I would like to welcome next Essie Wagner with NHTSA, a wonderful person. I hope you all get a chance to meet with her today. She has a lot of experience and just a good friend. Really, my topic today, when I was asked to talk about, is national perspectives on safety and how it works. And I was like, well, how about we just talk about what I do more often. And that's really try to translate research into something useful. Before I go on though, I do want to note Iowa's leadership on all of these traffic safety issues. People like Kim, people like Tom, have been out there doing work internationally and really making Iowa look great in the rest of the world. You know, creating the flexible license renewal policies. That's a national model. Other states are saying, wow, you can do that. You can go out and give people licenses just for their local areas. Okay, we'll do that. You know, adopting the roadway design guidelines. Those are things that even, you know, Australia says, wow, Iowa's doing that. Okay, we can do it too. You're really, you're fostering an environment where you have creative people doing creative things to help the rest of the community. And you're not, you're exporting the ideas, but you're not exporting the people. And so I think that's really to be commended. So thank you for that. Before I go on into talking about older driver stuff, I need to introduce NHTSA, which is the National Highway Traffic Safety Administration. I don't know if you're familiar with us. We're the people who, our mission is to save lives and prevent injuries on, from crashes on our nation's roads. It's a pretty straightforward kind of thing. It's very easy to understand it and to get behind it. I mean, how can you be against saving lives? You can't. And we get a progress report every day when we open up the newspaper. Go, no, not this one. And we go out every day and we're trying to do better. We're trying to save those lives. We're also responsible for vehicle safety standards, things like getting the airbags into cars all those years ago. We're responsible for cafe standards of corporate average fuel economy.  And we also manage the FARS database, which is the Vitality Analysis Reporting System and a lot of the other crash databases. So things that you probably use in your daily work are things that we have a hand in. So with regard to older drivers, we've had a program in place for 20 years now, mostly with research. A lot of that research was done here in Iowa at the old Iowa driving simulator, and what eventually grew up to be NADS, as well as other researchers along and around in the state here. The reason that we got behind doing this kind of research is because we were sort of looking into the crystal ball of the future saying, oh gosh, those baby boomers. In 20 years, they're going to be older drivers. We have to do something to address this issue. We have to get them off the road. Oh my gosh, what are we going to do? And then through doing our research, we realized that's not going to be effective and get a lot of people hating us. And by the way, it's not necessarily going to be the right thing to do. There are so many people who are capable of driving safely. So why don't we try to focus on the people who are at risk? So that was sort of where the research led us in the way. So we had these population pressures. We also have, in addition to the baby boomers changing, we saw that older people were living longer and they're living healthier lives. So they're going to be out there on the roads. So we had that. We also saw there were some pressures, as we call it, from exposure. They're out there driving more, particularly the baby boomers. The women are going to be driving so much more than the earlier cohorts, like the older drivers, where the women were sitting in the passenger seat and the men were in the driver's seat. Baby boomers, oh, we're not doing that. We're going to be driving ourselves. So we had to make sure that we were addressing those kinds of issues. And then the last pressure that we have to address is that frailty pressure. There's nothing really that we can do to change the individual's ability to recover or withstand the crash forces. So we have to make the vehicle itself safer, and we have to make sure that that crash doesn't happen in the first place. So those are the kinds of things that shaped us and shaped our thinking when we decided to set our program, our program goal, as to hold the line on fatalities. We knew that there were going to be things that were going to be pushing those numbers up, but we decided that we had to make sure that they stayed at least level and hopefully would go down. We'll see in, I guess it's 13 months whether or not all our hard work has really been effective when the baby boomers do start turning 65. But we'll get there. We'll get there. Now in 2001, I said part of what I do is translate research. We did all this research, research, research. And I translate that into something useful. And it's really harder than you would think. It's like, well, OK, I can take that report and take it off the shelf and say, OK, everybody do this. And then I think people hear me is really not easy. What we decided to do is look to other people that have a common mission with us. So for the older driver program, we looked at partners such as the American Medical Association, where we developed the Physician's Guide for Assessing and Counseling Older Drivers. What we saw is we want to help physicians counsel their patients. And physicians were already identified as being important, legitimate, and listened to sources for good traffic safety information. But they had no idea what to say. And so what we did together is we came up with this guide. We're about to come out later on. It'll be early next year for a revised version of the Physician's Guide, if you're familiar with that. We've also established partnerships with the American Association on Aging and the American Occupational Therapy Association. Different people who have common mission to save lives and to educate their users on how to help people save lives and to continue staying out there and being active and involved in the community, but doing it safely. So the important thing to remember is that we always, always, always have a foundation in research. Research tells us where to go. We can't, like, oh, yeah, let's go ahead and do a program on X. And no, we can't do that. We have to have some evidence basis for what we're doing. There's a lot of what Dan was talking about there. One of the programs, one of the projects, and this is what Kim alluded to, that we worked together on forever, was this right here, the Driver Fitness Medical Guidelines, which just came out. It says September, but it was October 2nd. I know, because I was jumping up and down when this came out. We started working with AMBA, which is the American Association of Motor Vehicle Administrators. We've been working with them for years anyhow, because licensing has something to do with traffic safety, we think. We've always thought that. Also, at the same time, our research was suggesting that our, it's not necessarily age, that it's abilities. It's functionality that makes a person safe or unsafe. I mean, we have, we know there are people at age 50 that have early stage dementia. We also know that there are people who are in their 80s who are running marathons. So we know it's not age, we know it's function. So, yeah, six years ago we started this project. And we, it's sort of like courting cats. Getting the physicians to understand licensing, getting licensing to understand what the doctors were having to say, and we came up with an evidence-based guide for making licensing decisions. It's really a very useful tool. It has information on how you have to, as a DMV administrator, how you have to comply with the Americans with Disabilities Act. It sounds really benign, but it's really critically important. I'm sure you understand completely. You don't want to have people arguing with you over what you're doing. You want to actually have to show them, have to have them demonstrate that they are safe as drivers. Seems reasonable in terms of that. And we learned through the process that those are the ways that we have to do it. It has information for the driver licensing administrators on making outreach and communications with the other people, people with the MS, people with diabetes, people with dementia. Do outreach for those individuals. These are the things that we expect of you also for their physicians. So if you make a referral to us, this is what we're going to need to have from you. The other thing that it includes is sort of the dissenting opinions. You know, you try to come to consensus on these things. But sometimes people just aren't going to come to an agreement on why you think you should be doing something. And in particular, this has an appendix in here describing the dissent from the American Diabetes Association saying they think it should be this way, then the DMV people say no, and the DMV and the physician people say, no, it should be this way. This sort of tells you as a DMV people what to expect if you decide to make these recommended changes. So that it gives you a whole picture of you could just say, yes, I can do this, I can change the world, but it's really not easy to do. I'll give you those steps. And of course, just having this out on somebody's shelf is not going to save one life. What we have to do and what we're going to do in the coming years is promote the use and encourage states like Iowa and all the others as well to go ahead and adopt this. To, yes, say, okay, there is evidence for making this kind of policy change and let's go ahead and do it. So similar efforts have gone through, we've gone through similar efforts, excuse me, to develop activities on transitioning from driving. That was something that was talked about earlier. We call it transitioning. Some people call it driving retirement. What I really like to think of it is just moving over into the passenger seat because most of your trips, four older people are gonna be in cars. They're not gonna be jumping on the paratransit because in places around here there's not necessarily gonna be the paratransit. They're gonna get a ride from the neighbor. They're gonna get a ride from the adult child, most likely the daughter. As I said earlier, when we started out this business, we really were saying, well, how are we gonna get them off the road? And no, it's not gonna work. Through our research, through our activities and partnerships, we came to realize that now we have to do this this way. Most people are gonna be fine and safe for most of their lives, really. It's just when you get to the end, when the functional abilities change, when functional abilities deteriorate, that you have to make those transitions, make those decisions to stop driving. And so we worked with the American Society on Aging to develop the Driving Transitions Education. It's really