February 21, 2022 • 17 mins
Most of us teach, perform and listen to Classical music. Many of us also
teach pop songs or jazz. But do you ever break outside of these walls?
And if you want to teach different types of music, how do you find it?
That's the question we'll unpack in today's show.
Find out more about membership at vibrantmusicteaching.com.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Nicola (00:10):
this is the vibrant music teaching podcast.
I'm Nick . And today we're talking aboutfinding music that you don't normally.
welcome back.
Beautiful teachers.
If it's your first time listening tothe show, please ignore me for a second.
(00:30):
But if you've listened to many, manyepisodes and you have never left us a
review, please go ahead and do that.
Now you can leave a review whereveryou're listening to this podcast,
and they truly makes a difference interms of how many teachers will write.
Today's podcast is inspired by anarticle which was written by Joanna.
(00:51):
This is called five books to takeyour piano students around the world.
I'm going to go a little bit broader andtalk about seeking out music that you
don't normally hear or don't normallyteach, or don't normally play in general.
This is so important for ourstudents, because it helps to make
(01:15):
our studio more representative.
For example, if you have studentsfrom different cultures, you want
to represent their music in yourstudio, to the best of your ability.
Now not everything fits the piano.
So please don't hear that.
I'm saying that all musicshould be taught equally.
There is more music in the pianocannon from a certain perspective.
(01:37):
That's for sure.
But it doesn't mean we can't explore othermusic and apply to the piano and learn
about it in a more general music sense.
When we represent our students' culturein our studio, it shows them that we
see them, that we care about where theycome from and that what we're teaching
them is relevant to their lives.
(01:58):
It's not just about what we say goesit's, um, a more collaborative process.
It's all of us together, allof music, all of the world.
When we teach moredifferent styles of music.
It also helps our studentsand us to understand the world
(02:18):
better and take off our blinkers.
We all have them.
Okay.
No matter how diverse you try to bein your musical tastes or how much you
tried to be inclusive of all differentmusical backgrounds, all that stuff.
I'm trying to do that.
I'm sure you are too, butwe all have blind spots.
(02:40):
It's.
The way it is.
We grew up in a certain area.
We listened to certain music.
We took piano lessons orviolin lessons growing up.
So we have a different perspective.
And while that's great, we do need tounderstand the world and understand
all the different perspectives outthere to the best of our ability to
(03:03):
see where our students are coming fromand to also know where our music comes.
It's all well and good to play somesalsa inspired piece by a current
American composer, for example.
But if you don't know the backgroundof salsa, that means less to you.
(03:23):
You don't know anything about the dance,if you've never seen it, if you don't
know anything about the origins of thatmusic, that's a very different thing to.
So I'm not against music that is bycomposers who are not from the original
tradition, composing it in that style.
I think that's great.
(03:43):
But it's up to us as a performer,as the teacher, as a student, to
look into that and see where did itcome from to be curious about it.
And that will broaden our musicalknowledge and our musical base so that
we can understand the world better.
Ultimately, I truly believe.
World music or music from ed sideof our normal classical European
(04:08):
teaching space can also make themusic more irrelevant to our students.
They are not hearing Mozart.
Well, maybe they arehearing a bit of Mozart.
Let me be fair.
They're not hearing StravinskyRachmaninoff every day.
(04:29):
So what music are they hearingand where did that come from?
If you're a student listenedentirely to video game music?
Well, what's that inspired byif they love music from anime
films, what's that coming from?
What's the tradition behind that?
What inspires that music?
(04:50):
If we start to understand these thingsand relate them back to our students
so they can understand them too,then music becomes relevant to them.
Part of their lives.
They see themselves as musicians andthey see themselves represented in
the music they're learning becauseif we never see, for example, as a
(05:12):
random example, a female president.
We are less likely to imagineourselves as women, as a president.
Now, it doesn't mean it's impossible.
It doesn't mean we can't think big and gobeyond that, but we're much more likely
to see it as something we could do.
If we see someone else like us, do it.
No matter what category we'retalking about, whether we're
(05:34):
talking about gender as I just did,or ethnic background or height.
If we don't see ourselves represented,if we look at basketball and see
all tall people, we don't thinkthat a short person can do that.
And maybe we were right in that case.
(05:54):
But in many areas we could be doing it.
