I want to talk about robust first computing, it's what I've been working on, and show a demo of the demon horde sort, which is a particular approach to sorting that exemplifies this robust first idea. This is a research notebook video, meaning it's kind of rough. I'll try to make it quick, but it'll probably go on a little bit. All right. This is not the topic for today. This is just the setup as quickly as possible. We invented computers. They were incredibly expensive and very weak, and that created a culture of focusing just on getting the program right and making it as efficient as possible. Now we have computers that are extremely cheap and less weak, fairly powerful, and that culture of correctness and efficiency only, CEO software, is creating incredible security problems, the security nightmares that we're living with today that we kind of think they're sort of normal when in fact they're crazy, and in addition the fundamental architecture of a CPU, a central processing unit, one thing that directs everything in a vast random access memory that just does nothing except for remember stuff, is running out of ability to scale. We scaled that by speeding up the clock, the clock speeds getting about as fast as we can do conveniently, and so we need a new approach, and the new approach I'm suggesting is robust first computing, and I take that so seriously that that is meant to mean it's more important to be robust than it is to be correct. It would be nice to give a correct answer if you can, but it's more important to give some kind of answer and have it be close. If it's not exact, it'll be close. With CEO, with correctness and efficiency only, the idea of getting close doesn't even come up. If the whole idea of correctness and efficiency, the way it works is the later steps trust that the earlier steps got it right, and that nothing changed in between the time the earlier step did whatever it did in the time the later step uses it. But if there's a bug, if there's an attacker, if there's some hardware unreliability, anything that could cause that assumption to be violated, then we ask the question, well, how bad could this computation go? If this guy is assuming that this thing is good, and it's not, how bad off might we be? With the CEO software approach, that question never comes up, and that question needs to come up. So if we think robust first, we say, let's make sure we're in the ballpark, and then try to get it dead on. All right. The movable feast machine is this architecture I've been working on. If we're saying we're not going to use the central processing unit, we're going to have lots and lots of processing units spread out in space. The architectural goal is to be able to take this computational model and scale it indefinitely large, that we can keep on adding more and more computing power to it as long as we have money to buy the nodes and power to power them in space, real estate, to plug them all together. To do that, we need to focus on robustness. This computer potentially could be so big we cannot finish it before we start using it. We're going to be able to plug in more stuff while it's going. It's going to be so big that some fraction of it's going to be getting repaired or crapping out one way or another as we go. The computations that we build have to be inherently robust so that we can slap this stuff together and make it work. Okay. See what it looks like. I don't know if this is visible or not. This is a grid here. The movable feast is this version is a two-dimensional grid of individual sites. Each site can hold a small amount of information on the order of dozens of bits, perhaps, or hundreds maybe, but not on the order of kilobytes or megabytes. But in addition, each of the locations, each site has a certain amount of processing power so that we can have a bunch of things going on at once. In each site, it can either be empty or we can have an atom, one atom. Here's an atom. It's called DREG. It stands for Dynamic Regulator. Now, when this guy takes his turn, whenever he wakes up and says, okay, compute, what he does is he looks at his neighborhood and decides what to do according to the behavior rules of DREGs. The way we program this thing is by building elements. We say elements of type DREG. When they behave, they do this. Elements of type REZ. When they behave, they do that and so on. Build elements, we make them up. We build their behavior functions and we come up with configurations to do some useful computation of some sort. When a DREG atom runs, when any atom runs, it's not like they can access the entire grid. There is no global origin on this grid. There's no zero zero. That's why the grid fades out at the edges. From the point of view of a given atom, he is zero zero. She is zero zero. Indexing is all relative to the self and it's very short range. This diamond shape is called the event window. That is the limits of the number of sites that this guy in the middle can access when he executes. There's 41 sites total. They're all within a distance of four, counting in city block distance. Four straight, one, two, three, four, one, two, three, four, magnet turn and so on. When this guy in the center is executing, he can read and write to the event window arbitrarily. Once he gives up control at the end of his event, then some other guy gets picked and he can read and write the event window, which might be overlapping, might be completely separate. The movable feast machine as a whole can be executing many events simultaneously as long as none of their event windows overlap. This guy is all alone in this picture. Here's perhaps a more realistic little thing. We've got a few other atoms of some sort. Now, the way DREG specifically works, because we're going to look at it in a second, is this. When it acts, when it behaves, it looks north, south, east, or west. One of those locations picked at random to see whether it's empty or occupied. And for example, suppose it looks north, it's empty. When it's empty, it picks some random number and with some low odds, it will create a resource atom. And then I'm called REZ in that spot. And with a very low probability, instead of creating a REZ, it'll create another DREG. So DREG can reproduce into empty spots, but it's very low odds. On the other hand, if it looks in a direction, in this case, if it looks west, it finds it's occupied, it picks a different random number with a different probability, and maybe just erases the thing, whatever it is. And that's basically its rules. And then whatever it did at the end of the step, it diffuses. It considers moving randomly one square north, south, east, or west. Assuming it can. Assuming it's not all boxed in. And in general, diffusion respects whatever constraints there are on the local layout. Okay? That's it. That's the DREG rule. So can you imagine if you started with a piece of grid with one DREG in it and you let it start to have events, what would happen? Let's take a look. Here's a grid. It's a simulator, so it's a finite grid. We've got one DREG in it, and we'll start it up. So there, it was just diffusing around. And eventually, it will get lucky and decide to make something. Now, there's, you can't destroy anything because it's the only thing that there is in the universe there. It made a res. The res does nothing. It just floats around, just diffusing the way everything does unless it actually stops itself from diffusing.  But it's just warming up. Let's get rid of the grid because it gets visually a little crowded. We're artificially slowing this down so that we can get a little clue what's going on. Let's let it run at its natural speed. And you see what starts to happen. If we, if you can read these numbers over here, there's currently two, one, one, there's 50 res, 60 res, and so on. Overall, there's 18, 19% of this little grid is occupied by something. If we let it run, given the particular probabilities I picked for creating stuff versus destroying stuff, it's basically twice as likely to erase something if it sees an empty spot versus, I'm sorry, if it sees an occupied spot versus creating something if it sees an empty spot, twice as likely to destroy as to create. And that tends to make it float around a third of the sites in the grid occupied. So now we're at 32%. It'll end up going a little above a third 35%, something when it reaches equilibrium. Okay, so is this what you predicted?  Well, so what? Well, the idea is this is a basic regulation of free space. One of the essential things about parallel computing is you have to deal with deadlock, crowding, cues full, and so on. In this robust first approach, this particular demonstration, we're saying, let's just deal with that by putting in this lower level that keeps the world about one third full. And if it gets much more than one third full, the dregs are going to tend to see occupied spots, so they're going to be throwing their erased shots more than their create shots and so on. If the world gets empty, they'll see more create shots and so on. But we can do more with this. Suppose I put in another element. Okay, this is a guy that will talk about more in a second. He's a sorter, the demon horde sort, but one of the behaviors that he's got is he looks around himself when it's his turn to go and if he sees res, he converts them into more sorters. Okay, so if we let this run just for a brief bit, the res have been taken over. Now if we let it run, we essentially virtually never see any res. They're still getting created by dreg, but then they're getting converted into sorters essentially immediately. And this is the idea. We can take a dreg in red base, dreg and res base and build things on top of it that will compete for the available resources and that will they will automatically keep their total populations or control because they can only get as big as the number of resources. Okay, well, let's see a little bit more about what sorters do. This is a cartoon of the world of a sorter. Okay, we've got a sorter guy in the middle. We've got the event window around him and it's got these four areas, these little two by two things that are just part of the sorter's world view. And what the sorter is trying to do is move data items, which are these blue atoms and the data items for purposes of this demo just carry a number like from zero to a million or something or zero to 100 in this picture. And what the sorter does in addition to looking around for res to convert into more sorters. He looks at to his right and up to see if there's a number that's bigger than the number he's carrying. Because that's a number we're going to try to sort smaller numbers up bigger numbers down. So if he sees a bigger number above him, he would like to move it down. If he sees a smaller number below him into the right, he'd like to move it up and to the left because in all cases, we're going to sort