Study Shows Talking To A Therapist Isn’t Just Good For Your Head – It Could Also Spike Your Income

Man at the psychotherapist


There are numerous ways to address mental health issues, including exercise, mediation, and turning off the damn Christmas music.

Psychotherapy is incredibly beneficial to mental health. Instead of medicating, just talking to specialist helps people cope with a myriad of issues and can control troubling symptoms that spring up on the regular.

Now, a recent study shows that talking out problems and fears with a specialist might not just be a good long-term plan for fighting off the blues.  Investing in psychotherapy is linked to making more money – especially if you’re a man.

Three professors in the UK crunched the numbers of a British Household Panel Survey data collection from 1995 and 2008. The study included both men and women and “looked both at the effect of psychotherapy on mental health (measured using the general health questionnaire, which is used to identify common psychiatric conditions) and income.”

As the three professors explain in this article for The Conversation, the results are “clear and robust.”

“Psychotherapy helps people improve not only their future mental health, but also their future income.

The BHPS data shows that men who reported having had stress and mental problems, and consulting a psychotherapist, experienced an income increase of 13% in the subsequent year. For women the income increase was only 8%. Though different, the boost is substantial for both genders and reflects an increase in productivity resulting from psychotherapy, with an associated reduction of poverty.”

Though the data shows that more men experienced income boosts, it’s still beneficial for women to seek help and possibly see an increase. Specifically, because women benefit more from the therapy experience.

“In the 13 years of data we examined, an average of 23% of women went into therapy at some point, compared to 15% of men. According to our data, consulting a psychotherapist helps women nearly twice as much as men in terms of mental health (1.2 points versus .5 points on the 36 notch general health questionnaire scale). The logical conclusion of that would be that women benefit more from psychotherapy, but this is not so when looking at income”

Research shows that most people who receive psychotherapy experience symptom relief, making it easier to function every day, and according to the American Psychological Association, about 75% of patients who enter psychotherapy show some benefit from their time under psychiatric care.

Even if you don’t see a bump in your paycheck after talking to a shrink, airing out your concerns and troubles to a specialist is beneficial.

Dating Ariana Grande, however, is not the best course of action.

[via The Conversation]


Synth pioneer Alan R. Pearlman, founder of ARP, has died


One of the great names in synthesis, founder of a brand that helped define what electronic sound is today, was lost over the weekend. ARP Instruments founder Alan R. Pearlman died Sunday the 6th, and synthesists worldwide remember the legacy he leaves.

Pearlman started ARP and was a principle engineer, specifically of the ground-breaking 2500 and 2600 modular synthesizers.

It may be hard to conceive now, but there was a time when ARP and Moog were major rivals. And it’s worth noting that Pearlman was uniquely advanced in his vision. Even as an engineering student in 1948, he looked forward to a time not so far off “when the electronic instrument may take its place … as a versatile, powerful, and expressive instrument” – provided those engineers paid attention “to the needs of the musician.”

And so in 1977, when Close Encounters of the Third Kind imagined an instrument that was far enough advanced to communicate with aliens, they chose the ARP 2500 that was Pearlman’s first commercial instrument. And Close Encounters were far from alone, as even the Martian voices were ARP 2500 produced in Jeff Wayne’s Musical Version of The War of the Worlds.

Other notable 2500 instrumentalists: David Bowie, Jean Michel Jarre, The Who… and Eliane Radigue:

The 2600 was itself legendary enough to be fairly dubbed a holy grail.

The 2600 was in Ben Burtt’s arsenal for Star Wars and Raiders, even part of the sound of R2-D2. And speaking of space aliens, the one Doctor Who variant that matches Delia Derbyshire’s haunting whoo-whoo sounds with some sparkles and badass bass is also made on an ARP (the Odyssey), by Peter Howell:

And while the Rhodes Chroma originated at ARP was hardly a huge success, it is in many ways a template for the computer-integrated workstation-style instruments to follow.

