There's a lot going on in this world you're never heard of, Jimmy.
Sounds like you didn't bother showing up for the exam or something
No - that was the math paper: I showed up, signed the paper, then handed in two blank sheets of A4 and walked out the door.
So my final grade for math was
NG.
So you were close, but still no cigar.
I had no issues about flunking math - I had a crazy violent bastard of a teacher. John Cotter, he had (funnily enough) two mustaches: one regular wide one with another Hitler-like one sitting on top of the wider one. Whenever he thumped me, I laughed at him and called him Adolf. He hated my guts, which was fine - I was hardly his biggest fan. But for all the thumps he gave me over the years, I gave him one back after he followed me out of the examination hall. He demanded to know what I was doing, so I replied that I'm walking out of the exam: fuck you, fuck math, and fuck you again.
He grabbed my hair after I turned away so I turned around again and smashed him on the bridge of the nose with a right-hander. I stood my ground and he got up saying he was going to call the cops. I said that seemed a good idea. Hitting your pupils was by then finally made illegal. No cops, no tears goodbye, no celebration. Just the feeling of happiness knowing I'll never see the cunt again.
Which turned out to be incorrect: one time I was passing through Inchicore and spotted his baby-blue VW Beetle parked outside a barber shop. So I took a peek in but he wasn't there. Then I spotted a set of door-bells for the flats above the shop: one had his name on it, so a few days later I got an old tin of red oil paint from the garden shed and went back to Inchicore: the car was parked outside, so I took the lid off the paint and used a corn flake box to cover it, then placed it carefully on the roof of the Beetle, slid the cardboard out from under the tin, cleaned up any drips, then left.
So at some point he spotted the tin on his roof, probably lifted it up and then the contents drenched his car.
VNI 566 - that was his registration number, don't ask me how I remember it but I do, and I'm by no means a numbers man: math bores the hoop off me.
But I've never once been called on to use Pythagoras's theorems any more than I've needed long division, multiplication, or equations.
As a professional drummer, I have my own way of counting things. The options are infinite. But what matters most is 'owning' time. The slight variations that tell you that this is a human being playing, not a metronome. Many drummers fail in the studio because the can't summon up the same looseness of time for a recording as they might do for a live performance. These aren't just different ways of doing things, they can also be programmed on digital drum machines like my Roland Human Rhythm Composer, which has a chip/function that few other drum machines have: you can program it to make 'human' errors in timing, dynamics, and volume, among other things. When it's set to random, it sounds just like a real player playing real time sans metronomics.
Of course, not every rhythm is a strict 4/4 measure with half-notes and quarter notes - even down to sixteenth and thirty-second notes.
Some are odd-time signatures: 5/4 (just like a 4/4 except you add another beat) or sevens (definitely my favourite odd-time signature) or like this video: which has two different sections in a loop: the first is a 9/8 (X4) and the second is a 13/8 (X2). The drummer here is Mark Guiliana, a Berkley graduate. On bass is Jasper Hoiby and on piano is Ivo Neame. See if you can count along in time. See if you can nail where the changes from ninth to thirteenth notes are.