from right to left. So in this case, the 79 is bigger than the threshold. And so he'd be interested in moving it down. The 24 is smaller than the threshold. He'd be interested in moving it up. But the destination for moving it up is all currently occupied. But we've got an empty spot. So what the sorter decides to do is take the 79 atom, copy him down to this empty spot, erase him from where he used to be. So in effect, moving the 79 right to left and moving it sort of a little quantum, a little increment of sorting. And then as the final step, the sorter updates its threshold to be the value of the atom it just moved. So at the end of this event, the 43 will have changed to a 79. And then he will come be comparing other things to 79. Okay, so that's sort of a little bit like a in a bucket brigade where you're not trying to do the entire sorting job yourself. You're just trying to make things a little better. And by making the spatial assumptions saying that we're going to sort from the right to the left, small is up, big is down. That allows the individual sorting element to make things better saying, Well, okay, given our base assumptions about geometry, I can say with some confidence that this guy should be lower than he is. Because why? Because he's bigger than my threshold. What does that mean? Well, my threshold was set by somebody that went through recently. So this guy is bigger than someone who went through the guy who went through immediately previously. So that's how the sorting works. Let's take a look at it. So here we've got a much bigger grid than we have last last time. It doesn't look bigger because the atoms are all drawn smaller. And so on the field, there are these little eggs at regular intervals. Each consists of two sorters and two dregs. If we look on down, there's more and there's more here in the middle. Another egg. In addition, there's this guy who's an output guy. And the idea is we're sorting right to left. So eventually the data guys will reach the left.  In our case, it's just going to score them. It's going to say, Well, I know what numbers ought to be coming here and we'll check to see how well the sorting is going. Similarly, over at the other end on the right, we've got an input guy. He's going to generate data just at random for purposes of this demo to be sorted by the demon horde sort. And the guys in the middle are the demon horde. Demon in the sense of like Maxwell's demon, if you get, you know, just making distinctions based on temperature. Here we're making them based on data. All right. Now, if we just had the one input guy and the one output guy, it would be everything would get incredibly clogged up around them. Number one. And number two, it would be a single point of failure if something went wrong. So when I start this up in a sec, it'll be a little confusing because a bunch of stuff will be happening at once. But the first thing you'll see is the input grid will spread because in addition to creating inputs, the input elements are designed to look above, look below. And if the spots where there should be another input guy are don't have an input guy and they're empty, it goes ahead and puts a new input guy there. And the output grid makes a denser row of two. So we'll see the grids grow as the input grids grow, they will start generating data, the blue atoms, and then the sorters will do their diffusion and the drag will do their diffusion and create res and so on. So let's take a look at its behavior. All right. So pretty quickly, we've now got a full stack of green input grid guys, they're spaced every other spot, which produces the maximum amount of room in the grid for datum to be added. You can still see some of the yellow guys, those are res because the density of sorters is so low that it takes a little while before sorter notices gets into the event window of a res gets into the event window of the sorter. Now, we're not doing very well. If we look at these things, I guess we haven't even gotten any data here. This period works in groups of 500 and we haven't gotten through one yet. But, you know, the input grid is completely clogged with data and very few have actually gotten to the output yet. But the thing, it takes a while for the machine to warm up. We've got 17% of the entire grid occupied. Once again, just because like this is drag controlled underneath, the machine will settle in at around 35% occupied, plus or minus a bit. All right. So now we've gotten some data. The sorting error is seven positions on average. That's pretty bad. So that's each of these output guys knows about because it knows the range of numbers coming in. So it expects that it should be getting its proportionate numbers. And if it's off by, if it should be the neighboring guy, that's the sorting error of one off by two guys and so on. So a sorting error of, well, now it's down to five is, you know, better, still not very good. The categorical error is the number of data items that arrive more than eight off in either direction, sort of like a, didn't even get high, medium, low, correct, sort of. And we'd like that number to be very small. But all right, let's let this run quicker and start to equilibrate a little bit. The overall grid occupied site density will rise. We also can focus on the delivery rate, which is the number of data items that got injected by the grid versus the number of guys that got removed by the output side during a given period of time. That number can be bigger than 100 because we might have a bunch of guys who were sort of buffered up in the grid that ended up getting drained out in the next period. But if the machine is working well, the delivery rate, on average, will be essentially 100%. Now we're doing a little better. The sorting error is like down to about three and a half positions on average plus or minus. It's not too bad. And the categorical error is a tenth of a percent, sometimes never over the course of 500 step period. Not too bad. Now the point of all of this is, well, it's still not equilibrating yet. So now we've got a sorter that, by its very nature, that the data comes in whenever it comes in and gets hauled through and out, that it's not even clear what correct would mean. I mean, the way the output grid is scoring it, it's relying on its knowledge of zero to a million as the possible range of numbers. And the first guy is assuming he should be getting zero to whatever. And the last guy is assuming he should get whatever it is up to a million and so on. But it could be the case that the input grids, because the guys are generating random numbers, might have a whole bunch of guys in a row that are all from zero to 800,000 or something and none bigger. And what are the sorters in the grid to do? Well, what they're going to do is they're gradually going to send those 800,000 guys all the way to the bottom, because they're the biggest thing that they're seeing. And that's going to end up scoring some error from the point of view of the output grid. So the entire formulation doesn't even exactly amenable to perfectly correct solution. But it's a very natural way to judge, are we getting closer? Are we getting further away? And this thing is embarrassingly robust. Unlike the correct first CEO approach, where you do something once, remember it and then trust it from then on, which leaves you vulnerable if whatever you did was wrong or corrupted. Here, we are continually in the process of recreating ourselves.  I don't remember exactly. If we blast it, you can see what are there's a bunch of hits. What happens to the sorting errors we get to the end of the next period? Didn't notice categorical error was higher. Actually, the occupied site density dropped because we can be corrupting bits that actually cause sorters to no longer be sorters or data no longer to be data could to be illegal types of atoms. And they just get erased. Doesn't matter, system recovers.  There we go. So just blow a hole in the corner. And what happens is, well, the output grid reestablishes itself because that's part of its normal business. And the data all sort of collected the leading edge of the damage because they don't have any sorters to pull them through anymore. But very quickly, the sorters diffuse in from elsewhere. The drag comes back in and the machine rebuilds itself. And we can do something even much more radical. We can blow like two thirds of the entire machine away. And again, now the scores definitely categorical errors up to a third sorting errors. Terrible. The thing is getting all jammed up here. So it takes a little longer to recover. We can look at this variety of ways. So so this is it's fairly well recovered again, that's a little bit anemic. The sorting grid hasn't reestablished itself, but it's doing a pretty good job considering it was a pretty major insult to the system. All right. One last point. I've made this grid so that it's about twice as wide plus some as it is high so that I mean, if datum of really big datum starts at the upper right, he's got to cross all the way down to the bottom before he can be sorted right. And similarly, the lower guys need to go up. So the amount of width affects how well we can sort. And actually, if we look here, this is a picture that's showing just the sorters. But instead of showing them as red, it shows them colored by what their threshold is. And we can see that near the input grid, there's lots of different colors. But as we move from right to left, the colors get more and more laminar, more and more uniform. And, you know, it looks like there isn't a whole lot happening in the last third of this grid. The colors seem fairly uniform.  So if we want, we can start stealing resources from this sorting thing. And again, this is not, you know, a cooler thing. Instead of having the input and output grids nailed to the floor like this, we'd have some kind of movable bag that all this sorting would be happening in. But just for purposes of this demo, I've hacked this up. And if we start stealing space from this thing, the machine adjusts. Eventually, it's sorting performance starts to degrade. But now we've got all of this space over here, there's still events happening here. There's just nothing there doing anything. And, and if we want, we can put it back. Alright. So that's it. A sorting machine that essentially can't not sort. It's got no real beginning. It's continually rebuilding itself at this basic level. Maybe we should turn it off. Okay, so that's it. This is obviously a different way to compute than the way that we've gotten used to it. But in a way, it's a lot more like how society computes. All of the stuff that we do in the world tolerates these little errors. The idea is that each computing element, instead of assuming that everything else is absolutely perfect, should assume that everything else is trying, but might not be perfect.  Thanks for watching.