for geriatric social workers or anybody who works with older people or their families one-on-one on making, how do you go through the process? As you just say, okay, your driving career's over. Sorry, give me the keys. No, it's not gonna work that way. It tells you how to go through. Okay, let's look at the driving. Where do they go? What do they need to do? Where do they feel their most value in driving? And how do you make sure that they maintain that value? So it's a very, I love this education tool. I have a couple of copies here as well. So if you do have questions about it afterwards, please do let me know. And again, it's that whole research background that helped us get the credibility to make these basic simple recommendations. Now that we've gotten these tools out, our aim is really to go into some of the harder issues. Where our future has us going is gonna be more into this transitions world and more into the dementia world. Because one, there's really probably inadequate research in those areas. But there's also, those are the areas that are the thorniest. Things that the families and judiciary and licensing have the most challenges facing. They don't understand how to do it. So it's easy. I don't think it's ever gonna be easy, particularly with dementia. Cause there are good days and bad days and there are days where people just, they suddenly drop off the cliff for cognitive function. And since driver licensing only sees people but every year, if they're on a short cycle, that's 364 other days that this person could be out there driving. And that can't rest on the shoulders of licensing. It needs to rest on the shoulders of families. It needs to go on to physicians and other social services people as well as on law enforcement as our last resort. They need to understand how to act and how to change the behavior of that individual as putting others at risk. Now, in terms of going forward with today's work, I want you to think about where are the gaps? Cause these are the ways that we go about things and it's on the national level too. Where are the gaps? What are we missing? What do we do? What's being done elsewhere that we can sort of tweak and make our own? Those are all good. And then like I said, our predictions are gonna either come true or we're going to have to change things around when the baby boomers do start turning 65 next year. But so, just what we have to do is first is to look to the evidence. And that's based on this stuff that's in the back chapters of this guide that we have, the medical guidelines. There's a lot in there. It says, okay, what other things can we research? Where's the evidence? Kind of dicey, kind of dodgy. See what you can do to make that better. Look where others aren't necessarily looking. What other rocks can you pull up? In terms of older drivers, I mean vision, we all know it's important, but there's not really any evidence that says what vision is important, what level of vision is unsafe and what is safe. It astounds me to realize that. Parkinson's disease is another issue that we need to look at a little more closely. The next thing I really want you to do, in particular today is make connections. I think everybody has said this, all the speakers this morning, talk to other people. We're stronger and we make better decisions when we have other voices involved. And for example, with the driver, we would never have been able to come up with as good a quality report if we hadn't had some of those really challenging people from Canada.  And lastly, as I make something useful, person. I want you to encourage theft and the law enforcement people can go like that. Just don't go reinventing the wheel. Don't do something that's exactly like what they're doing over in Missouri or Canada or something. At the same time that they're doing it, look at what they're doing, get the results and say, okay, now it's mine. I'm gonna make this an Iowa thing or wherever it is that you're actually from.  And the academics will say, oh no, no, this is actually implementation, so you get to steal. And besides, it's easier. So with that, I do want to thank you and thank you for your time and I look forward to a productive meeting. Thank you. Thank you.


Aldosterone is a little bit more complicated. So first of all, aldosterone is a steroid hormone. It's produced in the adrenal cortex as opposed to the adrenal medulla. So remember that I drew you at one point, one time, I drew you an adrenal gland. And I showed you the adrenal medulla, and this was where the sympathetic portion of the adrenal gland came into play. Remember, we had the ganglion cells are actually found in the adrenal medulla. So the adrenal medulla is actually nervous tissue, and that's where basically we dump epinephrine and norepinephrine directly into the bloodstream. So I'm giving you context for what you already know about the adrenal glands. Well, aldosterone is going to be produced in the cortex. There are other hormones, steroid hormones, that are produced in the adrenal cortex. I think it's relevant to take a second and go, dude, why? Who tells the adrenal cortex to produce aldosterone? And I'm going to take you somewhere to show you who does it. Hopefully this doesn't scare you. Hopefully this just makes you go, oh, yeah. Right? Are you going, oh, yeah, right now? Oh, yeah. This was from our first kidney lecture where we talked about the macula densa cells in the distal convoluted tubule or ascending loop of Henle that are in contact with the juxtaglomerular cells found on the afferent and efferent arterioles. Remember that? And we talked about how the macula densa cells actually monitor the filtrate. Well, the idea is that the macula densa cells detect low sodium, which indicates low blood pressure. We have low blood pressure. And so basically with low blood pressure, you have low glomerular filtration rate, which leaves more time for filtrate to hang out in the nephron and have the sodium removed from it. And so if you get to this point in the nephron and there's a low sodium concentration, then we're going to send a message, dude, something's funky here. So let's produce renin, which activates angiotensinogen, turns it into angiotensin I, which is acted upon by ACE and turned into angiotensin II. Remember, angiotensin II was the one that was like, dude, let's get blood pressure up. Let's vasoconstrict. You got to be thirsty. Let's increase cardiac output. All of that together is going to increase blood pressure, which the idea is to return glomerular filtration rate back to normal. Well, something else that happens that we didn't talk about is that I can't decide which color to make it. The fourth thing that angiotensin II does is it increases aldosterone production. So if you have low blood pressure, one of the responses is to produce aldosterone. Now, there is nothing simple about this. In fact, one of the textbooks that I was reading just said that this is one of the most complicated interactive pathways in the body. So if you're feeling like, whoa, this is crazy, it is, and it isn't linear. It's very net-like. But let's look at what aldosterone does. We now know that angiotensin II is going to come in and act on the adrenal cortex and result in the production or the dumping of aldosterone into the blood. So I'm just going to do our normal little picture. I'm going to try to give myself a little bit more space to do this. But here's a blood vessel. And I'm just going to go, dude, how about some aldosterone? Here's a little aldosterone molecule. Who put it in the blood? The adrenal cortex. Why did they put it in the blood? Angiotensin II told it to. Who made angiotensin II? We were having low blood pressure issues, glomerular filtration rate, our juxtaglomerular apparatus took matters into its own hands and requested some aldosterone production. Good. Well, aldosterone can act. This is my giant cell, tubule cell. This can be in the distal convoluted tubule or the collecting duct. There are multiple different kinds of cells in the collecting duct. Some of them function in pH homeostasis. These kinds of cells, they're called principal cells.  They have receptors that are sensitive to aldosterone. Now, aldosterone is a steroid hormone. So it's going to diffuse directly through the cell membrane and it's going to come in contact with cytoplasmic receptors. So the receptors aren't on the cell membrane. Now, you remember steroid hormone. What does steroid hormone cause to happen? Protein synthesis, that's protein synthesis. Protein synthesis. And I'm going to tell you I've got a list of the things that are going to be protein synthesized. Thank you very much, aldosterone. One of them is, I think I always do sodium channels. Another one is potassium channels. Interesting. The protein synthesis results, thanks to aldosterone, results in the production of sodium channels and potassium channels that get embedded in the luminal membrane of the distal convoluted tubule or the collecting duct. Are you cool? You know what else happens? This kind of makes sense. My friends, who's this? The sodium potassium pump. We are going to throw some extra sodium potassium pumps in. We are going to increase the activity of the sodium potassium pumps. Sodium potassium pump is going to do what it always does. It's going to pump sodium. We have a better color green than that. It's going to pump sodium out. Dude, what just happened to sodium? Went into the bloodstream. Fantastic. It's also going to pump who in? Yeah, this is a weird part. It's going to pump potassium in. This is totally normal. Of course it is. If we're pumping sodium out, what did we just create inside the collecting duct principle cell? We created a sodium gradient. And so sodium, oops, we got to go with the green. Sodium in the filtrate is going to come in. And because we activated more sodium potassium pumps, we are going to functionally reabsorb sodium from the filtrate into the bloodstream. Does that work for everybody? However, we have this excess of potassium. What are we going to do with that? One of the side effects of aldosterone is potassium secretion. Not like massive, let's dump, let's filter. We're not filtering. We are specifically dumping potassium into the filtrate. So this is interesting because the potassium, where did it come from? It had to have come from the blood. When aldosterone goes into action, it's going to increase sodium concentration, but it's going to decrease potassium concentration. And that can be a problem. If you have potassium issues, then looking at aldosterone function might be something that you need to do. Now, most of the time, aldosterone doesn't act alone. If we're reabsorbing sodium, most of the time we also have vasopressin or anti-diuretic hormone acting at the same time. So that's also going to pull water in to the mix. All right, that seemed a little bit straightforward, pH is a little scary, but I think that was pretty straightforward, wasn't it? Easy, peasy. Now, let's talk about pH. pH homeostasis overall.