Our students could be doing it, but theystill don't see themselves in that role.
So that's a bit.
Why we're doing this now,let's look for the music.
Where do you look for musicthat you don't normally find?
That's the tricky part, right?
I think you're already on boardeven before my little introduction.
(06:15):
I think you were probablyalready on board weren't you,
but you have to find the music.
Not a so hard.
We know where to look forclassical pieces collections.
We know where to look even for somepop arrangements and stuff like that.
But if we want to go beyond that,where do we look now in Joanna's
(06:37):
post, she is talking about fivebooks and she goes much beyond that.
I highly recommend you readher full article, but she
does list these five books.
And I'm not going to even list themhere because it's the easy answer.
And it's usually the wrong answer.
(06:58):
Those five books would bea great starting point.
Go look up the article, check them out.
But I think we need to break out of that.
I think we need to go beyond lookingfor books, which is really what
Joanna comes to in the end as well.
If we just rely on looking up thelatest publications from our favorite
music publishers and hoping that theycome up with more diverse options.
(07:20):
Well, that's one thing and that's great.
And we should support that effort.
And I believe by those books look into.
If they're relevant for ourstudents, don't waste your money.
But if they're relevant for our students,if we think our students might enjoy them,
or we want to play them ourselves for ourown development, I think that's wonderful.
And that's a great place to start, butI'm not going to list those five books
(07:42):
here because I think in most cases weneed to go outside of publications.
The first step I think you shouldactually take is to ask your students.
I come back to this again and again, inso many areas, because it's so important.
There's no point you seeking outanime music that I just mentioned.
(08:02):
If you don't have students whowatch anime, I do have one right
now who's asked me repeatedly.
And he's being very understandingabout the fact that I'm finding it
super hard to find relevant music.
But if you don't have that student.
If none of your students watch thosefilms or some other area, right.
If they don't have that influence intheir lives, if it's not relevant to
(08:25):
them, then gay, you could still exploreit as a general exploration, but you're
going to do much better with startingwith something that is relevant to them.
So.
And then if you get influencesback, if you get different things,
like one of them likes anime andthe other one loves Cuban music.
Well, great.
(08:46):
Teach that to the student in question andalso mix it around your studio because
that immediately becomes more relevantto that student just because they kind of
know someone who likes that music, right.
This was a request of another student.
You met him at a group workshop, oryou saw them in this concert, or maybe
they've never met each other, but itstill is a direct connection for them.
(09:07):
They can see how someone elsearound their age, from their
area, from their background likesthis and thinks it's relevant.
And that's great.
Now, if you don't have those requestsor do you want to go another direction?
Another great way to go is to lookat the background of the music.
You do know yourself or that yourstudent is currently learning.
(09:30):
So I mentioned that salsa piece earlier,you could go further than that though.
That's quite direct.
So they're learning yourselvesa piece, look up salsa.
I mean, that's a direct connection.
Then you could go back in timeand look at where ourselves that
came from, but you can also lookat things like, say a jazzy piece.
Let's say it's the bluesjust for argument's sake.
So it's a blues piece.
(09:50):
Well, where did the blues come?
It came from the mostwonderful melting pot.
So unpack that, take some differentelements out of it and learn different
things about those components tothat background, learn about the
pace and the time where that musicoriginated, where the style originated.
(10:11):
Take one piece and just go deep into it.
Figure out where it came.
You could also just pick a randomcountry and go super deep on that.
I mean, really just like have aglobe in your studio and spin it and
wherever your students finger lunch.
That's where you're going, unlessit's in an ocean, that's what
always happens in that game.
Right.
(10:32):
But until they lie down tocountry, they can keep going.
And, this idea justoccurred to me on the spot.
Right?
Well, I'm recording thispodcast, but I want to globe out.
I think I'm going to gobuy one after this episode.
I think that could be super.
And then you explore what the musicfrom that country is like the current
music, the folk music, any differenttraditions that came from there or
(10:52):
were inspired by music from there.
There's so many directionsyou could go with that.
So speaking of directions, youcould go, what do you do with it?
Once you find this music tolisten to at least what do you do?
I think we start by trying to decipherwhat makes this music, this music.
Now there's going to besome intangible qualities.
(11:14):
Yes.
But really, if you unpack these things,there's some defining characteristics
about that music that makes it soundlike it's from there or in that.
