those kinds of folks, because there is this added amount of pressure, I think a lot of times anxiety and depression sometimes, I think a lot of musicians deal with that or I think maybe a lot of therapists or psychiatrists see a lot of musicians or entertainers because we're like in the public eye and there's a lot of stress involved.
A lot of musicians depend on things. I know a lot of people that are in bands drink a lot and that kind of stuff. It's easy to do. People are always handing your stuff too man when you're out there. People are offering you everything and it's hard to say no when there's a party and it's, until you start to have anxiety and stuff and that's, man, I just, I do everything I can to try to stay healthy. I try to make sure I get enough sleep, make sure I drink enough water, don't be doing drugs except for psychedelics, but yeah, just try to take care of myself and stay zenned out brother.
One more question: What's inspiring you right now?
I think my earlier life, I use [it] as inspiration a lot. When I grew up, I grew up in a small town and I saw a lot of drugs and stuff, a lot of substance abuse and I saw also that those people drove themselves down into a dark hole and that they can never get out of, prison and overdose and stuff like that. It's like, I didn't want to be a bum. I wanted to do something good with my life. I think just seeing that kind of helped me run towards the light in the right direction.
It's great that we get to travel and spread the light and meet people and play music for people and hopefully brighten somebody's day. Also, I've got to mention my father who taught me how to play. It's just great to sort of carry his torch in a way and to kind of, I'm doing it for him and from my mom and him.

redpajama_set_name: RedPajamaCommonCrawl


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You know It's coming - you can feel it, hear it, and see it - the low but powerful rumbling of change - the next big wave of innovation in ecommerce. Buying and selling online has become second nature and a core part of our lives - yet there is fundamental change underway in how people are thinking about ecommerce and how transactions of all kinds should be woven into the fabric of an engaging online user experience.
Fast development, Continuous Delivery plus seamless scaling allows you to keep up with micro changes in your market, making frequent and immediate adjustments to features, products and sales campaigns in live with zero risk.
Content or Commerce? Who's the boss?
Here's a great article from Michael Tucker of Bluespark, a Drupal Commerce delivery partner.
Whew! 2014 is almost in the books. We wanted to take a moment to say thank you to everyone who attended live or watched a recording of one of our webinars, and provide a recap of all we learned throughout the year.


The page you are looking for may have a different name from what you typed. The page may have had its name changed or may be temporarily unavailable.
Open the www.mdmercy.com home page, and then look for links to the information you want.
Retype the page name in the Address bar. Be sure to check the spelling.
Click the Back button to try another Mercy link.


text:
Q: Guidance on storing and accessing objects/collections in ASP.NET I'm currently working on an ASP.NET reporting application (C#) with an Oracle database (using EntitySpaces ORM). Performance/responsiveness is critical to the success of this application as it will be used by 1000's of people over the period of a few days. I desperately want to avoid round trips to the database as I know that this will be a bottleneck. My first thought (since the physical size of the database is relatively small) was to simply cache all of the database objects in the application cache and query them from cache as needed. I soon realized the flaw in my logic when ASP.NET started dropping items from the cache - presumably because too much memory was being used.
Is there another/better way to do this? Is there another method of storing a static collection when the application starts that I can guarantee won't be consumed by garbage collection? I'm well aware of page level caching but that won't help much since I'm essentially building a series of ad hoc reports that are unique to each individual user.
EDIT: Just to clarify a bit further, the size of all the data being cached is < 5 MB. The idea was to cache all of the objects and then just filter collections with linq.

A: As I am already sure you know, indexing is a good idea. After that, the hardware of your server will greatly impact the ability of the database to serve up data -> if you truly need some serious performance, switch to RAIDed SSDs, with nightly backups to regular HDs.
Beyond that, the design of your tables can impact its speed. Since you noted that the database is rather small (that needs to be qualified, as Oracle is usually used for the bigger stuff), there probably isn't much to do there.
You may want to use a multi-homed NIC, with a direct connection to the servers requesting the data, if you really need speed.
See, keeping stuff in memory isn't a really great idea, with regards to RDBMS, as it favors committing data to the disk over performance. If you don't mind the idea of data possibly going missing (not doing anything truly important / in need of backups), you could go with a memory-only database. And any database machine you build should be packed to the gills with processors and memory (no scrimping).
As a general rule, more performance can be had with tighter / more manual coding and exotic hardware, but the question will be, is it worth the price? The resources needed to get an extra 10% performance are akin to the resources needed for the additional precision of a Porsche piston versus a VW piston -> it will cost a factor of ten, over the previous amount to get that performance. The only people I know (off the top of my head) who have that kind of money, and need that kind of performance, work for either the cryptography wing of national governments, or high frequency trading firms.

