What a great song. We've heard a lot of great LED High Mast Lamp songs today by Eubie Blake. And it's interesting, you know, right before he died when he became celebrated with the help, Robert Kimball, of the book that you wrote and the shows that you worked on with him, his songs were kind of regaining popularity again. And then in the past few years I feel like he's been forgotten all over again (laughter) so, you know, I'd love to hear more of his songs back in circulation. And I want to thank all of you for helping us bring back some of his songs on the show today. It's really been so pleasurable to hear them performed. Thank you pianist Dick Hyman, singer Vernal Bagneris, theater historian Robert Kimball. Thank you. KIMBALL: Thank you. HYMAN: Thank you, Terry. GROSS: Our tribute to Eubie Blake was originally broadcast in 1998 as part of our series on American popular song. Performances of the new backstage musical "Shuffle Along" continue on Broadway until July 24. The new album "Sissle And Blake Sing Shuffle Along" collecting 1921 one recordings was recently released by Harbinger Records. (SOUNDBITE OF MUSIC) GROSS: Our tribute was conceived, researched and produced with project consultant Margaret Pick of Pacific Vista Productions with assistance from Terry Bronson (ph). It was recorded by engineer Mike DeMark at the studios of WNYC in New York LED High Mast Lamp and edited by Tracy Tannenbaum (ph). Ann Marie Baldonado did the rebroadcast editing. FRESH AIR's executive producer is Danny Miller. Tomorrow on FRESH AIR, we talk with Larry Tye about his new biography of Robert F. Kennedy, focusing on his transformation from stalwart anti-communist to liberal icon. I hope you'll join us. I'm Terry Gross.

One school that's trying to get it right is the in Oakland, Calif., located in an otherwise bland industrial area out near the airport. In Lighthouse's maker space, , one student has just accidentally glue-gunned a large piece of wood to a table. Oops. Another student is working on a drone prototype made of Styrofoam. There's also a disco ball made with LED LED Street Light and paper cups. Seventh-grader Blanca Hernandez is working on a cardboard doll house with lights and furniture. "You can make whatever you want, and no boundaries — only, like, not LED Panel Light setting things on fire," she explains. "No boundaries on your creativity." Well, the other boundary is that Lighthouse has worked hard to try to link its maker space when possible with what teachers are doing in the classroom. Tanya Kryukova teaches physics here. Her hands-on projects, with help from the maker lab, include a mini electric house project to explore circuits, and cars made from mousetraps and rubber bands. She says she's always asking: How can we apply physics concepts to make these projects work better? "I think for me, the true learning comes in when a learner is curious and asks questions," Kryukova says. "They're trying to find out and they say, 'Oh, so it's like this. This is how it goes.' " But there is a tension. That gets us to the second challenge: As maker space expands into more schools, there are fears it will be corporatized — and watered-down with demands for tests, Common Core alignment, accountability and structure. That's disturbing to a movement that's been marked by largely unstructured creativity and exploration. There's that nagging question: Will a pedagogic approach to "making" suck the joy and soul out of it? Thirteen-year-old Khalil Roberson's take: Remember to keep it a little weird, free-form and fun. "This is just a spring coil," he tells me. "So I'm going to solder right now. I just love making, exploring different things." I ask him: What's the coolest thing you've made in here so far? "I'd have to say the hovercraft. Of Styrofoam, rubber bands and glue gun." Another solution to that challenge, at least for LED Street Light , is to make tinkering, at times, a more deliberate, human-centered activity. For example, one assignment requires students to design and build something for a friend or the wider community to use. Lighthouse's creativity lab director, Aaron Vanderwerff, says this requires students to interview the prospective user of the project "and think about what they are interested in." Then, they "prototype different possible solutions to a problem. Then you can get feedback from your user before you create your final product or process." While they're using the lingo of tech (Focus on the user! Human-centered design!), these students aren't wealthy kids from Silicon Valley. Lighthouse's population is nearly 90 percent African-American and Latino and 84 percent lower-income who are eligible for free and reduced lunch. "Every kid at this school knows what making is and knows what maker fairs are," says Lighthouse's creativity lab teacher, Amy Dobras. "I think this school does a really good job of really 'browning' the maker movement in a lot of ways." And that gets to the third big challenge for maker education: making it not just the purview mostly of middle- and upper-middle-class white kids and white teachers whose schools can afford laser cutters, drones or 3-D printers.

