and welcome. Excited to have you here. Another episode of the non-profit show. Today I'm really honored to introduce to all of you Danny McGregor and Danny serves and started the Charity Design Co. Excited to talk to her and excited for her to share these six donor avatars you need to know. So stay with us. We want to remind you, our viewers and our listeners, who you are looking at are possibly listening to. Hello to Julia Patrick, CEO of the American Nonprofit Academy. I'm Jarrett Ransom.  We are so very honored day in and day out to have the ongoing support from our amazing presenting sponsors. So thank you to our friends over at Bloomerang, American Nonprofit Academy, your part-time controller, non-profit thought leader, fundraising academy at National University, staffing boutique, and again the non-profit nerd. Thank you, thank you, thank you to these companies. We encourage you to please check them out because the cool thing is they're here for you. They're here for your mission and they want to help you do more good. So if you missed any of our episodes, you can find them all on many streaming platforms, including this one that we're recording now and sharing live with Danny, but you can find all of our episodes on Roku, YouTube, Amazon, Fire TV, as well as Vimeo. And for those of you podcast listeners, go ahead and queue us up there too. Wherever you stream your podcast, you can find the non-profit show. Danny, we are so excited to have you. I'm so excited. You reached out to me via my website. As I shared with you, I did my reconnaissance. I looked you up, you know, dug into your website, your LinkedIn and I was like, this woman is amazing and we need to have her on the episode. So Danny McGregor joins us again, the Charity Design Co. Welcome, Danny. Thank you. Thank you guys for having me. I also enjoyed learning all about what you guys are doing and I've become a fan of the show as well. So thank you. Well, you know, your website's amazing and I loved learning about you and seeing how you communicated to everyone. And when we had the opportunity to have you on to talk about avatars and how important they can be and should be on our websites, I was like this, we got to have this conversation and we need to have it now because so many of us look at our websites to redo and rework at this point of the year, right? I mean, it's like one of those resolutions. I know it is for me. So let's get going. But before we do, Danny, talk to us about what an avatar is because we have six of them. So let's get started there. Absolutely. So the way I define an avatar and obviously anybody that's taken marketing would kind of define your avatar as your ideal customer. So we're going to reframe that in the nonprofit world as our ideal donor. And all of your marketing communications should all kind of be developed for them and what they would be interested in. So with that, we have six ideal donors that are going to be coming to your website and how do you frame and create a website around that that will capture their hearts and get them to give. And historically, we really only have six types of donors that will come to a nonprofit website. And so what can you put on your website? That will get them to click and get them to donate. Let me ask you this. Are these six very distinct, separate folks or can they have pieces that kind of blend or overlap? Absolutely. Everybody's kind of a blend and an overlap. And we have a really easy way to add these layers and these onion pieces, if you will, to a website that captures all of those things and really creates this beautiful storytelling of what you do for your cause, which makes it really seamless and easy for a nonprofit to really get their message across and to make somebody want to give. This is exciting. So let's dive in. We have six to go over in a very short amount of time, but we are excited to start with number one. Donor avatar number one is social connection. What does that mean, Danny? It's literal connection. People want to see names that they recognize.  They want to see faces of people or names that they recognize. Putting names of supporters or brands that they recognize. They want to see how they can be connected and who else is connected to create that legitimacy to get them to click and donate. Simple as that. It's so interesting because sometimes that's a bit of a mystery. Sometimes nonprofits don't do that enough and so even just the board piece, I mean, just saying who's on your board and if you can have images even better, hello. But aren't you amazed, Jared, how many folks don't do that? You know, I always search websites to see who's the leadership of the organization, not only internal staff, but that external governing body, the board members. And when I cannot find it, it's like why am I, why am I hunting and pecking through a website, you know, and trying to figure this out. So I see that social connection as a really main one. There's no doubt that that's number one. That's for sure. So yeah, that social connection. I love that you said, Danny, it's as simple as that. I know, I do. Now, along those lines, you have number two is impact. Talk to us about that. Right. So for a product, you would put up the return on investment, right? You'd put up your ROI. Your donors want to see what their impact return on investment is for that donation.  