Rumford’s observation of the proportionality between heat generated and work done lies at the foundation of thermodynamics. Heat was not formally recognized as a form of energy until about 1798, when Count Rumford ( Sir Benjamin Thompson), a British military engineer, noticed that limitless amounts of heat could be generated in the boring of cannon barrels and that the amount of heat generated is proportional to the work done in turning a blunt boring tool. The key concept is that heat is a form of energy corresponding to a definite amount of mechanical work. In broad terms, thermodynamics deals with the transfer of energy from one place to another and from one form to another. Thermodynamics, science of the relationship between heat, work, temperature, and energy. SpaceNext50 Britannica presents SpaceNext50, From the race to the Moon to space stewardship, we explore a wide range of subjects that feed our curiosity about space!.Learn about the major environmental problems facing our planet and what can be done about them! Saving Earth Britannica Presents Earth’s To-Do List for the 21st Century.Britannica Beyond We’ve created a new place where questions are at the center of learning.100 Women Britannica celebrates the centennial of the Nineteenth Amendment, highlighting suffragists and history-making politicians.COVID-19 Portal While this global health crisis continues to evolve, it can be useful to look to past pandemics to better understand how to respond today.Student Portal Britannica is the ultimate student resource for key school subjects like history, government, literature, and more.Demystified Videos In Demystified, Britannica has all the answers to your burning questions.This Time in History In these videos, find out what happened this month (or any month!) in history.#WTFact Videos In #WTFact Britannica shares some of the most bizarre facts we can find.Britannica Classics Check out these retro videos from Encyclopedia Britannica’s archives.Britannica Explains In these videos, Britannica explains a variety of topics and answers frequently asked questions.Palladino was keeping easy time and the Roots were steadying the ship, keeping the narrative tight. Mayer was twisting his face and his guitar strings Mr. As he was making his way out of “The Root” and into “Till It’s Done (Tutu),” behind him, Mr. But when D’Angelo did finally arrive on Saturday night, the dynamic was, for the only time all weekend, disrupted. The Roots are a band with two leaders, Questlove and Black Thought, who typically coexist in cool détente. They devoted the early part of Saturday’s set to them, with Black Thought rapping with practiced ferocity, and the band turning its soothing, crisp sound into a balm for the whole park. Given the collaborative setup of these two performances, it was easy to overlook that the Roots have plenty of hits of their own. Byrne made the mystifying choice to devote the overwhelming majority of his performance to unheard material from a forthcoming musical he wrote about Joan of Arc, rousing precisely no one (though this refusenik set was a bold stand in the face of the succinct hit parades delivered later by Mr. On Saturday, D’Angelo was apparently running late - midway through that night’s performance, there was what appeared to be a stretch of genuine stalling, including Black Thought’s humorously mumbling his take on Desiigner’s “Panda,” and a brief, self-deprecating stand-up turn by Dave Chappelle. Rodgers noted that he wrote the song “right down the block.” When introducing Daft Punk’s “Get Lucky,” which he helped write, he told the story of the group’s coming to his New York apartment to solicit his help and ear.ĭespite the ease of the playing on stage, there were some of the usual festival headaches. He and his crew were as nimble as their hosts, in service of an efficient set of king-size disco and funk hits.īefore “I’m Coming Out,” Mr. Rodgers is one of the great pop bandleaders - an antecedent in many ways for the Roots’s Questlove. Rodgers and his colleagues from the Chic Organization. On Sunday, the Roots’s professionalism was met at ear level by Mr. (The sublime bassist Pino Palladino was there, too.) Mayer opened with his Taylor Swift swipe “Paper Doll,” then comfortably eased into his hits “Waiting on the World to Change” and “Gravity,” followed by a cover of “Ain’t No Sunshine.” As ever, his guitar playing was confident and calm, technically impressive and accessible his singing was, well, sung. That was clearest on Saturday, the more casual of the two nights. One of the hallmarks of the Roots’s role in popular music is how the band inspires other musicians to work hard - it’s like a museum you get to visit and also contribute to.
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