Everybody forced here ripping 20 22 flawless football hobby one box number 24 left side serial numbers Let's random and then let's rip Good luck. Thank you for joining I'll be a 10 6 and 4 Names first and we'll do numbers match them up. See who's got what then get right to its 1 2 3 4 5 6 7 8 9 and 10 James D Then the Viviana and the numbers 1 2 3 4 5 6 7 8 9 and 10 1 down to be 11 James D 1 Viviana to Chris G3 Joseph F 23 stew S 5 Viviana 9 James D 19 Viviana 7 Paul L 13 Harper with 25 Jeffrey with 10 Sean M 17 Harper with 12 Gs sing with 4 Eric P 24 Joseph H 20 Stephen B 22 Mike W 14 Viviana 8 Joseph D 16 Philip S 6 Stephen B 21 Bernardo 18 Peter M 15 Viviana 11 I'll call out the hits as we go along here As far as like who's hit it is Let's get to it Rookie showcase quad patch is James Cook 13 of 25 13 going out to Paul L Dual patch card couple of Seahawks here Kenneth Walker the third and Sean Alexander 6 of 20 6 goes to Philip S Kenneth Walker and Sean Alexander Numbered only three of eight Justin Tucker, that's Chris G on the flawless frame signatures of Justin Tucker That's a great hit. Why do they got a why do I do my guys high law like that five of eight on the career progression? Zotto tie law stew S with the five spot the Pat's and she's version of tie law here. I Yeah, I don't like it Not one bit congrats to the five spot though Just do this there you go There we go for my hand in front Improve that card greatly great saw it on numbered eight of ten drew Pearson eight spots Viviana drew Pearson auto rookie dual patch auto Johan Dotson eight of 20 eight again Viviana dude, they're amazing Randy those old pats unis are phenomenal Flying Elvis is just like the whole freaking shoulder The numbers look like I don't know like a NASCAR or something nice dots in there. We got a distinguished patch out of Charles Woodson two of six A lot of low numbers so far to spot Viviana five spots is paying off right now. So ready They should bring those back. They got the reds, which is good They should get rid of the new ones to get rid of the new uniforms and we're good new ones are bland and lifeless Just like the team D on four of ten on the diamond Gushing D on diamond four ten Sapphire three of seven. He's coming back this week Cooper cup Him and him and puka.  I think Three spot is Chris G Sapphire color matches well champions diamond cup and on the back is Emmett Smith 12 of 25 on the Flawless achievements auto 12 spot is Harper on the Emmett Smith. Yeah, good call right now. That'll fix it all And there we go That will do it over something bigger on the end there. There's a good interbox Just hoping for something bigger on the end taste hit there All right, that'll do it everybody one more group break tonight coming up next


Dear students, I welcome you in the course of leadership, emotional intelligence, and the CN making. This is module number 60, and we are going to talk about that we have to be whole, act with integrity. What do you expect of them, who are your actually stakeholders? So when we talk about expectations, remember that sometimes our expectations are in clash with our stakeholders. So in that particular clash, when we talk about the expectations, we have to see that what you think your stakeholders expect of you, and you have to see that what do they expect from you. So it's a two way actually thing that what do you need from your stakeholders to do for you, and what do you need to do to meet the satisfaction of your stakeholders. That is the reason that in our previous exercise, we talked about that what are the expectations of the stakeholders and how we are going to meet those. But in this particular exercise, we're going to talk about that what are the expectations of the stakeholders that either you are meeting them or not. So for that particular case, we have to do the exercise number eight. So in the exchange of expectations, remember that in this particular exercise, we have to see that how the work, home and community are going to have a relationship with yourself. So that is the reason that we have to see that number one. If we put the scale, the one would mean that you believe this stakeholder never meets expectations. Five would mean that you believe this stakeholder is meeting expectations some of the time and the 10 would mean that indicates that you believe this stakeholder is meeting expectations fully all of the time. So supposedly at work, suppose I write like different names, the same names which I have put in the last exercise, there are ABCD and at home, I may have W, X, Y and Z and at community, I may have L, M and O. So these were the people I have discussed with you in the previous exercise number seven. So when we talk about exercise number eight, I have to see that this stakeholder is either meeting your expectations or not. So supposedly I say one over here, five over here, ten over here and I say seven is the level of expectation I have with the work people. So at home, I may say that they are seven, they are eight, they are nine and they are ten and suppose in community, I have five, six and seven and eight numbers. So these numbers are just random figures I have put for you to understand how to fill this particular grid. But in actual exercise, you have to be very much vigilant, you have to be very much careful that who are the people you are listing and what is actually the level of expectations either you are having with them or they are having with you based upon the exercise which we are attempting. Once this exercise is filled, now you have to move to certain important questions which you need to address. The first question is what are the main things you really want and need from your key stakeholders. Now you should also know what your needs and desires are. The second thing you need to know that how compatible are your expectations for them with what they expect of you. You also have to see that the expectations you have for them are compatible with where we are getting them. And the third thing you need to focus upon that how do your expectations for them fit with what is really important to you. So you are able to fulfill the expectations with them. So that is important for you because unless and until we do not set the expectations, unless and until we do not set the priorities in the hierarchy, it would be difficult for us to interact with our stakeholders in true meaning. Dear students, if I conclude the whole discussion, we are talking about expectations and sometimes those expectations are costing us a lot. At the same time, there might be a fruitful relationship, there might be a time when we meet the expectations and we will be able to resolve and resolve a relationship, a feeling, a feeling better and better. That is the reason that we are sensitive. When should we take care of our stakeholders' expectations and when should we take care of our stakeholders' expectations. So remember one thing, this is all about expectations and we have to be careful about these. Thank you.


Past conditionals are used when talking about decisions or actions that you wish had been different. They indicate hypothetical situations from the past using if statements. To form the past conditional, use past perfect in the if clause. Verbs in the main clause will depend on whether you are referring to the present or the past. For example, I wish I hadn't drunk so much last night. Now I feel terrible. If I hadn't drunk so much last night, I wouldn't feel so terrible now. Past action and present consequence I wish I hadn't drunk so much last night. I felt terrible then. If I hadn't drunk so much last night, I wouldn't have felt so terrible. Past action and past consequence I wish I had left home sooner. I was late for the party last night. If I had left home sooner, I wouldn't have been late for the party. Past action and past consequence I wish I had left home sooner. Now I am stuck in traffic. If I had left home sooner, I wouldn't be stuck in traffic. Past action and present consequence


Welcome back to entrepreneurship Tuesday on why and the morning I'm sorry for joining you this late but Alex held it down for us and thank you very much for tuning in throughout all the way to this time my name is Barry Moses or it's very much on every social media platform and it's time for another interview so today we are focusing on the arts we started with the film festival now we are into the theatre arts before I introduce my guest remember we have a question on Facebook how much do you spend traveling during the festive season how much do you spend traveling during the festive season as for me I just spent fair to my rural area and back how much do you spend for your holiday how much do you spend to go see your loved ones we'd like to know that so that we might come up with a with a budget for something you never know what the budget is for so this is on our Facebook at white five four on Twitter we are we are at white five four channel on Instagram at white five four underscore channel and you can hit me up directly at it's very more so to my guess these guys have a play that is covering something that is facing so many youths in Kenya it's about depression primers on the 15th of December at the Liberty Hall in Pangani and we have Collins and Daisy who are cast members we're going to share the light on this particular player here Karybunisana thank you all right your camera is number four to trans another lady has introduced believe you okay my name is Daisy Nabu I am an artist theater actress yeah all right Karybunisana Karybunisana Madam Daisy thank you my name is Collins Motonga I am an artist and actor yeah all right Collins as people look at you like this and as people look at Daisy they might guess you guys want to study this thing that you're practicing right now which is not the case what's your background in education in education after from fall I went to Uganda and I did bachelor's in law after I was done I went to Mount Kenya University and I'm just finished with a degree in journalism and mass communication so why didn't you share this information is it a law thing to hold some information you asked where we were currently it's nice to know it's nice to know that I have two lawyers in the building what about your background in education after clearing for I studied law all right so after that you went into theater at and that is the reason that you are casted for this particular play yes all right so I'd like to get to the casting stage how did you know about this play how