So explore the rhythmsthat are used on pack.
Those, dissect them with yourstudent, do all of this in the
lesson with your student, explorethe instruments that are used.
This is huge.
(11:34):
And even explore the incident.
That aren't used.
I think that can be fascinating.
For instance, in Chinese music, I'venoticed if you're not familiar, my
husband is Chinese, so I've listenedto a bit of Chinese music, including
a lot of pop music from the eighties.
He's an eighties kid.
So a lot of Chinese pop from the.
(11:56):
Or like pop rock kind of stuff.
And I, for ages, I was listeningto it when we first started going
out and listen to it in his carand going, why do I not like this?
And it wasn't because it was inChinese and it wasn't because of
anything else I kept trying to decide.
It just feels empty to me.
(12:16):
Why does this feel so empty?
And then I realized there was no base.
It was lacking in base.
Now more recent Chinesemusic does include base.
It's much more Western and stuff,but this stuff we were listening
to, there was no pace there.
Just left it out.
Like, what were they doing?
And then you look into folk music,and there's not a lot of bass
instruments in Chinese folk either.
(12:38):
So that's where it comes from.
But to me it felt like, well,this isn't connecting with me.
What is it?
Now?
It could be a little.
In that sense, or it could besomething that's missing that actually
makes everything more interesting.
You can also look at the scales, usethe harmonies used and those kinds
of things to really try and decidewhat makes this music, this music.
(13:00):
And then the next steps you can takedepend on what defining characteristics
you found and what was mostinteresting to you and your student
when you were exploring that music.
So figure out the melody by ear.
That might be your go-toas a piano teacher.
But it's often not the best solutionfor a lot of folk music, a lot
(13:21):
of different backgrounds, becausethe melody is not the main focus.
So it depends on the music, but maybeyou figure out the melody by ear.
Maybe you make a lead sheet out of it.
Maybe they figure out the melody orjust the chords and make a chord chart.
Um, if there are words and make thattogether, construct it together, it
doesn't have to be super precise or.
(13:42):
You know, win any awardsor be able to be published.
It's just for you and yourstudent to do together.
Maybe you compose a piece usinga similar arrhythmic structure.
If it's this rhythm against that rhythmtwos against threes or something much
more complex, you compose somethingtogether using that structure.
And yes, it won't sound like it's fromthat place, but it will be inspired by it.
(14:05):
And it can be a fascinatingprocess to go through and maybe.
Just maybe you can borrow aninstrument that's from that culture.
If you do explore, say Chinesemusic, if you can find someone who
has an actual Chinese instrument,um, a native Chinese instrument,
(14:26):
they're fascinating to explore.
I messed around with some of them, myself.
Or whatever culture you're talking about,whatever instruments you're talking about.
If you can't borrow an instrument,maybe you look up examples of it online,
or you borrow something similar thatmaybe was derived from that instrument.
Um, like if you teach piano usually, andyou're talking about string instruments,
(14:46):
bring in a guitar at least and havethem feel what that feels like and talk
about the difference in the instrumentthat you're actually listening to.
Let's say it's the mandolin.
Well, what's different about that.
How does it work different?
When it comes to exploring music that wedon't normally find seeking out music from
different cultures, from different styles.
(15:07):
It is not easy work.
It does matter though, because it'sgoing to make your lessons that much
more relevant to your student's goingto make them understand where their
music comes from and why it matters tothem in their culture in their time.
So, You can start with books, butI suggest you take the less trodden,
(15:27):
more difficult route wheneveryou can, and really seek out the
music, listen to it, dissect it,understand what makes it different.
What makes it sound like it is that typeof music and then do something with it.
(15:51):
You're one thing this week isto pick a place or a musical.
This could be something based ona student request, but it doesn't
have to be, you can pick at random.
If you like, then what you must dois to do something with it in your
studio, do something, pick out therhythm, make a lead sheet, compose, do
(16:13):
something with that music, explore itwith your students in an active way.
And let me know how you.
I would love to hear from you in thevibrant music studio teachers' group
on Facebook or on Instagram, whereat colorful keys, see you next week.
(16:41):
If you ever get overwhelmed by all thedifferent teacher training options.
They're vibrant musicteaching is the place for you.
We nicknamed flamingos becausethey're masters of balancing all of
the things and making it all workin a way that isn't overwhelming.