Homemade cheesy scallop potatoes. Let's make it. Peel your potato, make it look like that. Get your tater sliced thin. Keep them submerged in water while we make our sauce. Half stick of butter, cream cheese, one cup of milk, Swiss cheese, mild cheddar cheese, second cup of milk. Gonna need some velvita. We're gonna go for about half. I almost forgot. We gotta put some onion in. Now we're at our danos.  One more cup of water, so that's three total. Milk. You know we gotta add a little bit of the red top. Now we go into our 450 degree oven. It's been 20 minutes, way far from being done. Now it's been 40 minutes. Maneuver these around. Top it with our aged cheddar blend. Back in we go. Those are made to perfection. Yum yum, get you some of that.


Just simplify it for people, like I knew Cauvery calling was happening but I knew that okay it's something about saving Cauvery but after coming here I got to know that it has a lot to do with trees and you know planting trees and Soil and farmers and the economic rural economy big time that is the main thing actually. See what's happened is this, we have more agriculture from traditional ways of doing things where people had the wisdom to understand without keeping the soil quality there is no agriculture. Somehow we lost this wisdom because of commercial forces and certain Lakuna in the policymaking. So one thing that happened is because machines came, animals disappeared. Animals became a burden for people. People did not retain the knowledge of how to use the animals in the farm even if they don't work. Even if an animal doesn't work for ploughing and things like that even if a machine is being done by those things still an animal could be hugely useful. If you just use the dung and the urine of the animal above an animal a lot can be done on the farm. But right now what we did was just go for chemical fertilizer because somebody campaign and advertise their products and because of this because of excessive chemical usage or salts chemical fertilizers are essentially salts because of excessive salts we are killing the microorganisms in a very massive way. Because of that the land has become fallow. Forty-two percent of Tamil Nadu's land has become declared fallow. So agriculture has become a great challenge. Thousands are committing suicide not able to not able to understand really why their life has become like this. Fundamentally it is the fertility of the soil is gone because of that the water is gone and they're becoming dead ridden. That's the thing. So the solution for this and the Kaveri is drying up. Kaveri drying up is only an indicator for me that's not the source. The real thing is the soil is dying and the farmer is dying because of that. Because of that the river is also dying because the soil is going like this. You were talking yesterday about something about trees being because for us a forest station or planting trees always means it's immediately related to forest. So you were talking about how to plant trees and how it's actually useful for the farmers. If you're not talking about a forest station at all this is not another tree planting campaign. This is agroforestry a different way of doing your farming and this is not new, this is not rocket science. This is something traditionally our farmers have always done which they have forgotten in the last thirty-five-forty years because of commercial campaign. Now we're just trying to put it back the way it was that there must be substantial amount of trees on a tropical land otherwise the rain water that comes down upon us which is the only source of water will not percolate into the land. It is flowing on the surface because it's flowing on the surface. There's an enormous amount of top soil which is just going away with every rain and they're saying something like sixty-five billion tons of soil is being eroded per year. This means in another sixty years we will hardly have any top soil in the world not just in India. So this is a serious issue and India it is much more because the human footprint on the land is heavier in India than almost anywhere in the world.  Because people who live in the city they don't understand if you do not allow a farmer to cut his tree why will he grow it? That's why he's not growing it because there is such policy and there is such activism in the country. We must understand somebody is willing to invest his land only if he's able to use the produce otherwise why will he do it? Now I'm talking about raising two hundred and forty-two crore trees. You think you can ask the farmer to raise these trees to save the world to save you in the city? Yeah. Not going to work? Yeah. We're talking about his economics. His economics will improve phenomenally. Now he's going to do it. That's what Kaviti calling is about. It's an economic plan with a significant ecological impact. That is why it will work because there is economic benefit. Otherwise you can preach as much as you want. In the city you can blog, you can be an online warrior and you can grow trees on your phone screen but that's not going to help. Though this whole, you know, impact that we are having on nature and on all the natural species around us, it goes more than just an action, right? It is in consciousness, right? Like there is... there's... If we are conscious, one thing we need to do, if you're really conscious, one thing we need to do is contain human population. We're nice but we're too many. Nobody wants to address this because everybody wants more people on their side. But don't you think that because of this, like the human consciousness is so constricted, it is so to only self that it's... Nobody is even connecting. There has to be a connection for us to even feel that there has to be some kind of expansion. So I'm saying you're doing all of this and then finally we are giving all of this to a world which has such constricted consciousness. Is it going to... All my life, my work is about raising human consciousness. That's all I've done. Environment is just a small outcome because we have managed to raise human consciousness in a big way in nearly a billion people across the planet. Now we are doing a little ecological work, all right? But the main work is the inner ecology of the human being. That's all my whole life is about. But you think that human consciousness has actually risen? Oh, yes, definitely. Otherwise you think you would find so much support across the world right now. Including United Nations is supporting us big time. All the governments are supporting.  Maybe not totally. So you be part of this and make it happen, huh? Yes, thank you.