did you know about this idea how do you know about this project first the projects I met the producer Joel and the script writer Malvin Idaqi way back like six months ago and they were talking about a depression play I had a few ideas that I shared with them and Malvin said he's going to write the play he didn't have the title then so it was just the script was there no the script wasn't there yeah the idea was there but the script wasn't there so after he wrote the script he called us for editions and that is when we auditioned and I was picked all right wonderful how much you already know about this Lee first I've been in stewards production for quite maybe two years now you've been working with them yeah I've been with Malvin I first met him in 2016 while he was training drama at Kenya aeronautical college in Wilson and we've been working with him since all right there's a drama department that's very interesting all right so the pilots also participate in co-curricular and that's yeah all right performance is an art yes for sure yeah how did you know you can do this and I started acting way back when I was in primary school I first acted as a chief when I was in class five you that was your first role ever it was my late teacher she passed on her name is madam Lucosi and she gave me that chance to act as a chief I really did well after that I went to secondary school I mail I met Walter C 30 a very good director I joined the drama team and it has been my journey all through all right the thing our performance is that it gets you out of your out of your shell it gets you to a place that is very compromising because people are very you put yourself out there to be judged to be watched and all these things how do you how do you manage to keep up with that I tell people most of the time I feel myself and I'm on stage that is where I get in touch with the deepest parts of myself that I don't know and it gives me some kind of happiness that I do not normally carry around yeah okay I feel that so it's a passion for that I think that's the definition of passion right there exactly if you've never known passion that is that I remember we were on social media at right for channel on Twitter wait for four underscore channel on Instagram right five four on Facebook the topic of conversation is performance art and this play is going to be premiering on December 15th and it's about depression the topic depression is is not something we are used to as as as a people as a country we we try to suppress it especially for the boy you're not allowed to be to be moody you're not allowed to be stressed you're not allowed to talk about your problems but this is what you guys are going to be talking about in this way all right walking in and out of this way what am I going to leave with you're going to leave with some intensity and some thinking it's it's searching you're supposed to after the play you're supposed to go back home and think about life at large you think about your friends you think about your family you think about the people you know in your life are they depressed are they going through depression you know can they talk about it that is what you're supposed to think that is what you're supposed to live with after you watch the play all right depression depression depression we have had a number of suicides this year we have had a number of songs talking about depression and one thing is certain depression is a state of mind yes it's not something you can actually see like this no but it's still a disease it's listed it's a sickness yes all right so are you a survivor of depression yourself yes depression is there though there are some different stages of depression until when one decides to it gets fatal when one decides to commit suicide or kill his loved ones and so the people also kill their loved ones chances are they're depressed most of the time most of the time yeah so depression and all right acute depression gets fit all it can end up with the depressed person dying or the depressed person killing yes they snap they snap all right as a mind state chances are you're going to tell your friend you're not the first person to go through this you're not the first person to do this chances are you're not going to understand a depressed person so if you are living with a depressed person or you you you're figuring out somebody you know might be depressed what are some of the things tips you can give somebody who's living with a depressed person let alone the depressed person okay so if you're living with a depressed person you know they have that shell of emptiness and hollowness in them they they are angry all the time and most of the most of the time they don't want to be with people to associate with other people so if you're living with a depressed person all you need to do is talk to them listen to them don't talk much just listen try to understand them without judging them because what pushes people to commit suicide or what pushes people to snap is when they are judged you know I told so yeah people don't understand them at all like I told maybe I told Colom depressed and Colo went to tell another person you know what this is depressed because of this so that will cause snapping like Colo need more meaning yeah how could he do that so I snap all right so just be there listen yes don't talk much and don't talk when you say don't talk much don't talk to that person don't talk don't interrupt don't speak out of time when you're talking to a depressed person and also don't talk about them with other people talking to it these are some of the things we are going to learn at the end of the the play itself which which role are you playing in this film I'm the director of the play yeah I have a cast of around 15 actors wonderful actors all right yeah 15 wonderful actors I have been one of them yes which role are you playing in the film I play Delilah she's a very angry lady who just lost her son through suicide and she blames everyone she blames the society she blames the husband she blames the child so she gets into depression herself after depressed and the depressed the depression comes in as anger anger management issues so she's just angry at everyone all right anger is good but to some extent extreme anger is not all right so Delilah lost her son from depression so Delilah gets depressed as well and the story continues for more of that headstay to Liberty Hall in Fungari on 15th of December what time is it it's a 3 it's a 3 3 to 6 how much is it going to cost me to to watch this right now we have tickets alibar tickets 500 shillings VIP 1000 shillings but the alibar tickets right now will you'll get the VIP treatment when you come all right all right what is the capacity of Liberty Hall Liberty has a capacity of around 600 so how do I stocks last yeah that is it 600 is not so much so you might just miss your ticket right now all right let's since today is entrepreneurship Tuesday let's get into the business aspect of it as a director as an actor the big question is always is the money coming in is it sustainable can you survive off a theater art in this country as we speak yes if you're good at it if you're good at it you have to be good at it first you have to be you know complain at this theater but you have not perfected your craft yes perfect your craft you have to go out there and search for that opportunity you not just sit home and say I'm an actor and you know I'm a theater actress and I'm going to make it how are you going to make it if you're not going for those auditions are you going to make it if you're not going out there and perform me and showing the world that I am just sold the max city yeah all right so uh ticket sales are an avenue of making cash yes what are some other ways that you make cash in this theater at film like our production house stewards production we have sponsors and so you partner with brands yeah that is one thing yes so how do you pick the brands that you're going to partner with say this place about depression we are going to seek brands so your PR person has steward is there and says we need to reach out to brands so we are this place about depression what what is the criteria that you're going to use to pick the brands that you're going to reach out for for a particular project most of the plays that we do thematic plays and I have a touching with the society most of the most of the time so when you go to pitch the ideas to potential partners and sponsors will go to them and speak to them as a part of the society looking at from the society outwards all right so they are you bring them as part yes all right and they also benefit from this and chances are it's going to be a story relating to what this brand is trying to sell that is what you're saying yeah all right I feel that remind them your social media handles how they can get to steward and how they can get to buy tickets how they can get to follow you guys as well all right so I'll give you the chance to be be so to your role it up okay our stewards productions on Twitter at Stewards productions it's on YouTube Stewards productions and also on Instagram at Stewards productions my Twitter handle is Daisy Naboo on Twitter Daisy Naboo on Instagram Daisy Naboo on Facebook all right thank you very much yeah I'm at Kalu underscore C KWILU underscore C Instagram at in Facebook and Mutunga Collins Twitter underscore Kalu C all right so there in every business there's always the future what the future holds the vision with it and and speculations here and there what do you think is the future of theatre art from where you're sitting from where I'm sitting the future of theatre arts is actually the future itself theatre art is actually the future all right because when you go to film film has a low capacity of people and it takes an average number but with theatre theatre it's wide and the topics to discuss are very wide and are very theatre is basically the future theatre is basically the future because it's an experience in itself for sure it's different from watching and I recorded movie yes all right what is the future of theatre art the future for theatre is there especially now in Kenya we've come from a place where theatre was seen as Sarakasi now we have serious productions that are doing marvelous jobs we have still being one of them yeah we have poets who are doing wonderful in this we have dancers all these are in the theatre performances and I think it's there we're going there we're not there yet but we are headed there