So you're looking at the change in results that you have. They want to see numbers. That's what that impact donor avatar is. They want to see money for effort. And if they're giving you the money for you to make the impact on the cause, prove to them you can do it with legitimate stats. Are you suggesting this on the donate page, on the program page, on the homepage? I'm curious where you might put that impact. Absolutely. Great question. So my favorite phrase, and probably my client's annoyed how many times I say it, but content dictates design. So if you do not have enough content to flush out a beautiful page of impact statements, don't put it. It's going to look weak. It's going to look disingenuine. It's going to look non impactful. So put it on the donate page. Great. If you don't have a lot, but that'll give that donor a little bit more, oh yeah, that's great. They helped 10,000 foster care kids or whatever. But if you have it for a whole page, flush out that whole page 100%. Great. Yeah, that's really good. I've seen it off it on the donate page where we'll say, $25 will make this impact, $50 will make this impact. And I'm just as guilty to say, in my head, I anticipated putting in $40, but then I see what an additional $10 can do. And I think, why the heck not? If that increases the impact, then let's go there. So thank you for that. One of the things that we have mentioned, Julia, with our guest, is the donor avatar number three we're about to talk about. And this, as you have it outlined for us, Danny, is trust issues. So that donor avatar number three is all about trust. Talk to us about how we can show that on our website. Absolutely. So we've already kind of touched a little bit with this regarding our first one with the social connection. But it's essentially proving your legitimacy. Again, with names, photos, board, staff, but it's also proving with your transparency, your awards. Are you uncandid?   You need to make them front and center. Because, yeah, nonprofits can sometimes get a really bad rap as far as how they are managing their funds and putting that front and center along with donor or volunteer testimonials. Again, you're just going to catch them in the fields. You can be like, oh, these people are fantastic. They're doing this. They're doing that. Look, it's my friend on the board. And so it's going to make it hard for them to say, oh, they're not doing well. I think those should be on your folio page. If you have any certification, if you have any of those seals of approval, personally, I think, and I'd love to get your opinion on that, but there's a folio at the bottom of every website page. And I think that's where it should live. What do you think about that? Absolutely. I totally, I encourage all my nonprofits to put them on their footer. So yeah, I think we're talking about the same thing. I'm sorry. Absolutely. No, that's a publishing word. Yeah, the footer. Yeah, absolutely. Yeah, you want them there every single time. I encourage my nonprofits to also put their subscriptions or to sign up for the newsletter there as well. That should always be visible. 100% totally agree. Yeah. And you know, I love that you brought up Candid, formerly known as GuideStar, which I still find coming out of my mouth. And really, you know, those charity watchdogs have these seals of transparency. It makes it so easy to look into it. Now, before we got on the show, you said how the previous avatars kind of rolled into this one that we're going to talk about donor avatar number four is altruistic. So how does social connection impact and trust roll into the altruistic donor? Right. So our altruistic donors are the bleeding hearts, right? They're the ones that just want to give. They care about so much. And really, these want to hear your stories. They want to hear these testimonials. They want to hear how your cause is doing well. They want to see those beautiful pictures. And really, as I'm sure you guys can attest, you have nonprofits really aren't doing those graphic in your face images anymore. We're really going towards those beautiful storytelling, hopeful imaging. And so that sort of donor and that sort of avatar really just wants to hear beautiful stories. And that again, yeah, this is all building on on it on itself. Everybody, all these donors, all these avatars are people that just want to see your legitimacy. And you can hit on all these things in multiple areas of your website. But ultimately, they are small little checkmarks that you can add within a week to your website to make sure that you're touching base. I think I'm guilty of this number four, which is the altruistic. And I don't know if that's a bad thing, right? To be guilty of being altruistic. But really looking at, you know, as we said, so we're going through six donor avatars. The number one was social connection. Number two was impact. Three was trust and how those really stacked together to provide this altruistic. So my question for you, Danny, is how often should we be changing some of the content on on our website to keep touching on these? And I know we still have two more to talk about, but I'm curious if you can address that. Good question. That's a great question. Obviously, as a web designer, I say you should go in as often as possible. Definitely do not keep up old content, specifically for our trust issues avatar and for our impact avatar. They want to see current stats. If you have a stat up that is two, three years old, if you have an annual report that is two years old, you have lost them immediately. And so you need to have that information up. I would recommend at least monthly going in and updating your information. If you can go in more, that would be fantastic.  