Mixion's the best. Oh, we man glitched them already man turf.com man turf.com tonight Man turf.com man glitch already waddle first touchdown of the year Jalen waddle, baby First game mutt. Let's go Jalen Ramsey. You see him right there top three the other two guys were Planked out. This guy's got Trayvon Walker AJ Brown. We're the better receivers in the league. Let's see. Let's go. Let's go Let's go. I don't think uniforms give Kems. I put them on it and change anything. I don't know Don't know for sure boys. I am in the Eagles defense of playbook in Tampa Bay offense Tampa Bay offense e-book will be out.  We have 44 dolphins. I believe Single back and I like dollar. I like this dollar mug three two mug out of the eagles playbook. I like it a lot See how wide the dns are. I kind of like it now when we get pounded on the ground. Maybe Darwin oh Yes, that's right Let's go zaven Howard. Let's go man. He was a little nervous right there I mean dude That blitz like really like work can't lie blitz is like that really don't work But they work there. It's like he's running at something similar a little man-to-man blitz here He is Let's get the ball to Joe mixing. Let's go mixing. Oh, I believe I have jukebox on mixing got it. Oh, let's go mixing Mixing might be a beast, bro. He might be a beast might be the must-play card really Mixion's the best. Oh, we man glitched them already man turf.com man turf.com tonight Man turf.com man glitch already waddle first touchdown of the year gently waddle, baby Don't don't have cover three cloud. Maybe this isn't it I'm goaded goaded. Yo, his name is scooper scorer. Thank you J. Spauldin. Thank you. Thank you, man You know I'll try you know, then I made it to the end zone. I thought that was a great play The camera cool, but like bro, that's low key dizzy Let's go wilson Yeah, they turn the commentator off this year. No commentators There you go bossa.  Oh my god. Oh my god escape artist I thought I could you know, I ain't running that content at all, bro I thought I'll run them bro. I really thought play on he got something to prove, bro Come on Mason. You're the only one with an ability on my deal. That was my man. That was my man. My bad. I Is my bad. I have no idea what the move is. I'm just calling defense right now It was hard the play art confused me because like everybody was so tight to the line like in like compression didn't Damn, he should I get bagged? No, I don't have none. Uh-oh. Uh-oh waddle I got tarry kill with a speed boost too, bro I'll learn how to spin. I'll be cool, bro. Tell me the three four is back. The three four is back confirmed Waddle, I'm looking at you kid for a touchdown waddle.  I can't lie. I'm like, I actually having fun This dude's not having much fun, but you know Ramsey The tiger kill bro, right to him. No, wait. That's where the boy could have went anywhere. That's where right to my man, huh Come on, man.  Don't really know now. I'm about scooping score, bro.  I'm trying to figure it out. You know what I mean? Yeah, I honestly really like how it feels Like no troll. I really do like how I like how it feels pause But the way it feels love it for real for real. Uh, I don't even know what ability I have in case I think short in elite Bolsa I mean, that's the one thing about this game, bro. You got bad pocket presents.  I feel like he's whipping the ball a little bit though. I really do I feel like Josh Allen is whipping the ball I'm classic passing classic passing. I don't know this the defensive playbook boys I like this mug, but it doesn't have that many plays in it So that's kind of like it was me up a little bit He'd do that to the tight end and like That's just bad dog Von Miller going crazy dog. This dude not having no fun I'll put my controller down. This dude don't got a chance to pass the ball, bro I walk in I walk in for a touchdown if I if I don't run out of ability Good blitz. Oh mixing Nobody gets any ability. I don't know burrow is not a 90. I feel like you need to be a 90 to get ability Am I tripping? GGs ggs ggs ggs Player stats player stats that Josh Allen 265 yards Joe mixing 10 catches. There it is, bro. What do the highlights work? No, the highlights are the same


We asked what you wanted, and you said editing tips. This week might cover some editing tips and tricks to make your editing process easier than counting to one. Check it out. One. I'm done editing! Results may vary. What is up everyone? My name is Estie Mike, and today we're going to talk about editing tips. Last week I asked you guys what you wanted to talk about this week, and most of you guys suggested that we should talk about editing this week, so here we are in talking about editing. Basically, editing is a huge part to any YouTuber, so today I'm going to try and touch on some different tips and tricks to help make your editing life a little bit easier. First before we dive in, I edit in Adobe Premiere CC, however you can use these tips in pretty much any editing software.  To start off, whenever you build a new show, or series, or even video type, build a template. Include your intro, your outro, whatever different assets you might use and even music you might use in your video, and then click save. Next time you go to edit, things will be much easier for yourself. Take today's impulse episode, for example. I open up the project and already have the music imported. Rick's section with intro video, then it transitions to my segment, bottom third is already imported, topic bar is already there, and there's also color correction, which I slightly tweak each time for each video.  Now all I have to do is chop down my footage, and everything's done. Look into assigning your own hotkeys, or simply look at the hotkeys. The more clicks you save, the quicker your edit will be. For instance, when I'm editing, I often have at least four layers to slide through. So I assigned a hotkey to slice through all the layers just by hitting C. So now instead of switching to the razor blade tool and cutting each layer one after another, I can slide, click C, delete, snap to close, and keep editing. This one hotkey probably saves me about five minutes of editing per video. So if you go and assign other hotkeys that will make your life easier, you can start saving tons of time editing. Now lastly, this might be a no-brainer to some, but often people overlook this. If you're in a pinch or a time crunch, you don't necessarily need to wait for all your footage to start editing. You can start editing without having all your footage in place.  So that way when you do get the footage, you already know where it needs to go, it's already pre-edited, you place down those videos, and you're done. This will save you a lot of time and keep your weighting down to a minimum. Unfortunately, there's some things that are out of your grasp. For instance, if someone shows up late or can't make it on this particular day, then it pushes your whole entire video off schedule. So if you can keep this time and keep editing and keep things in a forward momentum, this will look better on you and make things easier on you as well. But anyways, guys, that's it for me today. If you want to see more of my tips and tricks, you can click the links in the sidebar. Or if you want to see more of me, you can check me out in the links below. I post up videos every single day. And of course, guys, be sure to post your questions down below, and I will try my best to answer them next week. We'll see you next week.  Impulse is produced by the Freedom Network. Ever wanted to earn revenue from your videos? Freedom offers a great partnership program which includes access to hundreds of thousands of audio tracks, sponsorships with great partners, and most importantly, a no lock-in contract. You can leave at any time for any reason. We accept everyone, both big and small. For more information, click here or visit the link in the video description.


CHAPTER XVII. The elevator was the place for the dinner, if only the mild weather that had followed the Christmas storm should continue. On that Bannon, Pete and Max were agreed. New Year's Day would be a holiday, and there was room on the distributing floor for every man who had worked an hour on the job since the first spike had been driven home in the Calumet clay. To be sure, most of the laborers had been laid off before the installing of the machinery, but Bannon knew they would all be on hand, and he meant to have seats for them. But on the night of the thirtieth, the wind swung around the northeast, and it came whistling through the cracks in the cupola walls with a sting in it that set the wares to shivering. And as the insurance companies would have inquired curiously into an arrangement for heating the gloomy space on the tops of the bins, the plan had to be given up. As soon as the last of the grain was in, on the thirty-first, Max took a northbound car and scoured south Chicago for a hall that was big enough. Before the afternoon was gone he had found it, and had arranged with a restaurant keeper to supply the dinner. Early the next morning the three set to work, making long tables and benches by resting planks on boxes and covering the tables with pink and blue and white scalloped shelf paper. It was nearly ten o'clock when Max, after draping a twenty-four foot flag in a dozen different ways, let it slide down the ladder to the floor and sat down on the upper round, looking out over the gridiron of tables with a disgusted expression. Peterson, aided by a man from the restaurant, was bringing in load after load of thick white plates, stacking them waist high near the door. Max was on the point of calling to him, but he recollected that Pete's eye, though quick with timbers, would not help much in