all right talking about the future we have the drama festivals every year for primary schools and secondary schools these kids leave high school with no place to turn to no place to head to a place to nash at their talent so they end up in university studying things that they want to be in practice is that way you're trying to help these kids actually universities also attend a festival all right all right all right thank you very much for the for the guys all right and then again again our production we like working with new passionate artists most of them come from the drama festival yeah for instance in this play we have a boy who has been his name is Shady he's been at Kaba high school he was doing the stand-up comedy and some plays I saw him on stage in 2016 and he's now working with us in this play and I hope that one day wonderful man so scouting is a thing you're doing for sure yes and that's how the industry should go that's how the industry can grow that's how the industry can sustain itself when you bring a new talent wonderful all right so as we wrap this up we have a question on our Facebook and I'm going to be asking you a few but a lot of advice to somebody who is acting right now and thinks I'm not really sure if I'm going to get into this because you know what would you tell this person if you're going to get into acting what is going to push you is hard work for me I always tell people that hard work when it comes to acting hard work beats talent any day because at the end of the day you will have the talent but if you don't have the passion and drive to go to stage trust me you will not make it at all so as you wake up every day be driven by the hard work that you have and believe that you're going to make it as an actor if you're not going to work out if you know if you don't have the passion you will better off without it yes all right I would tell any actor that is watching right now just keep doing what you're doing don't give up attend those auditions no matter where they are that is what I usually tell my actors go after the cure what they might be looking for you and when you get those roles don't go looking for stardom stardom is not what you're supposed to be looking at own your craft and you'll make it stuff to Kiki stuff to Kiki acting you should be doing it as a passion you should be doing it for real not for the fame thank you very much and to our last question now come you say it's on our Facebook how much do you spend on average at traveling during the first season and do you think it's worth it I spent I come from Bungoma County so probably fair to and from Bungoma is like 3,000 Kenyan shillings and I've not counted the males I'm going to have on the road it's basically 4,000 it's a lot it's a lot of money and then when you get there since you're from Nairobi you need to you need to cash up cash out a little bit yeah yeah all right so it's costly you mean do you think it's worth it you would you rather go somewhere sometime in May June yeah family is important you have to go spend some time with your mom and your family and just have that silent moment at home all right family is important despite the cost yeah despite the cost all right what about you how much on average would you use my traveling first I love traveling I go to places whenever I get some good money just book bus and travel but now on the holy day season I come from around so the counties around Nairobi County most of the time during this period I go to places that have not been to and I think it's worth it thank your life is more fun thank you very much for coming to show I the morning we appreciate you one last time remind them your personal social medias and how they can get the tickets okay on Twitter days in a book on Instagram days in a book on Facebook days in a book and our show is on the 15th of December at Liberty Hall don't miss keeping up with the shenanigans it is all going to be fun all right tickets okay they get the tickets tickets are on 07 08 4 5 4 4 1 9 just make a call make a call reserve you see it pay via and pay sir yeah reserve you see it and the only 600 tickets up for grabs and yes you already know hurry while it's talks last thank you very much for coming through guys we appreciate you and keeping up with the shenanigans is going to be premiering at the Liberty Hall in Pankani courtesy of Stewart productions all right and we have the main man himself Collins Collins and Daisy you are the director cast member and the rest of the cast is represented to the max so remember 15th of December at Liberty Hall in Pankani keeping up with the shenanigans 500 for an advanced ticket you don't want to miss this the topic is depression and I'm pretty sure you know somebody who's going through this so this will be a lesson I well learned for you my name is by Moses or it's by one every social media platform and we still have another interview lined up for you Alex is coming up next don't type that up


update. Good morning folks this is Steve Rhodes coming to you live from the shores of cool Delray Beach Florida. This is your 9 a.m. update currently of all the U.S. indices equity future contracts that is trading to the upside the Dow is up 92 the Nasdaq is up 30 the S&P is up 12 and the Russell is up 11 points out there you've got gold up six bucks silver up three pennies platinum's up a couple of bucks the 30-year treasury is flat trade out at 161 12 let's do this here I'm going to I didn't get a chance to do this during the during the 8 to 9 o'clock show we're going to do this right now which is go to take a look at those 30 minute charts out there because they were each showing topping signals so here you got the ES many the upper left TD 9 count top that was confirmed with that bear sash candle prices trading with inside a bear structured profile the price closes below the center of that profile it's already tested that level but if it closes below the center of that profile at 46 74 that's going to suggest that we should see a move back to 46 89 or 46 84 25 now if price is able to close above 47 0 350 that's going to suggest that we should see a move to 47 0 9 50 not much higher that's the top of the daily profile but above 47 0 9 50 47 33 the NQ has a and the ultimate support for the ES many is going to be 46 84 25 in the NQ its support level 16 16 5 no TD 9 count top that is formed recently so we don't have a breakout level I'd be paying a close attention to the ES the Dow and the Russell 2000 now a close in the NQ above this level this level is 16 227 5 then we've got more rally to come in the Dow a roadsman to indicator bottom that formed at 830 price is uh dealing with where's the profile the bottom is that where it is it is at 35 7 16 we're trading at 35 7 16 right now so if you see a close below 35 7 16 we should see a move to 35 6 35 and the Russell 2000 the move lower should take us into 22 25 40 if we take out the highs of the day so far that's going to suggest a further rally because these topping signals here on the 30 minute time frame will have failed out there so folks stay tuned Tommy O'Brien is up with a great show and we've got great programming today everybody have a healthy and it's safe and a happy uh holiday uh uh merry christmas to everybody that's listening out there and uh i'll look forward to seeing you next week uh that'll be on wednesday take care folks


before. Okay, here's the D gesture to welcome you guys to our school. So this is how the D gesture goes. D. And we're going to do the D gesture together. So the first group you guys are going to say D. Say it. D. Say your number. Ready? Is everyone ready? I'm just going to get you guys pumped up for the show. And but also one of the things that we want to do today is help you guys learn a little bit about music. So there are two really important components of music that I want to teach you guys today. One of them is rhythm and the other one is dynamics. So three really common rhythms in music are quarter notes, eighth notes, and sixteenth notes. So quarter notes sound like this. Ta. Ta. And eighth notes are twice as fast as those quarter notes. The eighth notes will sound like this. Ta. Ta. Ta. Ta. And sixteenth notes, finally, sixteenth notes are twice as fast as eighth notes and four times as fast as quarter notes. So sixteenth notes will sound like this. Ta. Ta. Ta. Ta. Ta. Ta. Third dynamics. Let's move on to rhythm. So dynamics are how loud the music is going to be. So there are three types of dynamics and one of them is pianos. And piano is really quiet. So piano is down here. Everyone say piano? Mezzo forte is more of a medium level. Mezzo forte is like your speaking voice. Everyone say mezzo forte. Mezzo forte. And now forte.  And if we do this right, we'll be able to create a snow storm. So basically what we're going to do is we're going to have quarter notes, be at a piano, and then we're going to play eighth notes that are going to be mezzo forte, and then finally sixteenth notes that are going to be played at a forte level. So is everyone ready? Yeah! Yeah, all right. Quarter notes. Like of course it's the melody. Melody is probably what you think about when you think about music. So does anyone know the melody, row, row, row, your boat? Yeah? Wow, okay, that's most of you. So just in case anyone needs a refresher, we're all going to sing row, row, row, your boat together right now. Ready? Row, row, row. Okay, so we're going to play what's called a round. And a round is basically a melody that starts at different times in order to all come together to create a harmony. So can the cheer team please demonstrate to us what that would sound like? Row, row, row. Participating this round. So the first section, you guys are going to be first, and then the middle section, you guys are going to start singing when I point to you, and after they say boat. And the last section is also going to start singing when I point to you, and after the middle section says boat. So do you think you can do this? It's about the ugly duck, of course, but there are also multiple other farm animals that you'll encounter in this story. And so I want you guys right now for this next exercise to choose your favorite farm animal and make the farm animal sound. And we're going to use dynamics that we learned about earlier to control the loudness of the farm animal. So my hand when it's down here, I want you guys to be piano. When it's in the middle, mezzo forte. And when it's up high, I want you guys to be forte. So everybody choose your favorite