A: Depending on the size of the data you need to store you can store it in the Application State:
How to: Save Values in Application State http://msdn.microsoft.com/en-us/library/94xkskdf.aspx
How to: Read Values from Application State http://msdn.microsoft.com/en-us/library/y8hhek39.aspx
Finally, you can set the variable in the Application_Start method in the global.asax file of your application: http://www.techrepublic.com/article/working-with-the-aspnet-globalasax-file/5771721

redpajama_set_name: RedPajamaStackExchange


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At least 8 killed in fighting between illegal armed groups on Colombia-Venezuela border
by Adriaan Alsema March 9, 2020
At least eight people were killed in fighting between alleged drug traffickers and guerrillas on the border between Venezuela and Colombia, authorities said Sunday.
The fighting took place across the border from the border city of Cucuta after which eight fatal victims were dropped on the Colombian side of the border in a rural part of the locality.
According to Venezuelan authorities, another three bodies were found on their side of the border.
The clashes reportedly took place between ELN guerrillas, members of drug trafficking gang Los Rastrojos and members of citizen militias loyal to the government of Venezuelan President Nicolas Maduro.
Los Rastrojos, a group originally from the southwest of Colombia, controls much of the criminal activity around the border cities Cucuta and San Cristobal.
The group is sandwiched between the ELN's Western Front, which is active to the north of the two countries' main border crossing, and the Southwestern Front.
The Colombian groups and the so-called "Colectivos" are all involved in illegal activity, which has flourished since Maduro broke off relations in February last year.
Maduro has conditionally offered to reestablish relations, which is supported by Colombian political forces on the left and in the center who want the cooperation between law enforcement of both countries reestablished.
The border is historically neglected by both Bogota and Caracas, but this has worsened over the past year as illegal armed groups of all kinds are crossing the border.
The situation is particularly precarious because of an ongoing exodus of Venezuelans who are trying to escape a humanitarian crisis in the neighboring countries.
border issuesELNNorte de SantanderRastrojosVenezuela
Colombia's COVID vaccine ban for Venezuela's undocumented: ethnic cleansing?
Venezuela claims killing dissident FARC commander
Colombia may refuse right to vote to citizens who fled Venezuela


Okay, I ran across BuonRutto's post in the Expose thread here about how Expose is a nice replacement for the 'rummaging' aspect of piles without cluttering up the Finder with any UI element.
All good so far, but it occurred to me that Finder piles would let you add such items in the Finder. That'd be slick. "Oh yeah, tomorrow I need to work on *this* one too... I'll just add it..."
Well, it hit me that Folder Actions allow this. Set up a folder that contains that shell script inside, with a 'On Drop' action that adds a dropped file to that said shell script, then *puts the file back where it was*, and an 'On Open' action that runs the shell script. Slap a neat icon on it, and voila - piles, in a rudimentary form.
This is one of the cool things about MacOS X... on the surface, it looks minimalistic, but you start digging and some really neat things start to combine in powerful ways.
I'm hoping the structure of folder actions and applescripting in Panther changes so that our desire for Finder "smart" folders and/or piles can come true. That is, the script library (hopefully with some sample scripts) will allow you to set criteria for a folder and collect aliases to those items in that folder "live." The solution to piles and smart folders lies somewhere between saved searches and applescripts/folder actions. Seems like scripting, especially if it allows to set rules a la rules in Mail, is extensible enough to cover a lot of ideas for the Finder. And integrating a scripting UI in some ways, like folder actions do in Panther (along with Applscript Studio I assume), could make these things accessible to everyone, not just scripting gurus. But I'm out of my league on the specifics of how this happens. I might be making more of this than what's really possible. It just seems like a good idea to use an extensible structure and existing technology to get the job done in this case.
Kickaha, in your RW example... why not just put your computer to sleep? I don't think I've shut down my laptop in months.