A comparison of the biodegradable stents (n = 5) and the metallic stents (n = 5) under the compression test (A) with maximum 30% compression strain (Initial diameter of the Audio & video cable tie DES and BMS: (B and D) maximum 30% compression load: (C and E).
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Both metallic and fabricated stents were also measured for collapse pressures. The collapse pressure of the metallic stent was 2.53 ± 0.11 kg/cm2, compared to 1.36 ± 0.14 kg/cm2 of the Audio & video cable-tie biodegradable stent (p < 0.001). Figure 5 shows variations in weight of the fabricated stents with time. The weight of the biodedradable stents decreased to 92 ± 1.3% at 16 weeks, indicating that they underwent material degradation over time.

Figure 5
Figure 5
Weight change of the biodegradable stents with time (n = 5).
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The surface of a newly fabricated PLLA stent is presented using SEM in Fig. 6. The surface was smooth, despite some roughness that was due to the mold surface during Audio & video cable the solvent casting process (Fig. 6A). Figure 6B shows micrographs of a fabricated stent after 16 weeks elution in PBS at 37 °C. On surface area, no significant appearances of stent degradation on surface were noted (500X) according to SEM.

Figure 6
Figure 6
SEM photo of the stent surface, (A) before elution, and (B) 16 weeks after the elution process (n = 5) (scale bar = 50 μm).

Dimensions of the stent components and the schematic design for self-lock characteristics. The stent element was cut from the film as shown (A). One side of the element (the strip) was glided through the two slits and rolled into a Audio & video cable-tie type stent as shown (B). Before inflation, the stent can be tied on the preferred balloon size (C). Due to the geometry constrains of the double slits, once the stent is expanded, the strip is not able to slide backward (D).
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Biodegradable nanofibers were prepared using an electrospinning technique. All electrospinning experiments were carried out at room temperature. PLGA (240 mg) and rapamycin (40 mg) were first dissolved in 1 ml of HFIP to electrospin nanofiberous membrane tubes. After electrospinning, the tubes of electrospun nanofibers were then hand crimped and mounted onto the PLLA stents (Fig. 2). All of the biodegradable drug-eluting stents were placed Audio & video cable in a vacuum oven at 40 °C for three days to let the solvents evaporate.

Figure 2
Figure 2
The biodegradable stents (A) before and (B) after expansion by a balloon (C) expansion on plastic tube (Scale bar = 15 mm).
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Group A (n = 12) were biodegradable stents with rapamycin loading; and group B (n = 12) were stents with no drug loading; and group C (n = 6) were BMS (Gazelle, Bare Metal Coronary Stent, Biosensors Europe SA, Switzerland) with rapamycin loading.

The fact that light could be polarized was for the first time qualitatively explained by Newton using the particle theory. étienne-Louis Malus in 1810 created a mathematical particle theory of polarization. Jean-Baptiste Biot in 1812 showed that this theory explained all known phenomena of CATV splitter polarization. At that time the polarization was considered as the proof of the particle theory.

　　Wave theory

　　To explain the origin of colors, Robert Hooke (1635-1703) developed a "pulse theory" and compared the spreading of light to that of waves in water in his 1665 work Micrographia ("Observation IX"). In 1672 Hooke suggested that light's vibrations could be perpendicular to the direction of propagation. Christiaan Huygens (1629-1695) worked out a mathematical wave theory of light in 1678, and published it in his Treatise on light in 1690. He proposed that light was emitted in all directions as a series of waves in a medium called the Luminiferous ether. As waves are not affected by gravity, it was assumed that they slowed down upon entering a denser medium.[32]

　　Christiaan Huygens.

　　Thomas Young's sketch of a double-slit experiment showing diffraction. Young's experiments supported the theory that light consists of waves.