questions of art. Just then Bannon came through the doorway with another flag rolled under his arm. They're here already, a couple of dozen of them, he said, as he dropped the flag at the foot of the ladder. I've left James on the stairs to keep him out until we're ready. Better have an eye on the fire escape, too. They're feeling pretty lively. Say, Max said abruptly, I can't make this thing look anyhow. I guess it's up to you. Bannon stepped back and looked up at the wall. Why don't you just hang them from the ceiling and then catch them up from pretty near the bottom, so they'll drape down on both sides of the windows? I know, said Max, but there's ways of making them look just right. If Hilda was here, she'd know. He paused and looked down at the red, white and blue heap on the floor. During the last week they had not spoken of Hilda, and Bannon did not know whether she had told Max. He glanced at him but got no sign, for Max was gazing moodily downward. Do you think, Bannon said, do you think she'd care to come around? He tried to speak easily, as he might have spoken of her at any time before Christmas Day, but he could not check a second glance at Max. At that moment Max looked up, and as their eyes met with an awkward pause, Bannon knew that he understood, and for a moment the impatience that he had been fighting for a week threatened to get away with him. He had seen nothing of Hilda except for the daily good morning, and a word now and then. The office had been besieged by reporters waiting for a chance at him. Under Foreman had been rushing in and out, Page's representatives in the railroad and steamboat men had mated their headquarters. It may be that he would not have spoken in any case, for he had said all that he could say, and he knew that she would give him an answer when she could. Max's eyes had dropped again. You mean for her to help fix things up? He asked. Bannon nodded, and then, as Max did not look up, he said, Yes. Why yes, I guess she'd just as soon. He hesitated, then began coming down the ladder, adding, I'll go for her. Bannon looked over his shoulder. Pete was clattering about among the dishes. Max, he said, Hold on a minute. Max turned and came slowly back. Bannon had seated himself on the end of a table, and now he waited, looking down at the two rows of plates and slowly turning a castor that stood at his elbow. What he finally said was not what Max was awaiting. What are you going to do now, Max, when you're through on this job? Why, I don't know. Have you got anything ahead? Being sure, I was working for a firm of contractors up on the north side, and I've been thinking maybe they'd take me back. You've had some experience in building before now, haven't you? Bannon was speaking deliberately as if he were saying what he had thought out before. Yes, a good deal. It's what I've mostly done since I quit the lumber business. When Mr. McBride was here, said Bannon, he told me that we've got a contract for a new house at Indianapolis. It's going to be concrete from the spiles up. There ain't anything like it in the country. I'm going down next week to take charge of the job, and if you'd like to go along as my assistant, I'll take you. Max did not know what to say. At first he grinned and blushed, thinking only that Bannon had been pleased with his work. Then he grew serious. Well, said Bannon, what do you say? Max still hesitated. At last he replied, Can I have till tomorrow to think about it? I, you see, Hilda and I, we most always talk things over, and I don't exactly like to do anything without. Sure, said Bannon, think it over if you like. There's no hurry up to the end of this week. He paused as if he meant to go on, but changed his mind and stood up. Max, too, was waiting, as if there were more to be said. You two must think we've got all day to fix things. It was Pete calling from the other end of the room. There ain't no loafin' or loud here. Bannon smiled, and Max turned away. But after he had got a third of the way down the aisle, he came back. Say, Mr. Bannon, he said. I want to tell you that I, Hilda, she said, she's told me something about things, and I want to, it had been a lame conversation, now it broke down, and they stood through a long silence without speaking. Finally Max pulled himself together and said in a low, nervous voice, say it's all right, I guess you know what I'm thinking about, and I ain't got a word to say. Then he hurried out. When Max and Hilda came in, the restaurant man was setting up the paper napkin tents on the raised table at the end of the hall, and Pete stood by the door, looking upon his work with satisfaction. He did not see them until they were fairly in the room. Hello, he said. I didn't know you was coming, Miss Vogel. He swept his arm around. Ain't it fine, make you hungry to look at all them plates? Hilda followed his gesture with a smile. Her jacket was still buttoned tightly, her eyes were bright, and her cheeks red from the brisk outer air. Bannon and James were coming toward them, and she greeted them with a nod. There's going to be plenty of room, she said. That's right, Pete replied. There won't be no elbows getting in the way at this dinner. Come on where you can see better. He led the way to the platform, and they all followed. This is the speaker's table, Pete went on, where the boss and all will be. He winked toward Bannon, and the guest of honor. You show her how we sit, Max. You fix that part of it. Max walked around the table, pointing out his own, Pete's, James's, and Bannon's seats, and those of the committee. The middle seat next to Bannon's, he passed over. Hold on, said Pete, you forgot something. Max grinned and drew back the middle chair. This is for the guest of honor, he said, and looked at Hilda. Pete was looking at her, too, and James, all but Bannon.  Do you mean me, she asked? I guess that's pretty near, said Pete. She shook her head. Oh no, thank you very much, I can't stay. Pete and Max looked at each other. The boys will be sorry, said Pete.  Hilda was smiling, but her face was flushed. She shook her head. Oh no, she replied. I only came to help. Pete turned on Max with a clumsy laugh that did not cover his disappointment. How about this, Max, you ain't been tending to business. Ain't that so, James? Wasn't he going to see that she'd come and set up with us where the boys could see her? He turned to Hilda. You see, most of the boys know you've had a good deal to do with things on the job, and they've kind of took a shine to you. Pete suddenly awoke to the fact that he had never talked so boldly to a girl before. He hesitated, looked around at Max and James for support, and at Bannon, and then, finding no help, he grinned, and the warm color surged over his face. The only one who saw it all was Hilda, and in spite of her embarrassment, the sight of big, strong, bashful Pete was too much for her. A twinkle came into her eyes, and a faint smile hovered about her mouth. Pete saw it, misunderstood it, and feeling relieved went on, not knowing that by bringing that twinkle to Hilda's eyes he had saved the situation. It's only that they've talked about it some, and yesterday a couple of them spoke to me, and I said I'd ask Max, and... Thank you, Mr. Peterson, Hilda replied. Max should have told me. She turned toward Max, her face sober now, except for her eyes, which could not come under control. Max had been dividing his glances between her and Bannon, feeling the situation heavily, and wondering if he ought not to come him to her relief, but unable to dig up the right word, Pete spoke up again. Say, honest now, ain't you coming? I can't really, I'm sorry, I know you'll have a good time. Bannon had been standing aside, unwilling to speak for fear of making it harder for her, but now she turned to him and said, with a lightness that puzzled him. Aren't we going to do some decorating, Mr. Bannon? I'm afraid it will be dinner time before Mr. Peterson knows it. Pete flushed again at this, but she gave him a quick smile. Yes, said Bannon, there's only a little over half an hour. He paused and looked about the group, holding his watch in his hand and fingering the stem. The lines about his mouth were settling. Hilda glanced again at him, and from the determined look in his eyes she knew that his week of waiting was over, that he meant to speak to her before she left the hall. It was all in the moments silenced that followed his remark, and then he went on, as easily as if he were talking to a gang on the Marine Tower, but the time was long enough for Hilda to feel her brief courage slipping away. She could not look at him now. Take a look at that door, James, he was saying. I guess you'll have to tend to business if you want any dinner. They all turned and saw the grinning heads of some of the carpenters peering into the room. There was the shuffling of many feet behind them on the stairs and the sound of catcalls and whistling. A shelf was passed on from somewhere back in the hallway, and one of the carpenters came sprawling through the door. The others yelled good-naturedly. I'll fix them, said James, with a laugh starting toward them. Give him a lift, Pete, said Bannon, he'll need it. You too'd better keep the stairs clear for a while, or they'll stampede us. So Pete followed, and for a few moments, the uproar from the stairs drowned all attempts at conversation. Only Max was left with them now. He stood back by the wall, still looking helplessly from one to the other. The restaurant men were bustling about the floor, and Hilda was glad they were there, for she knew that Bannon meant to send Max away too. She was too nervous to stand still, and she walked around the table, resetting the knives and forks and spoons. The paper napkins on this table were the only ones in the room. She wondered at this, and when the noise of the men had died away into a few jeering cries from the street, and Max had gone to get the flags, for she had said that they should be hung at this end of the room, and the waiters were bustling about, it gave her a chance to break the silence. Aren't the other, she had to stop to clear her throat. Aren't the other men going to have napkins? They wouldn't know what they were for. His easy tone gave her a momentary sense of relief.  