The Top 5 Jewelry Trends for 2018 are all about being big, bold, and entirely original.
Now that Matt had found his perfect match, he set out to find her the perfect ring. But the journey to get the right ring took a little bit of time and effort.
When Matt met Kimberly she did not seem that into him. "She wasn't like the girls I'd previously dated. So I thought challenge accepted," says Matt... and what a challenge it would prove to be.


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Plot: Members of the James Dean Fan Club reunite to keep a promise made 20 years ago, and discover what time has done to them all.
Release Date: 22nd July.
Format: Dual format Blu-ray & DVD.
Director(s): Robert Altman.
Cast: Karen Black, Sandy Dennis, Cher, Sudie Bond, Kathy Bates, Marta Heflin, Marta Helfin.
BBFC Certificate: 15.
Running Time: 109 mins.
Country Of Origin: USA.
Language: English.
Review By: Paula Hammond
Delicately-judged performances and a heavy-dose of nostalgia which will appeal to many.
Posted July 5, 2019 by Paula Hammond - Features Editor
In a Woolworth's, in a small town not far from where film star James Dean shot Giant, his fan club reunite for an Altman-esque exploration of life, love, hope, and fear.
The film is based on a Ed Graczyk's 1976 stage-play and Altman plays close attention to the source material. The dialogue sparkles while being oddly unbelievable in the way that we tend to accept people talk in plays but never do in real life. For his set, Altman created two 5 & dime stores—one in the 1950s, one twenty years later—separated by a two-way mirror and this simple visual trick also serves to cement the film's theatrical feel.
Naturally the performances are top-notch, with Cher proving once and for all that she can be more than Cher, the 'star'. But somehow it doesn't quite work. Maybe it's the predictable nature of the revelations. Maybe it's the curious balance of the quirky and the mundane—practically Altman's trademark. Or maybe it's the sexual violence which seems out of place in a film that pitches itself as a comedy.
Come Back To The 5 & Dime, Jimmy Dean is a good film. Not a great film. But it comes with a fist-full of delicately-judged performances and a heavy-dose of nostalgia which will appeal to many.
Cher ComeBackToThe5&Dime JamesDean JimmyDean RobertAltman
Paula Hammond - Features Editor
Paula Hammond is a full-time, freelance journalist. She regularly writes for more magazines than is healthy and has over 25 books to her credit. When not frantically scribbling, she can be found indulging her passions for film, theatre, cult TV, sci-fi and real ale. If you should spot her in the pub, after five rounds rapid, she'll be the one in the corner mumbling Ghostbusters quotes and waiting for the transporter to lock on to her signal… Email: writerpaula@icloud.com
More articles by Paula Hammond - Features Editor »
Kind Hearts & Coronets


text:
Q: Average of the inverse distance between two points in a non-uniform disc. Suppose I have two position vectors $\mathbf{r}_1$ and $\mathbf{r}_2$.
The magnitude of both of these vectors are chosen independently from the same probability distribution of known mean and variance. The direction (again for both vectors) is chosen from an isotropic distribution (i.e. uniform in both angular directions).
The quantity I would like to calculate is,
$$
\left\langle \frac{1}{|\mathbf{r}_1 - \mathbf{r}_2|} \right\rangle
$$
There have been various similar posts (see, here and here) which calculate the average distance. However, I am interested in particular case of a non-uniform distribution of points in the radial direction.
Any help or links to literature would be appreciated! Thanks in advance.


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On silliest of this subject, you may have a essay. Should you stick by the rules, although citing sources once you are writing an essay may seem complicated at the start it will become easier. Writing an article can be a challenging task.
You are supplied by the website with a topic on. Usually it is 2 stories that are short or two books but it is sometimes an entire slew of unique things. Many amateur writers find it difficult to compose a composition that's valued by the educator.
Anyhow informative marketing is among the simplest on the web money making job that will not demand much from you. It is an excellent part time occupation but if you work hard in it, you have the chance to do it regular. Internet is the best thing on the hand of this world that person discovered and now-a day folks employing the web for grasping additional advice and collecting the info on any specific topic.