That makes a lot of sense. And I know we're talking about website, but I'm sure when it comes to multi-channel marketing and communication, we're also speaking to these donor avatars in multiple ways. And so talking about the impact and changing those stats, maybe month over month, is that where you see? Yeah, hopefully. I mean, necessarily, you won't necessarily see a change in every single stat level and every single item that you're tracking, but you can certainly add a testimonial. You can add a new image. You can keep things fresh and showing that turnover and showing that breath and liability in your nonprofit keeps things moving. And it also shows that how you are working. And it can be something as simple as an image change out or something as simple as a color switch that keeps people interested, especially for your return visitors. Sure. I love it. Before we move on to number five, the field goods, I've got to ask this question and it kind of piggybacks on the question that Jared asked. And that is, to what degree, we have six of these. Are we saying one's more important than the other or when we're navigating some of these changes like color or photography or video or testimonials or impact metrics? Do we consciously say that's for the social connector or, I mean, how do you do it so that you're kind of covering all the bases? Oh, that's a good question. I think you kind of make sure if you have this list and you're watching this or whatever, but you're taking notes and you say, oh, we're missing that. As long as you have it to your site and then you keep those pieces updated, I think that's kind of where you should approach it. Ultimately, especially when we get to the last one, there's really no avatar that's more important than the other. We just want to be helping all of them to get to the final click and donate. But there's certainly one avatar that has a little bit more financial mobility, I guess you should say. Let's get on to donor avatar number five, the feel goods. Yes. Yeah, so these guys are our blend. These guys are our blend of our altruistic and our social and our impact. And so this is where our regular updates really kind of come in. They want to see all of our updates to our stories and our news and our blogs and where all you are being seen in the community. What sort of community partnerships do you have with other nonprofits in your area or in your field? And they want to see all those things being updated regularly because really they kind of touch on all these other parts, right? So as they feel good, yeah, they want the storytelling pieces, they want the testimonials, but they also want to see how their money is being used as impact and they also want to see their friends or names that they recognize. So they kind of really encompass multiples. Yeah. I like the feel goods one as well. And I could definitely see how that's how that's a blend of them. Is this also where the storytelling comes in, you know, like the success stories, which does build in that impact, right? But like really telling the stories of the clients or whatever it is that community as story, I can imagine the feel goods love to sink their teeth into those stories. Yes. And adding them to your newsletters. I've seen really great use of using a page as literally just stories. And it's a slideshow of your impact stories of your storytelling.   And it's a whole new interactive and a whole new experience. And yeah, you can be really creative with what went to do that. Yeah. Well, let's take us to number six. And I know we've touched on a lot already. And again, in such a short amount of time, because these are the six donor avatars. And this is the one that you did such an eloquent tease to Danny. So a nod, a nod of congratulations there. Donor avatar number six, tax benefits. Tell us one. These are our financially mobile. Definitely, we should not say that any donor avatar is more important. But we all love in the nonprofit sector, the the nonprofits that are the foundations, whatever they shall be that just need to offload money. And we want to make sure that they see what they need to see. And that includes putting your EIN in the footer. That includes making sure you have your nonprofit status also available and quick and readily accessible for them to see. It's really super simple to make them super happy. They also would love to see transparency badges. But honestly, they're going to check your EIN, make sure you're good and standing and write you a check, make it easy for them, make sure you have your mailing address available. That's what they want to see. We love these two. We love the tax benefit donor avatar.  Julia, you remember when we talked about, and I think it was even a couple of years ago, when we were doing these episodes in IRL in real life, but really talking about this transference of wealth. And so to me, when you speak of this donor avatar, number six, the six benefits, that's exactly what I think about. Yeah. And they're honestly the simplest thing. They're an easy check off, check your website, make sure your EIN is very visible, put it in your footer and your folio like you mentioned and just crush it. Like that is a simple thing to check off today. Yeah. So go ahead, Julia. I was just going to say, you know, Danny, we always talk about this, but 1.8 million nonprofits. There are a lot of choices in this country for donors to make. And so there is a competitive set. But at the end of the day, this is the donor that's going to want to make sure that their donation is verified. It's actually going to count against whatever their tax liabilities are. And yeah, super, super important not to overstep that. And then, you know, especially, pardon me, Jared and I are very fortunate to live in a state where there is a tax credit issue that goes through our state. And more and more states are picking up on this. And that can mean some really serious money here. So you need to look at that if you're a qualified tax credit partner with whoever your state is. That's like free money, I think. Yeah. It is so much so, Julia, that I've heard so many nonprofit leaders saying that's not a true donation, which gets a little iffy, right? It's like, well, but it's still helping the bottom line of this. But you're right, many states within our US do contribute to that qualified charitable organization tax credit. And so speaking to that tax benefit avatar is so important.  