A legacy in music

The range of musicians using the ARP can be told in the company’s own ads – Herbie, Stevie, Billy, Tommy

Remembering Alan

Richard Boulanger notes the unique musicality of this engineer’s vision and the impact it had – and that leading right up to his illness, he kept dreaming up new instrumental ideas:

.Yes, even at 90 and beyond, Alan R Pearlman was still dreaming of new circuits, modules, and controllers!) Undeniably, Alan R Pearlman was an engineering genius. Everyone recognizes that his synthesizers were beyond brilliant. But I truly believe that the heart and soul in his machines drew their spirit and life from Alan’s musical virtuosity on the piano, his truly deep musical knowledge, his passion and enthusiasm for “all” music, and his nurturing and generous support for young composers and performers, regardless of whether they were into classical, avantgarde, film, fusion, rock or pop. He wanted to make something that we could play with, that we could play on, and maybe even learn about music as we played (check out his “Learning Music Through Synthesizers” book and his MSL boxes). Alan R Pearlman created truly playable electronic musical “instruments”. He made aesthetically and ergonomically beautiful instruments, and beautiful sounding instruments. His synthesizers opened our eyes and ears to new sonic worlds

NAMM has an oral history interview

He recalls first seeing the Buchla, and the impact of Moog’s controller approach. The company was named with his nickname (and initials ) – ARP. And arguably ARP’s approach to matrix switching (ARP 2500) and hard-wired control even with patch cord access (ARP 2600) is still valuable today.

Just how modern can the ARP designs be? That was proven when KORG revived the Odyssey recently, with some input from Pearlman, along with a collaboration with ARP co-founder David Friend.

And while we think of Moog and Buchla, ARP also significantly contributed to a lot of the technological innovations of the modern synth, as evidenced by this list of ARP patents (thanks to Synthtopia for spotting that):

Various ARP owners have been posting tributes:

And have long sung the magic of these instruments – here’s Marc Doty, giving the instrument extrahuman autonomy:

Surviving daughter Dina Pearlman shared the news yesterday:

ARP employee Rick Parent shares his remembrances, along with ARP’s David A. Frederick:

David Mash remembers:

It’s hard watching as we lose the generation who created the synthesizer – having said goodbye to Bob Moog, Max Mathews, Don Buchla, and others. But it’s also a hopeful position, as we watch new generations around the world take on innovation, and the instruments these pioneers created reaching a wider range of people around the world than I suspect any of us might ever have imagined. The future isn’t what it used to be – it’s growing. And for that, thank you, Alan.

from Create Digital Music

Find Out What’s Going on Inside Your Steak With This Meat Calculator

Photo: Jason Leung (Unsplash)

For some, meat is mysterious. If you don’t have a lot of practice cooking it, it can be hard to get a feel for exactly how long you should roast, sear, sous vide, or otherwise heat the stuff to render it safe and delicious. Getting a digital thermometer helps, but this tool from MIT can also give you a little guidance.

The tool, which is called “Cook My Meat,” is rather aggressively named, but very fun to play around with. First, you plug in your variables, such as thickness, starting temperature of the meat, and pan temperature. (You would need an infrared thermometer to measure that accurately, but this guide can help you estimate.) You then pick one of the ready-made programs, or set the parameters yourself. For example, if you planned to cook your steak for four minutes on each side, you would enter 302℉ for side one and whatever the temperature of your kitchen is for side two, since one side would be in contact with a hot pan and the other would be exposed to the air.

Screenshot: Cook My Meat

Once you have your information all plugged in, press “Cook” and watch a fun little graph appear. You get to see how heat diffusion affects the meat over time, including when protein denaturation and browning reactions occur. You can also switch the graph over to “Temperature” if you’d like to see that info as well.


The tool, of course, has some limits. There are only three meats to choose from—steak, tuna, and turkey—and none of them are chicken, which seems odd, and it doesn’t account for the variables you would encounter depending on pan material, but it does give you interesting insight into what happens to meat at various stages of the cooking process, and more knowledge almost always leads to better food. (Plus, it’s just fun to mess with, especially if you love a good graph.)

from Lifehacker

‘Black Mirror: Bandersnatch’ releases astonishing behind-the-scenes clips



"There were points where in working stuff out, it got like trying to do a Rubik’s cube in your head, and I had to literally get up from my desk and kind of walk around the house holding my head." 