farm animal sound. Mine can be quack, but you can choose anything from meow or moo or oink. Okay, let's get started. Ready? Everybody got their animal sounds? Let's start piano. Orchestra works. We all play different instruments, but all together we create a symphony orchestra. Speaking of a symphony orchestra, I think we have a little problem. So basically these high schoolers last night, they didn't get a lot of sleep. So they're backstage right now taking a nap. And without them, the show can't go on. So I need your guys's help to wake them up for me. And so we're going to do the DHS cheer again, but instead of DHS, we're going to say orchestra. So this section will be or, this middle section will be ke, and the last section will be strut. Okay, we got to be as loud as possible so these high schoolers wake up, all right? For now, Performance Hall. And this morning's performance of The Ugly Duckling. In the unlikely event of an emergency, please stay seated and listen to theater staff for directions. We would like to thank the Davis School Orchestra Music Association for sponsoring today's performance and promoting a vision of comprehensive musical education for all students in the Davis Joy Unified School District. Thank you, and please enjoy The Ugly Duckling. Give us High School Symphony Orchestra. Can you guys give it up for these wonderful musicians? Orchestra, will you say hello to the young kids in the audience? Great. Now we started today's performance with the full Symphony Orchestra sound so you can hear what all the instruments sound like when they blend together. In a moment, you're going to hear every individual instrument. Okay, now we have two goals for you today. One is for you to have a really fun and good time. Are you already having fun? Okay, mission accomplished then. Goal number two is that we're hoping that when you're looking into the orchestra, you can find that one special instrument, maybe two, maybe three, who knows, that you really like. You the sound of, you like to look of, and one that you'd like to play yourself and learn. Now the great thing about the school district we're all in is all the schools you're from offer music instruction. Okay, so starting in fourth grade, you get to choose a string instrument, and then in fifth grade you get to choose a woodwind brass or percussion. So every student has the opportunity to play music, and today we're hoping to inspire and motivate you to find that one or two or three special instruments that you'll enjoy to play. So let's take a look into the orchestra, and we're going to listen to every instrument individually, so maybe you can find one that you like the best. Let's take a look at the front of the orchestra first. All the string players wave your bows in the air. Great, okay, and the first violins, hold up your instruments. There they are, and the second violins, where are you at today? Okay, great, and the viola section, there's the violas, and cellos, there they go, and the basses, let's see if they can lift those basses up. Oh, there they are. Now let's take a look and listen here to what the violin sounds like. Thank you violin, and Jeremy, can we listen to your viola? All right, thank you viola, and Ho-Jun, can we take a listen to what a cello sounds like right there in the front there? Okay, thank you cello, and Nelly, can we listen to your big string bass there? All right, thank you bass. Now if you look into the center of the orchestra, we have what's called the woodwind family, and in the woodwinds we have the flutes, let's see what the flutes look like. There we go, we have a little baby flute called the piccolo, let's see what the baby flute there's the piccolo, good. Okay, we have the oboe, there's the oboe, and we have the clarinets right behind them, and we have the bassoon the biggest woodwind instrument. Great, let's take a listen to each of these, let's hear the flute first, and you're going to hear the piano accompanying the flute. Thank you flute, and let's take a listen to what the oboe sounds like. The oboe, everybody, and let's take a listen to the piccolo, and next behind the flutes we have the clarinet. Thank you clarinet, and let's hear what the big bad bassoon sounds like today. All right, the bassoon everybody, and if you look into the very last row of the symphony, you'll see some very cool looking shiny brass instruments. It's the brass section, let's see those instruments, there they go, and on the far left we have a french horn, let's hear what the french horn sounds like. Thank you french horn, and let's take a listen to our trumpet, the trumpet everybody, on the far left we have the trombone. Okay thank you trombone, if you look way in the back of the viola section here you'll see some very large drums, the kettle drums, or the timpani. Carter, let's hear what the timpani sound like. Right behind the piano we have an assortment of percussion instruments, we have a bass drum, a snare drum, we have a cymbal, the triangle, wind chime, let's hear what the percussion sounds like. Get the percussion everybody. Now you guys later here, the entire symphony play together.  All right let's get the show going here, will you help me to recognize our awesome narrator, Mr. Michael Lackey. Down to the water and swimming, the mother duck jumped in with a splash, and one after another the little ducklings jumped in too. Goodness said mother duck, he's not a turkey after all, and sisters. How, said mother duck, I want to introduce you to all the barnyard, but you must keep close to me for you could get stepped on, and above all, beware of the cat. Ducks, and owls, and chickens, and even the farmer's cat. Pearl said mother duck, introduce you to the breast scowling as they just strutted around each of the ducklings, pying them severely. I think he just stayed in the egg too long.  They stared, sort of duck are you, they asked, bowed to them politely, but was afraid to speak. The ugly say the geese, but what do we care? Why don't you join us?  Ammon played in the water all day, geese fell dead, more guns echoed, and the whole flock of wild geese rose up into the air. Guns and shouting were everywhere, as hunters surrounded the moor. Hope from the guns rose like clouds, and logs bounded in among the rushes.  An ugly duckling hid, while the shots went. It was slight, silent. Ugly duckling had survived, but as he came out of the rushes, he knew that he was alone once more. As the sun set, of the most beautiful birds appeared, the duckling had never seen any light than before. They were swans. The swans uttered a singular cry, spread their glorious wings, and flew up, up into the heavens. As they rose higher, ugly duckling watched in awe, wished he could be as wonderful as they. Ugly duckling only was he very hungry. But he had to swim about on the water, just to keep it from freezing. He swam, and he swam. In circles, and more circles, the space on which he swam became smaller, was really here. The snow gently fell, until everything was covered in white. It grew so cold that the ice in the water crackled as he moved. An ugly duckling had to paddle as past as he could, to keep the space from closing up around him. Ugly duckling tried to keep going, but he became exhausted at last. He could do nothing, but lay still and helpless, frozen fast in the ice. A peasant passed by, gathering firewood.  With his wooden shoe, he cracked the abs. He carried the limp duckling home to his wife, before returning to his work. The peasant's wife gently laid ugly duckling in a basket, next to the stove.  Seeing he was awake, the peasant's children wanted to play with him, but the duckling thought they would hurt him, so he started up in terror. He fluttered into the milk pan, and splashed milk all over the room. Next he flew into the butter, then into the flour. What a mess he was! The woman screamed. The children laughed and shouted, tumbling over each other, trying to catch him. At that moment, the peasant opened the door, his arms full of wood. Seeing the open door, ugly duckling flew forward, starling but peasant. Wood fell everywhere. Ugly duckling lunge flying out of the door, exhausted in the newly fallen snow, that the poor little duckling endured during the hard winter, digging through snow. Just to find a morsel to sustain him, he was strong. As he flapped them against his sides, and rose high into the air. And before he knew it, he found himself coming to a large pond, surrounded by a beautiful garden, fresh with the signs of spring. Elders bent their branches down to the stream. Five came three beautiful swans. The duckling remembered the lovely birds, and felt more sad than ever. I will fly to those birds, he thought.  But it doesn't matter. Better to be killed by them, than bit by the ducks, pecked by the chickens, shot at by hunters, or starved in the winter. The moment they saw him, they rushed to meet him. He bent his head down to the surface of the water, and awaited death. But what did he see in the clear stream below? His own image, no longer a dark, ugly, gray bird, who'd a graceful and beautiful swan. All of his sorrow melted away, as the great swans swam around him, and stroked his neck with their beaks as a weapon. Into the garden came some little children, and threw bread into the water. Youngest cried, look, here's a new one, and it's the most beautiful of all. As the old swans bowed their heads before him, he was so happy. And yet, not at all proud, he had been persecuted and despised for his ugliness. He heard them say that he was the most beautiful of all the birds. He rustled his feathers and cried joyfully, I never dreamed I could be this happy when I was an ugly duckling. All the instruments come down here, so teachers, please bring your students down, so they can see each instrument up close and personal. We're going to have all the dancers up here as well. But before we do that, I just want to recognize a very special person in the audience. We are so fortunate to have the composer of the ugly duckling here in our audience, Mrs. Betsy Lackey. Where are you at, Betsy? Where's Betsy? There she is. Thank you, Betsy. And everybody, if you enjoyed today's show, we'd ask that you go home and tell a friend, tell the rest of your family, because tomorrow we're going to be doing this concert, an encore performance for the community. Saturday morning, the doors open at 10.30, the show will start at 11, so we hope to see you all back again tomorrow morning. All right, have a great day and see you here next time, next year.