It wouldn't look bad though, would it, to stand them up this way on all the tables? She made no reply. What do you say, he was looking at her, shall we do it? She nodded and then dropped her eyes, angry with herself that she could not overcome her nervousness. There was another silence and she broke it. It would look a good deal better, she said. If you have time to do it, Max and I will put up the flags. She had meant to say something that would give her a better control of the situation, but it sounded very flat and disagreeable, and she had not meant it to sound disagreeable. Indeed, as soon as the words were out, and she felt his eyes on her, and she knew that she was blushing, she was not sure that she had meant it at all. Perhaps that was why, when Bannon asked in a low voice, would you rather Max would help you? She turned away and answered in a cool tone that did not come from any one of her rushing struggling thoughts. If you don't mind. She did not see the change that came over his face, the weary look that meant the strain of a week had suddenly broken, but she did not need to see it, for she knew it was there. She heard him step down from the platform, and then she watched him as he walked down the aisle to meet Max, who was bringing up the flags. She wondered impatiently why Bannon did not call to him. Then he raised his head, but before a word had left his lips she was speaking in a clear tone that Max could plainly hear. She was surprised at herself. She had not meant to say a word, but out it came, and she was conscious of a tightening of her nerves and a defiant gladness that at last her real thoughts had found an outlet.  You'll have to hurry. Bannon was slow in turning. When he did, there was a peculiar expression on his face. Hold on there, called a waiter. There ain't time to fold them. Yes, there is, said Bannon shortly. The boys can wait. But dinner's most ready now. Then I guess dinner's got to wait, too. The waiter looked disgusted, and Max hurried out. Bannon gathered up the flags and came to the platform. Hilda could not face him. For instant she had a wild impulse to follow Max. She finally turned her back on Bannon and leaned her elbows on a chair, looking over the wall for a good place to hang the flags. She was going to begin talking about it as soon as he could reach the platform. The words were already, but now he was opposite her, looking across the table with the red and white bundle in his arms, and she had not said it. Her eyes were fixed on a napkin, studying out the curious Japanese design. She could hear his breathing and her own. She let her eyes rise as high as the flags, then slowly, higher and higher, until they met his, fluttered, and dropped. But the glance was enough. She could not have resisted the look in his eyes. Did you mean it? He asked almost breathlessly. Did you mean the whole thing? She could not reply. She glanced around to see if the waiters could hear. Can't you tell me, he was saying, it's been a week. She gazed at the napkin until it grew misty and indistinct, then she slowly nodded. A waiter was almost within hearing. Bannon stood looking at her, heedless of everything, but that she was there before him, that her eyes were trying to peep up at him through the locks of red gold hair that had strayed over her forehead. Please, she whispered, please put them up. And so they set to work. He got the latter, and she told him what to do. Her directions were not always clear, but that mattered little, for he could not have followed them. Somehow the flags went up, and if the effect was little better than Max's attempt had been, no one spoke of it. Pete and Max came in together soon with the napkins, and a little time slipped by before Bannon could draw Max aside and grip his hand. Then they went at the napkins, and as they sat around the table, Hilda and Bannon, Pete and the waiters, folding them with rapid fingers, Bannon found opportunity to talk to her in a low voice, during the times when Pete was whistling or was chafing with the waiters. He told her, a few words at a time, of the new work Mr. McBride had assigned to him, and in his enthusiasm, he gave her a little idea of what it would mean to him, this opportunity to build an elevator, the like of which had never been seen in the country before, and which would be watched by engineers from New York to San Francisco. He told her too, something about the work, how it had been discovered that piles could be made of concrete and driven into the ground with a pile driver, and that neither beams nor girders, none of the timbers in fact, were needed in this new construction. He was nearly through with it, and still he did not notice the uncertain expression in her eyes. It was not until she asked in a faltering undertone, when are you going to begin, that it came to him, and then he looked at her so long that Pete began to notice, and she had to touch his foot with hers under the table to get him to turn away. He had forgotten all about the vacation in the St. Lawrence trip. Hilda saw in her sideglances the gloomy expression that had settled upon his face, and she recovered her spirits. It's all right, she whispered, I don't care. Max came up then from a talk with James out on the stairway, and for a few moments there was no chance to reply. But after Bannon had caught Max's signal to step out of hearing of the others, and before he had risen, there was a moment when Pete's attention was drawn by one of the waders, and he said, can you go with me Monday?  Will you? He was pushing back his chair.  And you'll stay for the dinner, won't you, now? She nodded once more, and Bannon went to join Max. Max made two false starts before he could get his words out in the proper order. Say, he finally said, I thought maybe you wouldn't care if I told James. He thinks you're all right, you know? And he says, if you don't care, he'd like to say a little something about it when he makes his speech. Not much, you know, nothing you wouldn't like. He says it would tickle the boys right down to their corns. Bannon looked around toward Hilda and slowly shook his head. Max, he replied, if anybody says a word about it at this dinner, I'll break his head. That should have been enough, but when James's turn came to speak, after nearly two hours of eating and singing and laughing and riotous good cheer, he began in a way that brought Bannon's eyes quickly upon him. Boys, he said, we've worked hard together on this job, and one way and another, we've come to understand what sort of man our boss is. Ain't that right? A roar went up from hundreds of throats and Hilda sitting next to Bannon blushed. We've thought we understood him pretty well, but I've just found out that we didn't know so much as we thought we did. He's been a pretty square friend to all of us, and I'm going to tell you something that'll give you a chance to show your square friends of his too. He paused and then was about to go on, leaning forward with both hands on the table and looking straight down on the long rows of bearded faces when he heard a slight noise behind him. A sudden laugh broke out and before he could turn his head, a strong hand fell on each shoulder and he went back into his chair with a bump. Then he looked up and saw Bannon standing over him. The boss was trying to speak, but he had to wait a full minute before he could make himself heard. He glanced around and saw the look of appeal and held his eyes. Look here, boys, he said, when the room had grown quiet. We aren't handing out any soft soap at this dinner. I won't let this man up till he promises to quit talking about me. There was another burst of laughter and James shouted something that nobody understood. Bannon looked down at him and said quietly and with a twinkle in his eyes, but very firmly, if you try that again, I'll throw you out of the window. James protested and was allowed to get up. Bannon slipped into his seat by Hilda. It's all right, he said in a low tone. They won't know it now until we get out of here. His hand groped for hers under the table. James was irrepressible. He was shouting quickly now in order to get the words out before Bannon could reach him again. How about this, boys? Shall we stand it? No, was the reply in chorus. All right then, three cheers for Mr. Bannon. Now, hip-hip, there was no stopping that response. End of Chapter 17, End of Calumet K by Samuel Merwin and Henry Webster, read by Betsy Bush in Marquette, Michigan, May 2010.


Who's your favorite quarterback you ever played for? You said that when you were here in studio, who's the best quarterback you ever played with, the best on the field? I would say the quarterback that had the best talent, I would say is Jay Cutler. Yeah, I knew you were gonna say that. We always have to bring up Jay Cutler in every interview that we do together. He was so, that arm was insane.  So both, he was through the roof on both. This guy, a lot of things that I do to this day is because of Jay, like coming into the cafeteria, seeing what books he was reading, he was ahead of his time, whether it was on parenting, whether it was on nutrition. So a lot of the things that I'm doing today and how I've developed into the man I am is because of Jay Cutler.