We have tools to help you do thatinside vibrant music teaching.
(17:03):
So go to V M t.ninja and sign up today.
this is the vibrant music teaching podcast.
I'm Nick . And today we're talking aboutfinding music that you don't normally.
welcome back.
Beautiful teachers.
If it's your first time listening tothe show, please ignore me for a second.
(00:30):
But if you've listened to many, manyepisodes and you have never left us a
review, please go ahead and do that.
Now you can leave a review whereveryou're listening to this podcast,
and they truly makes a difference interms of how many teachers will write.
Today's podcast is inspired by anarticle which was written by Joanna.
(00:51):
This is called five books to takeyour piano students around the world.
I'm going to go a little bit broader andtalk about seeking out music that you
don't normally hear or don't normallyteach, or don't normally play in general.
This is so important for ourstudents, because it helps to make
(01:15):
our studio more representative.
For example, if you have studentsfrom different cultures, you want
to represent their music in yourstudio, to the best of your ability.
Now not everything fits the piano.
So please don't hear that.
I'm saying that all musicshould be taught equally.
There is more music in the pianocannon from a certain perspective.
(01:37):
That's for sure.
But it doesn't mean we can't explore othermusic and apply to the piano and learn
about it in a more general music sense.
When we represent our students' culturein our studio, it shows them that we
see them, that we care about where theycome from and that what we're teaching
them is relevant to their lives.
(01:58):
It's not just about what we say goesit's, um, a more collaborative process.
It's all of us together, allof music, all of the world.
When we teach moredifferent styles of music.
It also helps our studentsand us to understand the world
(02:18):
better and take off our blinkers.
We all have them.
Okay.
No matter how diverse you try to bein your musical tastes or how much you
tried to be inclusive of all differentmusical backgrounds, all that stuff.
I'm trying to do that.
I'm sure you are too, butwe all have blind spots.
(02:40):
It's.
The way it is.
We grew up in a certain area.
We listened to certain music.
We took piano lessons orviolin lessons growing up.
So we have a different perspective.
And while that's great, we do need tounderstand the world and understand
all the different perspectives outthere to the best of our ability to
(03:03):
see where our students are coming fromand to also know where our music comes.
It's all well and good to play somesalsa inspired piece by a current
American composer, for example.
But if you don't know the backgroundof salsa, that means less to you.
(03:23):
You don't know anything about the dance,if you've never seen it, if you don't
know anything about the origins of thatmusic, that's a very different thing to.
So I'm not against music that is bycomposers who are not from the original
tradition, composing it in that style.
I think that's great.
(03:43):
But it's up to us as a performer,as the teacher, as a student, to
look into that and see where did itcome from to be curious about it.
And that will broaden our musicalknowledge and our musical base so that
we can understand the world better.
Ultimately, I truly believe.
World music or music from ed sideof our normal classical European
(04:08):
teaching space can also make themusic more irrelevant to our students.
They are not hearing Mozart.
Well, maybe they arehearing a bit of Mozart.
Let me be fair.
They're not hearing StravinskyRachmaninoff every day.
(04:29):
So what music are they hearingand where did that come from?
If you're a student listenedentirely to video game music?
Well, what's that inspired byif they love music from anime
films, what's that coming from?
What's the tradition behind that?
What inspires that music?
(04:50):
If we start to understand these thingsand relate them back to our students
so they can understand them too,then music becomes relevant to them.
Part of their lives.
They see themselves as musicians andthey see themselves represented in
the music they're learning becauseif we never see, for example, as a
(05:12):
random example, a female president.
We are less likely to imagineourselves as women, as a president.
Now, it doesn't mean it's impossible.
It doesn't mean we can't think big and gobeyond that, but we're much more likely
to see it as something we could do.
If we see someone else like us, do it.
No matter what category we'retalking about, whether we're
(05:34):
talking about gender as I just did,or ethnic background or height.
If we don't see ourselves represented,if we look at basketball and see
all tall people, we don't thinkthat a short person can do that.
And maybe we were right in that case.
(05:54):
But in many areas we could be doing it.
Our students could be doing it, but theystill don't see themselves in that role.
So that's a bit.
Why we're doing this now,let's look for the music.
Where do you look for musicthat you don't normally find?