According to Black Mirror creator Charlie Brooker, Bandersnatch was as mind-boggling to make as it was to watch—and he’s got the behind-the-scenes footage to prove it. 

Just days after Bandersnatch‘s successful post-holiday streaming debut, Netflix has begun publishing peeks into the interactive movie’s making-of process. From producer Annabel Jones lamenting scrapping her production plan on the first day of filming to snapshots of Brooker’s elaborate story boards, the details in these clips explain some of how the ambitious (and experimental) production was pulled off, giving viewers brand new insight into the latest Black Mirror experience. Read more…

More about Netflix, Black Mirror, Charlie Brooker, Black Mirror Bandersnatch, and Entertainment

from Mashable!

Millennials Are Complaining That ‘Seinfeld’ Is ‘Super Offensive’



Seinfeld was a show about nothing. And only in this day and age could a show about nothing be deemed offensive, but here we are ¯\_(ツ)_/¯. The website Bustle, which is owned by Bustle Digital Group and “is the largest premium publisher reaching millennial women,” wants you to know that the TV show Seinfeld is problematic.

The outrageous article is titled “These 13 Jokes From Seinfeld Are Super Offensive Now — Yes, That Includes The ‘Soup Nazi,’” but after reading this trash it should be titled “These 13 Jokes From Seinfeld Are Still Super Funny Now — Yes, That Includes The ‘Soup Nazi.’” For me, the article was poorly written and backed by vague assertions and a lack of any legitimate accusations that the hit sitcom could be “offensive.”

The article declares: “Thanks to more modern understandings of what political correctness entails — and why being PC is important — it’s less common these days to find jokes like the offensive ones that often played out on Seinfeld.” The comedy created by Larry David and Jerry Seinfeld originally aired from 1989 until 1998 on NBC and has been in heavy syndication on a number of television channels since 2002. The harmless television show that passed NBC’s Standards and Practices as well as never receiving a fine from Federal Communications Commission (FCC) is suddenly a scary program that is so dangerous that it should be banned for all eternity.

The article states that the militant-like chef known as the “Soup Nazi” who can decide to serve you bread or crab bisque is problematic because “groups of Neo-Nazis have become noticeably emboldened” and “using the term ‘Nazi’ to label someone as a joke doesn’t sit so well anymore.”

Oddly enough, Bustle uses the term “grammar Nazi” on at least four occasions seen HEREHERE, HERE, and HERE. Apparently, Bustle doesn’t understand that the term “Nazi” is nothing to joke about. He or she that is without sin among you, let them first cast a hyperbolic use of a word for exaggeration to get a point across.

The sitcom is extremely diverse featuring Native Americans, Puerto Ricans, Pakistanis, Japanese, and Ukrainians. The author of the article claims that Episode 17 in Season 4 was offensive because “a journalist thinks Jerry and George are in a same-sex relationship and it’s the basis of a whole episode’s worth of bad jokes.” However, the episode in question titled “The Outing” actually won the GLAAD Media Award (Gay & Lesbian Alliance Against Defamation) for having a positive outlook on gay and lesbian relationships. Not that there’s anything wrong with that.

The writer said the 56th episode titled “The Shoes” is toxic because cleavage is bad or something. If it wasn’t for that classic Seinfeld episode we would have never gotten this pearl of wisdom: “Looking at cleavage is like looking at the sun. You don’t stare at it. It’s too risky. Ya get a sense of it and then you look away.”

For some reason, the stealing of a handicapped parking spot in the 22nd Episode of Season 4 is offensive because it is “icky.” That’s the steel-trap reasoning as to why this episode is problematic. Her words, not mine.

The Bustle writer probably took some fantastic work advice from George Costanza: “I always look annoyed. Yeah, when you look annoyed all the time, people think that you’re busy.”

Or maybe the “outraged” writer took this gem from George.

The fake outrage goes on… yada, yada, yada. While the article fails to actually present any real evidence that Seinfeld is problematic, the article did remind me to go on a Seinfeld marathon and enjoy the comedic genius of a very hilarious and very non-offensive TV show.