Today I'm making some shrimp tacos and I'm using ingredients that I already have in my kitchen so I'm not running out to the store and you can do the same you know you can improvise with this recipe quite a bit. I'm using of course frozen shrimp that I have we're going to marinate it with some wonderful spices. I also have some zucchini and some shredded carrots which I'm going to you know grill up and just get a nice crispy edge on them make it taste wonderful and then I'm going to add some sort of coleslaw kind of dish. I have some butter lettuce with some radicchio in it so I'm going to chop that up add a nice creamy dressing to that to add to it finish it off with some cheese and we're good to go it's nice and healthy and it's absolutely delicious. I'm rocking Robin and I'm going to show you how to do it right after our chef joke. All right so here's our first chef joke of the day the second one will be a little bit later. So what does a chicken taco say? Guac guac. All right so we're going to start off with our shrimp I have a wild caught. I like to use wild caught because well it's just a little bit I think healthier. So I've got some really large ones here these are 13 to 15 count. So for me I'm just making two tacos and I'm going to use three of these because they're so large. So the directions say to just run some cold water over them for about five to seven minutes until they fall out and then we'll peel them and then we'll start our marinade. Now that the shrimp is peeled and ready to go I'm going to make our marinade so I'm going to add some olive oil to this bowl here a couple of tablespoons you know this just varies depending on how much you're making. What I'm using is Tabasco sauce with the chipotle flavor here. I really like this it works great if you don't have it you don't have to use it you can use your favorite and I'm going to add about a I don't know probably a teaspoon of this this gives it a nice little heat and smoky flavor you could also sub in like a chipotle chili powder. Now I like to use ground ancho chili powder so that's what I'm going to add to this because it has a nice mild sort of smoky flavor as well I think it goes well so we'll put a little bit of that in there now we've got to have some fresh garlic because that really makes things taste amazing so I'm going to add some of that and like I said earlier feel free to add any other spices that you like ground cumin is a nice addition you know peppers nice onion powder works all right this so that's our garlic and I'm going to add some lemon juice to this this is from my tree out in the back add about a tablespoon to that and then give this a nice stir before you add the shrimp and I'll place the shrimp in there and these don't have to marinate you know for that long really I mean I did it for like you know 20 minutes and that was great you can go up to say an hour if you want to you know you plan ahead and you you know you get your shrimp thawed out and then you just toss it into your marinade and that's ready to go now it's time to work on our coleslaw dressing so I'm going to be using some of this primal kitchen mayonnaise that's avocado based it's made out of avocados and so it's much healthier for you so we're going to take like a couple of tablespoons of mayo and place it into our bowl now I'm going to add a little bit of sour cream again this is optional you could add yogurt if you want or you could just do the mayo only don't you love this guys this is a this is like toothpaste in a tube only it's sour cream and so I'm just going to add a little bit to that and you can get the you know the written recipe down below in the description of this video be sure and check it out down there you can see that all right so we need to add a little bit of zip to this and so I'm going to add some apple cider vinegar that's going to give it some tartness and we can adjust this as we go we might need a little more mayo we want it the right you know thickness we're just going to play here guys garlic powder can't have too much of that we're going to add some more of that lemon juice a little bit of that and I'm going to add the zest I love to use the zest don't go too deep here just a little swipe across get the oils not the bitter part so just do a swipe and this adds some really nice flavor here and like I said these are Meyer lemons and they came out of my yard and they are fabulous they're really good now we're going to add just a pinch of salt to this now because we have our acid with the lemon and the apple cider vinegar we need to balance that out with a little bit of sweetness and so I'm using what I have here is a select quality crown maple syrup this is bourbon barrel aged and it is delicious I got it at Costco and it's really worth trying it's a little more expensive but I think it's really really good it has a great flavor and then let's just give this a stir now we'll give this a taste and see what we need to add I think I need a touch more salt and I think a little more lemon juice and that's ready to go and to finish up our little coleslaw dish I've got my butter lettuce with the radicchio here and I'm just going to throw a little bit on my board and we want to cut this up so that it fits in the taco easily now if you're using coleslaw you know then you wouldn't have to do that so it just depends on what you have so I'm going to place that into my bowl here and then I'm going to add the dressing just enough to you know coat it so that looks nicely coated and I'm going to place this in the fridge and keep it nice and chilled until we're ready to serve it up all right the last thing I need to prepare is my organic zucchini remember we talked about using a few extra vegetables and I also have my shredded carrots but you can see that those are already cut up so I don't have to worry about that that's a nice little you know thing to use so that you can save some time so I'm just going to cut this up into into chunks all right we're ready to head over to the stove and start cooking up our tacos but before we do I want to share with you chef joke number two are you ready all right did you hear about the new quesadilla joke never mind it's too cheesy all right we're going to start cooking our veggies this is a cast iron pan which is what you would like to use that's the ideal pan you can see it's already smoking so it's hot and I want it to be hot so I'm going to add a little bit of olive oil to this let that heat up and then we're going to toss in you hear the sizzle I'm going to toss these in and cook these for about five minutes or so I'm going to add a little bit of salt and garlic powder just because I like I like it and we're just going to stir fry these until they get a little bit of a crispy edge on them so our zucchini's done I'm just going to place it in a bowl right back here and then I'm going to cook the shrimp in the same pan all right our pan is still smoking hot I turned it down a bit I'm going to add a little bit of olive oil to it and we're going to cook these shrimp like a minute to a minute and a half not very long because this pan is hot and we don't want to overcook these so probably a minute half maybe two at the most so here we go we're going to lay these right in there all right time to flip these over now I like to look right in here and see that these look like these are done so I'm going to take the shrimp and I'm going to cut them up just because that's what I want to do but you can leave them whole if you want to but I think the bite-sized pieces work well I'm using corn tortillas for my tacos you can use the small flour ones if you like I have my tortilla oven here and I'm going to place a couple of my corn tortillas in it pop it in the microwave for about 35 40 seconds and they will come out nice and tender and hot here's our hot hot tortillas I think you can see that they are steaming hot I'm going to start off with a little bit of our salad in the bottom and then I'm going to add my grilled shrimp look at that and then our grilled veggies on top this is so delicious guys and then I finish it off with just a light sprinkle of cheese you could do whatever you want if you want to do more sour cream on top you could you could do avocado slices chunks guacamole you know whatever you want my mouth is salivating I can't wait to dig in because I know how good these are and I think you guys really have to try them all right they're gonna be messy but that's okay it's worth it these are so delicious you can taste the heat you know not too much but I definitely can taste the heat in the shrimp and of course the coleslaw everything together all the flavors the grilled veggies man it's awesome I tell you what I've got a guacamole recipe that would be just fantastic with this I'm going to leave a link for you right over here go ahead and click that make my guacamole recipe and add it to this it's going to take it over the top thank you so much for watching don't forget to subscribe to my channel smash the like button for me so that other people can enjoy these recipes as well it really does help and we'll see you next time thanks again for watching