That's the tricky part, right?
I think you're already on boardeven before my little introduction.
(06:15):
I think you were probablyalready on board weren't you,
but you have to find the music.
Not a so hard.
We know where to look forclassical pieces collections.
We know where to look even for somepop arrangements and stuff like that.
But if we want to go beyond that,where do we look now in Joanna's
(06:37):
post, she is talking about fivebooks and she goes much beyond that.
I highly recommend you readher full article, but she
does list these five books.
And I'm not going to even list themhere because it's the easy answer.
And it's usually the wrong answer.
(06:58):
Those five books would bea great starting point.
Go look up the article, check them out.
But I think we need to break out of that.
I think we need to go beyond lookingfor books, which is really what
Joanna comes to in the end as well.
If we just rely on looking up thelatest publications from our favorite
music publishers and hoping that theycome up with more diverse options.
(07:20):
Well, that's one thing and that's great.
And we should support that effort.
And I believe by those books look into.
If they're relevant for ourstudents, don't waste your money.
But if they're relevant for our students,if we think our students might enjoy them,
or we want to play them ourselves for ourown development, I think that's wonderful.
And that's a great place to start, butI'm not going to list those five books
(07:42):
here because I think in most cases weneed to go outside of publications.
The first step I think you shouldactually take is to ask your students.
I come back to this again and again, inso many areas, because it's so important.
There's no point you seeking outanime music that I just mentioned.
(08:02):
If you don't have students whowatch anime, I do have one right
now who's asked me repeatedly.
And he's being very understandingabout the fact that I'm finding it
super hard to find relevant music.
But if you don't have that student.
If none of your students watch thosefilms or some other area, right.
If they don't have that influence intheir lives, if it's not relevant to
(08:25):
them, then gay, you could still exploreit as a general exploration, but you're
going to do much better with startingwith something that is relevant to them.
So.
And then if you get influencesback, if you get different things,
like one of them likes anime andthe other one loves Cuban music.
Well, great.
(08:46):
Teach that to the student in question andalso mix it around your studio because
that immediately becomes more relevantto that student just because they kind of
know someone who likes that music, right.
This was a request of another student.
You met him at a group workshop, oryou saw them in this concert, or maybe
they've never met each other, but itstill is a direct connection for them.
(09:07):
They can see how someone elsearound their age, from their
area, from their background likesthis and thinks it's relevant.
And that's great.
Now, if you don't have those requestsor do you want to go another direction?
Another great way to go is to lookat the background of the music.
You do know yourself or that yourstudent is currently learning.
(09:30):
So I mentioned that salsa piece earlier,you could go further than that though.
That's quite direct.
So they're learning yourselvesa piece, look up salsa.
I mean, that's a direct connection.
Then you could go back in timeand look at where ourselves that
came from, but you can also lookat things like, say a jazzy piece.
Let's say it's the bluesjust for argument's sake.
So it's a blues piece.
(09:50):
Well, where did the blues come?
It came from the mostwonderful melting pot.
So unpack that, take some differentelements out of it and learn different
things about those components tothat background, learn about the
pace and the time where that musicoriginated, where the style originated.
(10:11):
Take one piece and just go deep into it.
Figure out where it came.
You could also just pick a randomcountry and go super deep on that.
I mean, really just like have aglobe in your studio and spin it and
wherever your students finger lunch.
That's where you're going, unlessit's in an ocean, that's what
always happens in that game.
Right.
(10:32):
But until they lie down tocountry, they can keep going.
And, this idea justoccurred to me on the spot.
Right?
Well, I'm recording thispodcast, but I want to globe out.
I think I'm going to gobuy one after this episode.
I think that could be super.
And then you explore what the musicfrom that country is like the current
music, the folk music, any differenttraditions that came from there or
(10:52):
were inspired by music from there.
There's so many directionsyou could go with that.
So speaking of directions, youcould go, what do you do with it?
Once you find this music tolisten to at least what do you do?
I think we start by trying to decipherwhat makes this music, this music.
Now there's going to besome intangible qualities.
(11:14):
Yes.
But really, if you unpack these things,there's some defining characteristics
about that music that makes it soundlike it's from there or in that.
So explore the rhythmsthat are used on pack.
Those, dissect them with yourstudent, do all of this in the
lesson with your student, explorethe instruments that are used.
