If you are willing to do it manually, I would highly recommend using Reaper instead. Both Audacity and Reaper have learning curves to them, but Reaper has dramatically better tools for seamless transitions. You are more likely to end up with clicks and pops in Audacity (or pay a steep price in time fiddling around at the microscopic level of the waveform).
From the research paper:
a) Comparison of wt and mRFP-modified major ampullate silk fibers rolled on a capillary glass (scale bars: 550 µm).
b) Strong red fluorescence can also be seen in the major ampullate gland (scale bar: 277 µm).
c i) The genomic implementation of mRFP into the major ampullate silk was confirmed by amplifying the mRFP DNA sequence extracted from the spider’s leg. Only those spiders with red fluorescent silk (scale bar: 138 µm) showed the mRFP sequence-derived signal in the agarose gel.
C ii) Total-RNA was extracted from the glands, reverse-transcribed, and subjected to R-TqPCR and a melting curve analysis showing a peak at 83°C and 87°C based on a small and a large, amplified fragment.
I think it’s 100% a didgeridoo, but one that has been molded into a shape superficially resembling a saxophone.
As a longtime didg player, I can tell you that the thing that makes this absolutely worth every penny is not how light it is, the paint job, etc, but the fact that it can hit so many “hoot” notes (what they call “trumpets”), and that each hoot note is tuned to be in the same scale as the main drone.
Most didgeridoos have only one, or maybe two hoot notes, but I watched some other videos of these things being played, and I’m seeing four or five hoot notes, in addition to the main drone.
At that point, it’s starting to grow beyond the realm of wind percussion instrument, into something that can play melodies.
I think you actually nailed the point perfectly. Part of the social contract is that an employer will provide enough money to meet the basic needs of the employees. When the employer fails to do that, employees can feel like “wage slaves”, or prisoners, who are being mistreated.
“We’ve had to limit our food anyway,” said Valdivia. “So basically you are kind of starving us, Kaiser.”
I recently produced a radio drama on what life was life before we had child labor laws, and how they came about. If you’re interested, it’s called “Florence Kelley, The Children’s Champion.”
I think it’s more accurate to say that a brain refusing to bring up a certain memory, is what makes it a repressed memory. “Recovering” a repressed memory can happen as part of trauma therapy, or it might happen by itself years later.
Trauma itself causes incredible changes in the brain, in some very non-intuitive ways. The brain has a number of different strategies for protecting the person, the “self”, from unnecessary suffering, and it doesn’t let go of those defense mechanisms until “it” feels safe to do so.
Honestly, out of all of the ways that the brain can respond to trauma, repressed memories is one of the simplest and easiest things to understand.
The fact that false memories can also be demonstrably created… Well, that muddies the waters a bit, it makes things more complicated to sort through, but it’s entirely reasonable to assume that there is a mechanism for memory repression, and there’s also a mechanism for creating false memories.
As an example, in Reaper, you can add a reverb effect to a section that you are looping. Then in the Render dialog, enable the “second pass render” option.
That chunk of audio that it renders, will become a perfectly seamless loop in itself. The reverb tail that would have gotten chopped off at the end of that render, will continue on with the start of the render.
At that point, if you didn’t really need the beginning and end of the song, you can have that chunk of the song that seamlessly loops forever, when played on repeat.