Just last year Mariah Carey left her plush penthouse in Manhattan to seclude herself and her kids amidst the pandemic in a bigger space. She's been leasing a high-style Westchester country estate to act as her quarantine pod, and we can bet the cost each month is out of this world. The songstress has also maintained her mansion-sized Manhattan apartment since 2000, and while she's put her place in the Bahamas up for sale more than once, as far as we know, she still owns this retreat on Windermere Island. Today, we'll check out a few of Mariah's properties, including the jaw-dropping rental mansion she's been calling home amid the pandemic. In these videos, we don't reveal any addresses, and even though I've done a house tour of my own place, please do not show up at any private residences because it's not safe for anyone. Mariah Carey is a singer, songwriter, record producer, and actress who's best known for her five-octave vocal range, unique singing style and signature use of the whistle register. Basically, her talent and voice are one of a kind. Mariah is often referred to as the Songbird Supreme and the Queen of Christmas. She rose to fame in 1990 with her debut album, released under Columbia Records exec Tommy Matola, who she would end up marrying. Mariah is the first artist to have their first five singles reach number one in the Billboard charts, from Vision of Love to Emotions. Mariah achieved worldwide fame with her follow-up albums throughout the 90s, and they also spawned some of her most successful singles, like All I Want for Christmas is You, Always Be My Baby, and many more. Despite the song's resist publicized breakdown back in the early 2000s, Mariah was able to bounce back in 2005 with a new album, which became the best-selling record that year. Its second single, We Belong Together, was a definite chart topper. Mariah is one of the best-selling music artists of all time and has plenty of awards and accolades under her belt, some of which include five Grammys, and being welcomed into the Songwriters Hall of Fame. Mariah's estimated net worth is at a whopping $520 million, so you know this queen can afford to live in luxury homes whenever she wants, whether they're rentals that cost almost $50k per month or mansions she's purchased. Hey guys, it's Kara The Vampire Slayer, and I'm bringing you another house tour here on Famous Entertainment. I noticed that 95% of you guys watching aren't subscribed, so be sure to hit that subscribe button and ring that bell for all the best celebrity house tours and more. We post a new video daily. We've done a Mariah Carey house tour in the past, but with the mega mansion she's been quarantining at with her kids being revealed, it seemed like time for an update. Well, check out this epic country estate in Bedford as well as some of Mariah's other high-class properties from Manhattan to the Bahamas. As always, don't forget to follow me on Instagram to chat, and now let's get into this video. In the wake of the pandemic last year, Miss Mariah decided to get herself, her two kids, and whatever staff she needed, a new spot to live for a while. Like many city dwellers with money and resources, Mariah was able to make a move like this and get more space than she had in the heart of New York City. While she does have a mansion-sized penthouse in lower Manhattan, Mariah decided to rent out a large country mansion outside of the city for an undisclosed amount that's acted as her quarantine highway. Located in Bedford and Westchester Country, New York, this area is about an hour or more away from Manhattan by car. This particular mansion Mariah's been living in is located in an upscale, gated enclave called Bedford Corners and lays close to Martha Stewart's farm and only about six miles from the mansion, Mariah once upon a time shared with her first ex-husband Tommy Metola. Bedford actually seems to be a popular spot for the rich and famous to get away to. While we don't know how much Mariah's been paying to rent this boat, it last sold in 2012 for $4.8 million to a former Wall Street executive who spent a fortune turning the mansion into a high-tech heaven for the Uber wealthy. The mansion sits on over five acres of landscaped grounds and inside spans about 10,500 square feet with six bedrooms, seven baths, and four powder rooms. This is all spread across three floors and there's also an elevator to help you get around the mega estate. Mariah's rental was built in 2006 as a stone accent to demand her with a traditional exterior but inside it's now full of state-of-the-art technology. They're features like a top-of-the-line home automation system and a security system with over 20 cameras and a biometric keyless entry. However, the real attention-grabber is the million-dollar pool but I'll talk about that in just a second. The renovated estate came up for sale first in 2015 at almost $10 million but was taken off the market a while after. Even after going up a few years later with a 30% price reduction, nobody purchased so yet again it was taken off the market. Either way it was available for Mariah to rent and the home is just as elegant as her. The sophisticated mansion boasts plenty of open space and soaring ceilings starting at the entryway with curving staircase and nearby formal living and dining rooms. The living room has a shiny black marble fireplace and nook of windows while the dining room offers a classy chandelier and French doors to the yard. There's a wood paneled library with light-up bookcases and a fireplace with carved line heads as well as a large sunny family room attached to the backyard. The gourmet kitchen is massive and has a breakfast room right next to it so there are plenty of places to sit down and eat a meal. An extra basement level of the mansion has a games room and media lounge with a 900 gallon saltwater fish tank, light-filled home gym and of course a theater with web bar. The guest rooms are spread out between the upstairs level and the main floor but they don't compare to Mimi's celeb-style master suite. Located on the main floor, her bedroom has everything from a private sitting room, spacious bedroom and of course a dressing room with a ton of closet space. Not to mention the spa-style bathroom is so large it can fit Mariah's glam squad easily when she wants to get dolled up even just to prance around the mansion. Outback features just keep coming. Not only are there stone terraces to lounge and entertain but they're also heated which is a convenient little feature. Other highlights include an outdoor kitchen, outdoor shower, fire pit, sports court, gardens and a ton of grassy lawn space. And then we have the grand pool. This baby is a 90-foot-long violin shaped over-the-top feature that no doubt gets a lot of attention. According to reports, the pool costs about $1 million to construct holding 50,000 gallons of water and decked out in almost half a million glass tiles with fiber optic strands that light up. Talk about glitzing glamour. The attached spa is part of the violin as the chin rest and the bow is made up of two koi pons. While it was reported back in 2012 that Mariah was selling her retreat in the Bahamas for $5.5 million, it's said that she still owns it and it's since been taken off the market. The compound is located on Windemere Island in the Bahamas, a spot where privacy-seeking celebrities and even British royals love to holiday.  It's only accessible via private helicopter or a guard-gated bridge. While Mariah was vacationing here for years, she eventually bought up a beachfront estate called Villa Celuli around 2008, which spans 4,000 square feet divided between four pavilions with three beds and three baths. She and her ex-husband and baby daddy Nick Cannon actually got hitched here in a secret beach ceremony in 2008, so that might be why she tried to unload it so many times. Anyways, the Bahamas compound is made up of four pavilions arranged around a courtyard and aside from the interior space, there's 3,500 square feet of marble walkways, terraces, and covered outdoor living spaces. It's very much like a resort and a pair of pavilions offer the bedrooms and bathrooms that surround the kitchen and staff quarters. All of the bedrooms at Villa Celuli have wet bars and at least one of the suites boasts a private living room. The main outdoor living in dining areas airy and located just above the swimming pool, offering amazing beach and ocean views. This space includes a stone fireplace built in barbecue and more. The swimming pool here is 40 feet long and surrounded by terraces to sunbathe, and it sits between the main outdoor living pavilion and the sand. The compound also offers a beachside ramada to escape the sun. Finally, let's check out Mariah's longtime Manhattan penthouse. She acquired this property in 2000 for an unrecorded amount and it was done up to the nines by decorator Mario Guada before it was featured in architectural digest. Mariah purchased her lavish penthouse triplex in the Franklin Tower, a 17-story condo redevelopment that used to be a bank back in the 30s. Mariah lives in the famed Tribeca neighborhood of New York City and apparently the main penthouse alone cost her $5.5 million. She then went on to purchase the unit just below to combine them and while we don't know the exact amount, it likely cost her about $10 million, not including the renovations. Mariah's mansion-sized penthouse boasts nearly 13,000 square feet of space, four beds, and 4.5 baths right in the heart of Manhattan. When the place was custom designed, there were influences of art deco which the building's architecture also reflected. Mariah's limestone floors throughout and an opulent chandelier in the entry, while the living room doors are decked out in silver leaf. Back in the day, Mariah showed off her apartment for MTV Cribs but she's definitely freshened things up since then. We also know the singer loves her kitchen as she likes to entertain and cook. When she's not cooking up her signature pasta sauce, Mimi can retreat to her master's suite which has stunning city views and one of the most amazing closets ever. I have a lot of different dresses positioned just because there they are. Her massive custom walk-in closet has room for any shoe, special outfit, or a bag you could imagine and Mariah loves to put it all on display. Other features of Mariah's penthouse include a whole movie theater with an aquarium on one of the walls and an under-the-sea vibe as well as a spacious rooftop terrace that would have any New Yorker jealous. There's an entire seating area outside as well as a hot tub overlooking city lights. Alright so I'm going to wrap up this house tour right there. We got to check out where Mariah Carey has been calling home for the last while on some of her properties. While she's been spending more than most of us will make in a lifetime on her Bedford Country Mansion rental throughout the pandemic, Mimi can afford it. We know she's leased some of the most lavish properties you can find, with no expenses spared. Who remembers her Beverly Hills rental she was spending 35K per month on? Anyways after looking at her Bedford home, her longtime Manhattan penthouse, and her property in the Bahamas, what did you guys think? Which was your fave? I love the style of the Bedford estate because it seems so classy and royal so I'm going to pick that one. But I also think it's a little too massive. I would get lost wandering the three floors and the hallways. Be sure to tell me what you guys liked or didn't like about Mimi's mansions down in the comments or feel free to rate them. I really want to get to know you guys better so please subscribe to my personal channel and check out my latest video. Drop me a comment there and we can continue the conversation. It's going to be about the serpent also known as Charles Sauvrage. So before I get into the real life story about this dude, I'm just going to talk about the Netflix show that I've been watching which inspired me to make this video in the first place. Thanks for watching. Don't forget to follow me over on Instagram and I will see you all next time. Bye.