Welcome to Healthy Planet, the show for people who care about their health and the health of our planet on the ThinkTech Livestreamy Network series. I'm your host, Dr. Grace O'Neill. Joining me today is Aliyan Cumick, vegan chef. Welcome, Aliyan. Thank you for being on the show again. So tell us about your new products. I know you have chocolate, you have other projects you're working on. The biggest project I'm working on at the moment is my third book titled Hawaii Washoku. It's going to be released at the end of the year, hopefully around November, so just in time for the holidays. And it's gluten-free and vegan plant-based cookbook about Japanese cuisine. But the title, Hawaii Washoku, is a very unique concept where I'm connecting the principles of washoku, Japanese cuisine, with the spirit of aloha. So it's going to be a very unique read, about 150 recipes. So very much looking forward to its release. Hi, so all the recipes are Japanese recipes? Yes, all Japanese, all Japanese recipes. For people that don't know me, I'm from Australia, from Sydney originally, but I did live in Japan for 30 years. So three decades of my life, and that's where I became a chef. That's where I started my cooking career. So this book has been in the works for a long time. It was just a matter of when and how I do it. So this is a very, very exciting project for me, and I can't wait to share it with everyone. Indeed. So are you able to give us a preview maybe of that? I don't know if you can give us a preview, but maybe just some names of some things that might be in the cookbook, or I don't know if you're done, or what your situation is. Yes, so we've moved into the editing stage now, and that's a few months' work there when we get the layout and design done. But the book itself is, there's 11 chapters in the book, ranging from one of the main chapters I would have to say is the planted sushi and planted sashimi chapters. In the book, I actually do not use the word vegan or plant-based rarely. So I've swapped that word for planted, and that's going to show up on the cover of the book as well. And it's a great way that I think it works for a lot of people. It's not as intimidating as some words that kind of scare people, and maybe this will be more comfortable for them. So very exciting chapters, the planted sushi and sashimi chapters, very interesting.  So all of the recipes are easy, simple to follow. There is a photograph for every single recipe, and some side pictures as well with step-to-step guides on how to get through the recipe. So very, very interesting book, and the pictures are beautiful. I also am the photographer of all of my three books, including this one. So that's almost like writing a whole book itself when you do the photography as well. So yeah, I hope everyone enjoys what I've put together. It's going to be a really great book. Oh, I'm sure. It will be enjoyed by many people. I'm wondering, do you show us how to make tofu, or is that something that's in the book? Not tofu from scratch, no. And there are some recipes like Homemade Missile, Homemade, what else is there, Homemade Missile. A lot of the sources, definitely Homemade. But the reason I didn't do a homemade tofu from the soybean is because I want to keep it realistic. And in Japan, basically people don't make their own tofu. Very, very rarely do people make their own missile. But once a year, it is a thing. It can be a once a year sort of thing. So yeah, in order to get as many fit in, as many recipes as I think the book deserves, I haven't gone overboard with stuff like that. And quite frankly, personally, I've never made a homemade tofu that I have felt is worthy of putting in a recipe book. It's a very tricky sort of process. It's harder than cheese then, I guess. It's harder than even cheese. It is. But there's, I'm doing a lot. There's actually a chapter, a whole chapter on tofu dishes and some of the exciting things in that chapter use an ingredient called shio koji or salt koji. This is a very, very popular ingredient amongst foodies. And I have done also a homemade version of that. So the recipe is made from scratch. If you think miso and soy sauce, things like that are game changes in cooking. Wait till you try shio koji. And if you haven't, you can get it from any of the Japanese stores here on the island. It's like it's a marinade or a seasoning, a condiment, I guess. You can use it just like that. That is a game changer when it comes to Japanese food. Adds incredible umami to everything. And shio koji actually also works as a tenderizer. So just simply by marinating anything like vegetables, I have a broccoli and a Brussels sprout up and baked dish that is tenderized in this shio koji marinade. Amazing. So you can show us how to make the shio koji though so we can feel like going out to buy it. Or maybe we'll just go out to buy it to see what it tastes like. So when we make our own, see if we can replicate the taste or make it better. Yes, it's actually exactly like soy sauce or shoyu or miso. One of those things that a lot of people don't make, but it's so simple. I had to actually put the recipe in the book. It's like a five minute process. But if you're actually going to go out and buy the koji, then you might as well just buy the shio koji ready made and try it first to see if you like it. So in the tofu section, I actually make cheeses, aged cheese from tofu that has been marinated in shio koji. I don't have a picture of that for you, but it's incredible. It completely changes the texture of tofu. You would have no idea. It started off as a block of tofu. So there's some really cutting edge, sort of exciting recipes in the book that I think are going to be very interesting for a lot of people who enjoy cooking and who are interested in delving into some more plant-based cuisine. Now I hear that the Japanese, they're obsessed with strawberries. So I don't know if you have any recipes of strawberries, but I hear that the Japanese climate is not really tropical. They have these little greenhouses that keep the strawberries warm because they like to grow in hot weather only, even in the winter. And it takes up a ton of energy. I can't remember where I heard that on the radio. I thought it was really interesting to have a strawberry mochi. I don't know if you have any recipes for the strawberry mochi, but the one in the farmer's market is really good. Yes, and it's also vegan and gluten-free, I believe, the one at the farmer's market. I do have a recipe for the strawberry mochi. I have a recipe for the mochi itself, for the uncor, the bean mixture. And then, yeah, and then it's basically wrapped in a strawberry. In the book, I do have a picture that I would like to share with the viewers, and that is of the fruit sandoor, fruits sandoor, the fruit sandwich. These things are, you know, they're so popular in Japan. Fruit sandwiches are definitely a thing, and they're amazing. But they're always made with Japanese milk bread, which obviously is not, you know, plant-based friendly. So you have to substitute the bread that you like. But fruit sandwiches are very popular. Instead of the cream, I'm using a vegan cream cheese that has just been sweetened a little bit with sugar. So that's another interesting recipe. And you're absolutely right. Japanese go crazy for strawberries and for good reason, because I'll tell you now, in my humble opinion, they have the best strawberries on the planet and beyond, beyond. If you've never tried a Japanese strawberry, buy an airplane ticket, get on the plane and go there just for the strawberries. So what other kinds of desserts do you have in your book? I'm very interested in Japanese desserts. I am keeping it very, very Japanese, the whole book, actually. So I'm not doing much of flavored cookies or this and that. There is one cheesecake recipe, the matcha cheesecake recipe. And the reason I'm doing that is because you might know, but or maybe you don't. But in Japan, cheesecake is very, very, very popular, extremely popular. They have baked versions, raw versions, cotton cheesecake version. So I definitely had to do my version of the cheesecake. It's a cashew base. And then the rest are just all mochi. There's mochi recipes I do as well. And I don't think many people know how easy mochi is to make, because recently I actually got some omiyage from a friend who bought mochi from one of the Japanese confectionery stores here. It's very expensive to buy. I was actually quite surprised, very good, though. But yeah, I hope this book encourages you to just to sort of start making more Japanese food. It's not as difficult as you think. You know, most people look at Japanese food and how beautiful it is. It's, you know, a work of art in in many cases, but very achievable for the regular home cook. There you can you can you can whip up all of these things. So the dessert section, yeah, it's going to be really, really cool. And I think I opening at how easy some of these recipes are to to nail. Yeah, I would love to learn how to make mochi because I'm always buying it at Peace Cafe, you know, those little ones that are wrapped in this saran wrap. OK, it would be. Yeah, I would love to make something like that, because it's not too heavy. I find that some of the American desserts when you buy a cake here, they're really heavy. They're super sweet and what you buy in Asia are not as sweet. So I kind of like that a little bit better. I prefer that. Go ahead. Yeah. No, Grace, I was going to tell you about just another one of the desserts in the in the sweet things chapter is Nama Choco. Have you heard of that? Nama Choco is it translates to like raw chocolate in Japan. It's it's kind of everywhere. But I have a matcha chocolate and then a dark chocolate with Japanese hibiki whiskey in a very decadent. Yeah, very addictive. That's great. I'll definitely be checking that out. I want I want to go through your pictures because you sent me some really lovely pictures. If you could tell us, you know, I know we went through the sandwich, but can you show some of the other ones, Michael? This is this was taken in Kyoto in Japan. So I mentioned earlier, I did live in Japan for 30 years. And this is just a picture that I'm adding, adding some of my experiences and moments that I had in Japan throughout the book. So beautiful Kyoto. If you've never been to Japan, put this on your bucket list. Put Japan in general on your bucket list. It's such a special country. This is the Sendai Sendai, the city that I lived in. Sendai is known for its beautiful trees and nature. It's actually nicknamed the city of trees. And this is the main street. I actually lived off this main street, Jouzenji Dori. Anyway, this is just a monument or a statue that I walked past probably almost every day. And it has a lot of I have a lot of memories when I look at this. So Sendai is the place that I lived in the Tohoku region. That's where the 2013 earthquake and tsunami occurred. But it's it's a beautiful place, beautiful food and highly recommend if you ever visit Japan, visit the Tohoku region. This is my Orbento picture, picture of lunchboxes. In Japan, lunch, there's a there's a meaning behind a lot of lunchboxes. If you look at the bottom picture, sort of in the middle, that's that's like a love, a love bento. Lots of women or mothers or wives make make these bento with characters and heart shaped vegetables or heart shaped nori or some stuff like that. They spend a lot of time making