They're also doing gifts of stock, gifts of so many different assets. And so having, how might you talk to the tax benefit avatar when it comes to gifts of stock on the website? Are you able to talk to us about that? Absolutely. So if you do have something, if you do have a robust program where you've already built out that sort of philanthropic additional, you know, gifts of assets, you need to have that available and make sure that that is noted immediately on your website. There's been a lot more of a trend where you're really kind of like indexing your website in your footer a lot more versus really complicating your header navigation and your main navigation. Make that one of your lines, stock donation, stock asset, you know, however you want to phrase it, and make that a whole page and direct them on how they can give. I've also seen nonprofits giving hotel points and airline miles for different causes as well. Utilize those things, but at bare minimum, EIN should be in there, your 501c3 status or whatever your nonprofit status is.  But from the website's perspective, absolutely. I love that you mentioned that navigation at the footer because I too have seen that as opposed to the, someone referenced it to me as like the hamburger stack on the top, which has this, you know, three or four lines, which looks like the bun and whatever inside your buns for that hamburger. Seeing that navigation, because I do that, I will scroll all the way down to the bottom and see how can I easily find that. So when we're thinking of these six avatars, my last and final question for you, Danny, is how do we blend the need of all of the interest of these six donor avatars into the multitude of pages? That's a loaded question, I know, but like what is your recommendation to blend what these avatars are looking for? Very loaded question. I think ultimately show your impact, whether that is through storytelling, stats, show your impact, show why you're doing what you do, what the problem is, how you fix it, prove to them your legitimacy, be consistent in how you show that messaging on your website and how you show your impact on your website and make it very clear who you are, what your status is, and what your EIN is. And hopefully with, if those are just your small little things that you do throughout your website, you should at least be capturing four of the six every single page and putting those things on your footer even better. Yeah, I will never look at a website the same again. I will always say, okay, where's avatar number one, number two, number three, all the way through because I would look at a website, Danny, and I would say, okay, twofold here for a website, one, the donor, but I kind of group them into just the donor and then two, the client base, right, like the service that we're providing to the community and just bifurcate into those two arenas. But now I see all of the branches that come from just that one side of the donor. So talking about these six avatars was extremely enlightening for myself. What about you, Julia? Yeah, I love this because I think sometimes, and you and I, we are looking like everyone else, but especially because this is our sector, we're looking at these websites, you know, morning, noon, and night, and they're such a difference. But I never thought about how we could really drill down and be sharing those messages for these different type of viewers. I think it's really smart. And, and Danny, one of the things you've made it very achievable, you know, by, by looking at these six, you know, avatars to understand, okay, there are bits and pieces, but let's not forget anyone. I love it. I think it's really smart and again, very achievable. And the perfect time of the year to be talking about this so that we can get this done and really be ready for the pushes that come forward. Danny McGregor, this has been a lot of fun. I really appreciate you coming to us today on the nonprofit show to talk to about to talk with us about something that's very sophisticated. And yet it can be, it's very achievable, like we were just saying, Danny McGregor, check her out, the charity design code. And her website is the charity design.co. Check them out. And again, your website, of course, you're in web design. It's beautifully done. I love it. And so it's just really been a pleasure, Danny. Thank you so much. Thank you guys for having me. This has been so much fun to get nerdy and talk about nonprofits. So thank you. Anytime. If you want to talk nerdy, you are in the right right along with our viewers and listeners. Thank you so very much. As we start this week, I want to thank Julia. And maybe I'll thank myself as well. I really grateful to be here day in and day out to have these high level conversations with thought leaders, just like the one we just had with Danny. And again, we want to thank our sponsors that allow us these conversations. So thank you to our besties at Bloomerang, American nonprofit academy, fundraising academy at national university, nonprofit thought leader, your part time controller, staffing boutique and nonprofit nerd, a representative from each of these companies. Come on and join us each month to talk about what's going on and what they're seeing and what's trending. So really grateful to have their support and backing in these conversations. Without them, we wouldn't have this conversation of the donor avatars. So again, I will never look at a website the same. I will always want to say like, you know, where are we in these avatars and how are they blending that? So thank you for shining your light Danny on the websites and how we can integrate what our donors are looking for as they look at probably our highest digital asset, our website. So thank you for joining us. Thank you. Absolutely. Well, another great way to start off the week, Jared. I'm excited. I am too. Yeah, thanks for all of you joining us. As we end every episode, we like to remind you and us, ourself as well as our guests to please stay well so you can continue to do well. Thanks Danny and we'll see everyone else tomorrow.