This is huge.
(11:34):
And even explore the incident.
That aren't used.
I think that can be fascinating.
For instance, in Chinese music, I'venoticed if you're not familiar, my
husband is Chinese, so I've listenedto a bit of Chinese music, including
a lot of pop music from the eighties.
He's an eighties kid.
So a lot of Chinese pop from the.
(11:56):
Or like pop rock kind of stuff.
And I, for ages, I was listeningto it when we first started going
out and listen to it in his carand going, why do I not like this?
And it wasn't because it was inChinese and it wasn't because of
anything else I kept trying to decide.
It just feels empty to me.
(12:16):
Why does this feel so empty?
And then I realized there was no base.
It was lacking in base.
Now more recent Chinesemusic does include base.
It's much more Western and stuff,but this stuff we were listening
to, there was no pace there.
Just left it out.
Like, what were they doing?
And then you look into folk music,and there's not a lot of bass
instruments in Chinese folk either.
(12:38):
So that's where it comes from.
But to me it felt like, well,this isn't connecting with me.
What is it?
Now?
It could be a little.
In that sense, or it could besomething that's missing that actually
makes everything more interesting.
You can also look at the scales, usethe harmonies used and those kinds
of things to really try and decidewhat makes this music, this music.
(13:00):
And then the next steps you can takedepend on what defining characteristics
you found and what was mostinteresting to you and your student
when you were exploring that music.
So figure out the melody by ear.
That might be your go-toas a piano teacher.
But it's often not the best solutionfor a lot of folk music, a lot
(13:21):
of different backgrounds, becausethe melody is not the main focus.
So it depends on the music, but maybeyou figure out the melody by ear.
Maybe you make a lead sheet out of it.
Maybe they figure out the melody orjust the chords and make a chord chart.
Um, if there are words and make thattogether, construct it together, it
doesn't have to be super precise or.
(13:42):
You know, win any awardsor be able to be published.
It's just for you and yourstudent to do together.
Maybe you compose a piece usinga similar arrhythmic structure.
If it's this rhythm against that rhythmtwos against threes or something much
more complex, you compose somethingtogether using that structure.
And yes, it won't sound like it's fromthat place, but it will be inspired by it.
(14:05):
And it can be a fascinatingprocess to go through and maybe.
Just maybe you can borrow aninstrument that's from that culture.
If you do explore, say Chinesemusic, if you can find someone who
has an actual Chinese instrument,um, a native Chinese instrument,
(14:26):
they're fascinating to explore.
I messed around with some of them, myself.
Or whatever culture you're talking about,whatever instruments you're talking about.
If you can't borrow an instrument,maybe you look up examples of it online,
or you borrow something similar thatmaybe was derived from that instrument.
Um, like if you teach piano usually, andyou're talking about string instruments,
(14:46):
bring in a guitar at least and havethem feel what that feels like and talk
about the difference in the instrumentthat you're actually listening to.
Let's say it's the mandolin.
Well, what's different about that.
How does it work different?
When it comes to exploring music that wedon't normally find seeking out music from
different cultures, from different styles.
(15:07):
It is not easy work.
It does matter though, because it'sgoing to make your lessons that much
more relevant to your student's goingto make them understand where their
music comes from and why it matters tothem in their culture in their time.
So, You can start with books, butI suggest you take the less trodden,
(15:27):
more difficult route wheneveryou can, and really seek out the
music, listen to it, dissect it,understand what makes it different.
What makes it sound like it is that typeof music and then do something with it.
(15:51):
You're one thing this week isto pick a place or a musical.
This could be something based ona student request, but it doesn't
have to be, you can pick at random.
If you like, then what you must dois to do something with it in your
studio, do something, pick out therhythm, make a lead sheet, compose, do
(16:13):
something with that music, explore itwith your students in an active way.
And let me know how you.
I would love to hear from you in thevibrant music studio teachers' group
on Facebook or on Instagram, whereat colorful keys, see you next week.
(16:41):
If you ever get overwhelmed by all thedifferent teacher training options.
They're vibrant musicteaching is the place for you.
We nicknamed flamingos becausethey're masters of balancing all of
the things and making it all workin a way that isn't overwhelming.
We have tools to help you do thatinside vibrant music teaching.
(17:03):
So go to V M t.ninja and sign up today.
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