bentos. Bentos are another work of art in Japan. They don't mess around, you know, making these things. They're very almost competitive, I would say, especially if you look at some of the bento that bento boxes that parents are making for their kids. They're incredible. But yeah, lunchboxes, all of them have a meaning. And in every in every thing, everything that Japanese people do, there's a principle called the rule of five or the principles of washoku. There's five of them. And what that's what makes Japanese cuisine so special is they have all these principles like that suggests you have, you should have five colors in every meal, five different textures, five different cooking methods. So if you go back to the picture that Michael just showed now, this is a typical meal and it's called Ichiju samsai. One soup, three dishes. This is this is basically a very common concept in the Japanese cuisine. You have a bowl of rice, three sides and a soup. And then the extra dish would be skimon or pickles, some sort of Japanese pickles. So the dish that I have there for the main dish, the main protein, that's tofu, but it kind of looks like a piece of fried fish. The egg roll is also made from tofu and some nori. So everything, everything Japanese people do, they it's it's a very mindful cuisine. They think about color, texture. They reflect their their very, very heavy on gratitude. So before every single meal, a Japanese person will put their hands together and say itadakimasu. They will do that whether they are alone with a stranger eating in a restaurant alone. They will do this. They'll go itadakimasu before the meal, which just means I'm going to eat. But basically it's showing gratitude for the person that made the food. At the end of the meal, they'll say gochisousamadeshita, the same sort of, you know, showing the same sort of gratitude. So in the book, I do try to, as I mentioned earlier, sort of bring these two spiritual just principles between the spirit of aloha and the principles of the Japanese cuisine called washoku. So it's it's it's interesting. You'll get it once you once you read it, you'll start to think, wow, OK, that's why so many Japanese people come to Hawaii and they just love they love the the spiritual vibe here. So the picture that I am showing that Michael's showing now, this is part of shoujin yori, which is the Buddhist vegetarian cuisine in Japan that was that started with Buddhist monks. This was actually the sort of food they ate because they abstained from eating animals way back in the day. And even to this day, shoujin yori, you can find this in temples and some restaurants in Japan. So that it's very, very, very healthy, mainly vegan, mainly, mainly plant based. And those that the dish that you just saw now was this steamed savoury custard, very popular dish in Japan. It's just Japanese food is so healthy. And there's a story behind all of all of the dishes. So once you start reading more about Japanese food, if you enjoy eating Japanese food, just go online and Google it and find out why it is as it is. It's very, very interesting. And this is my main photo for the book. This is what we call washoku, Japanese cuisine. It's also kaiseki yori, like a kaiseki course, which is basically a high end Japanese cuisine, a high end course. Kaiseki courses can be anywhere from eight to 15 or 16 dishes per course. So that is a typical what you will find if you go to a restaurant or if you stay in a hot spring or something and you order a kaiseki course. That's what it looks like. It's incredible. And all of the dishes in that photo are in the book. We have a few minutes left. So I do want to touch on your new column in Crave, Secret Garden. Can you tell us about that? Yes. So this year I was asked to become a columnist for the Star Advertisers Crave magazine. My column comes out the third Wednesday of every month, and it's called Secret Garden. So basically I introduce or I review plant based options on the islands, in particular on Oahu. So I introduce restaurants. I do recipes every now and again. So you can you can you if you subscribe to the Star Advertiser, you'll you'll get the Crave magazine every Wednesday. Mine's the third Wednesday of every month. You can also go to my web page, LillianVegan.com. And in the blog section, I do I do an extensive sort of follow up from that column. So lots of pictures if you're ever looking for plant based options, that's a good place to start at my web page. So I keep everyone up to date with what's what's going on on the islands. There's there's so many options vegan options on the islands. I'm only touching the surface. So this is really fun to do once a month. Is there anything new that maybe some people haven't been to yet or seen? I I don't believe so, but I could I could be wrong. And I I don't want to say no to that answer because I'm not sure. There are pop ups sort of happening all over the island. So it's yeah, it's hard to stay on track with what what exactly is going on. But what I can tell you is there there are more more plant based options than one thinks. And what I'm trying to do is unravel the plant based options that are not necessarily only in vegan restaurants. Plant based options that exist in in restaurants in general, because that's an you know, that's an important important place to start because plant based food, as we know, is not only meant for plant based people, people who are on a plant based diet. Anyone can enjoy healthy plant based food. So I hope that people do start, you know, to to challenge or start to experience some of the options that are in restaurants. Give it a try, you know, next time you're at a restaurant, skip the ditch the burger and go for a plant based one just to see what it what it tastes like. So, you know, you do that once a week and slowly you can reduce the amount of meat that you are consuming. And it will be good for the planet and your health in general and your mind, body and soul. Absolutely. So tell us about some of the maybe some of the places that are more known for their meat, the establishments that are more known for their meat, but they do have surprisingly some plant based options that are really good. Is there any on the island that you would think of? Yes, so actually in downtown there are two restaurants I highly recommend. One is Rangoon, Burmese restaurant. They have a lot of plant based options and the food is just amazing. So Rangoon, also in the Chinatown area, there's Olay's Thai Laos cuisine. Amazing Thai Laotian, pardon me. They also can pretty much veganize anything on the menu. And they are also they're very, very the staff are very knowledgeable about what's on the menu. So if you have allergies or gluten free or you're allergic to peanuts, they can they can adopt any any dish to your dietary needs or preferences. And that's a lot. I mean, one of my favorite restaurants is in Waikiki and that would be Island Vintage Wine Bar. The chef is a Korean. Yes, the Korean chef there. I actually gave them I awarded them the Lima Award for 2022 for the best plant based options in Hawaii. Yeah, so that's that's an awesome place. It's just amazing food. And again, these places are not and not vegan restaurants, but they're they're trying very, very hard to accommodate, which is, you know, something I'm very grateful for that. They're they're keeping keeping their options on the menu so that everyone can go there and and dine there and enjoy it. So I'm curious that Island Vintage Wine Bar, what vegan options do they have that you found so fabulous? They are actually they're priced very, very reasonable for what you get. So because of the chef's Korean background, she does a lot of sort of Asian slash Hawaiian dishes. For example, there might be like a Korean dish there that I love that has a little bit of kimchi, some, you know, orkinah purple sweet potato, baked sweet potato. Then it might have some sea asparagus. It's just very, very unique dishes that and the portions are all family sized, but they're they're between, you know, fifteen and twenty five dollars. You order one dish, you'll never finish it, although I can because I I I'm a good eater, especially when it's good. That's that's one of the myths, isn't it, Grace?  It's completely false. We eat a lot of good food. I would say we eat more. Yeah. And in yes. And in general, we eat a lot of different types of food, probably more than the average person, because we do, you know, nuts, legumes, we go all around, yeah, all around the land in search of what we can eat. So Island Vintage Wine Bar. It is my number one restaurant here on the island, I would say. Highly recommend. I'll have to check it out. I mean, because I'm always looking for places with my parents, you know, and my parents are super picky. And then, of course, I often don't have anywhere to go with them because they like to eat meat. So I'm always looking for something that will accommodate me, but is not completely plant-based. So, yeah, there's yeah, there's many places like that. You just you just have to look and honestly, just go into any restaurant that you normally go to, whether you're vegan or not, and just ask them, ask the staff what they can do in terms of plant-based. You'll be surprised. People, I think, are more open to the idea of accommodating, you know, customers, different, you know, dietary preferences. So I do it just because I want to make it clear that that there are customers like myself who who want to eat at their establishment. But, you know, if there are if there are reasonable options, I don't want to go to a restaurant and eat a Wimpy lettuce salad. Yeah, no, and paid $15 for it. It's just not on. So if you're going to, you know, thinking outside of the box, that's why I commend I commend the chefs and, you know, the people behind the restaurants that are that are adding a lot of plant-based options onto their menus. I think it's it's wonderful and it's something that we really need, especially here in Hawaii, because, Grace, you would know more about it than me, but there's, you know, a lot of obesity, high diabetes rates here. So clearly we could all clean up our diets. And I think the one thing that concerns me is that all of that all of that sort of worrying goes out the door when you go into a restaurant, you walk into a restaurant and suddenly sugar, salt, oil, all those bad things are are OK. But it doesn't have to be like that.  And I think Hawaii is a good place where, you know, this could be promoted even more. Absolutely. So we're at a time, believe it or not, but we have to wrap it up. I'm Dr. Grace O'Neill. This is Healthy Planet on the Think Tech Live Streaming Network series, we've been talking with Lillian Cumick about her new cookbook and her other projects. Thanks to Michael, our broadcast engineer and the rest of the crew at Think Tech for hosting our show. And thanks to your listeners for listening. I'll see you in two weeks for more of Healthy Planet on Think Tech, the show for people who care about their health and the health of our planet. My next guest will be from the Hawaii Wildlife Center. If you have ideas for the show or questions for my future guests, please contact me at Healthy Planet Think Tech at gmail.com. Check out my website at graceandhawaii.com or Instagram at Graceville Living 365 for more information on my projects, including future show guests. I'm Dr. Grace O'Neill. Aloha, everyone. Thank you so much for watching Think Tech.