Welcome to the Longmont Museum, a center for culture in northern Colorado, where people of all ages explore history, experience art, and discover new ideas through dynamic programs, exhibitions, and events. I'm Justin Beach, manager of the Stuart Auditorium here at the Longmont Museum, and we are coming at you live and direct this evening from the museum's gallery to celebrate the opening of the museum's new exhibition, Enduring Impressions, Degas, Monet, Pizarro, and their printmaker, William Thorneley. This evening's virtual opening reception kicks off our Thursday nights at the museum series. Now through the end of April, we'll be offering free panels, lectures, conversations, and live performances every Thursday evening beginning at 7.30 p.m., streaming live on Facebook, LongmontPublicMedia.org, and local Comcast Cable Channel 8 and 880. I'd like to thank those who have made our programming possible, the Scientific and Cultural Facilities District, the Stuart Family Foundation, the Friends of the Longmont Museum, Museum Donors, Museum Members, and of course our media sponsor, KGNU Community Radio. There are a lot of people to thank for making this particular exhibition possible. Our extraordinary staff, Jared Thompson, our exhibition's curator in particular, for his usual hard work, his elegant exhibition design, and keen attention to detail. Drs. Morton and Tobiah Mower for so generously lending us the work from their marvelous collection, and of course our guest curator, Simon Zalkand. This gorgeous show is Simon's brainchild, and it's my honor to have the privilege of introducing him to you this evening. Simon is a highly revered museum professional who has spearheaded exhibitions at the Denver Art Museum, the Meisel Center for Arts and Culture, the Museum of Contemporary Art Denver, and the Boulder Museum of Contemporary Art, to name but a few. Simon was in fact mentored to the director of our museum, Kim Managé, who is unable to join us this evening and sends her regards. Simon and Kim have remained dear friends over the years, and they've worked on many projects together, in addition to this one, ranging from Alan Ginsberg's snapshot poetics, to no joke, the spirit of American comic books, to poisons, potions, and panaceas, medicinal and pharmacological botanic illustrations. Kim tells me that she finds Simon's analysis to be poignant and timely. He was thrilled to have yet another opportunity to work with him, and to bring his inimitable voice to Longmont. Ladies and gentlemen, it's my pleasure to introduce to you Simon Zalkand. Good evening. Am I on? Okay. Good evening. It's lovely to see such an enthusiastic and crowded opening with lots of appreciative gallery goers. You can tell I'm being a little funny or cynical. We live in strange times. I hope there's an audience that I'm speaking to, and if so, welcome. And at some point, art is meant to be experienced directly. And because of current conditions, Zoom is the best we can do for a lot of situations.  But I hope that a time is coming soon when you will feel comfortable and able to actually come to the Longmont Museum and visit this extraordinary exhibition. I'd like to introduce it to you, but I'm not going to do anything overly art-critical or art-historical. We have a program in April where I'll be in discussion with Molly Medakovich from the Denver Art Museum, and she's a scholar and an art historian, and will delve into the more arcane and art-historical implications of this. The other thing I want to acknowledge is that my good friend and colleague, Kim Manajie, who's the director of the Longmont Museum, is unable to be here tonight with us, mostly out of really concerned for us. She wasn't feeling well, and that sort of raised a red flag. And she didn't want to potentially, you know, be a cause for any distress or infection. But Kim, I know you're watching, and I have more to say about you later. So most of what I want to say is anecdotal and acknowledgements, and will leave the art-historical and art-critical stuff for the other event. But ordinarily, you know, this gallery would be filled with live bodies and lively conversations. For now, this is the best we can do, and I hope that it approximates in some way the experience of seeing these works in person and in context. I have a lot of acknowledgements to make and people to recognize. I also have anecdotes that I hope will not only inform your experience of the exhibition, but intrigue and entertain you as well, because they're funny. I'd like you to know how I first encountered Drs. Morton and Tobiah Moer. It's an anecdote that actually does link to the Longmont Museum, although I didn't know it at the time. I'm the director of exhibitions at a gallery, which is a little obscure. It's a destination. It's called the Fulgeniti Gallery, and it's on the Anschutz campus. And I was thrilled to do an exhibition with a bolder artist named Terry Maker. And the exhibition was basically based on her work with pharmacological and medical detritus. So there was a lot of prescription pads and vials, empty vials of pills, and there were beautiful works, and at the same time, you know, a little creepy, but gorgeous. And I was in the gallery one day, and there was this man there who was looking at them very intently. And I thought I should be a good host and go and introduce myself and ask him what his response or interest in all this was. And I did, and it turned out he was the dean of the School of Pharmacy on the Anschutz Medical Campus. And he was very interested in this work for obvious reasons. And then just in the course of our chatting together, he happened to mention to me that his ex-in-laws, with whom he maintained a very affectionate and ongoing relationship, were art collectors.  Because in my 47 years of doing curatorial work, I can't tell you how many times I've been approached by people whose in-laws or parents or aunts and uncles are art collectors, and I need to go see them. And inevitably, I try to be responsive, and I do. But my experience is usually not that great. You know, I applaud people for acquiring and being interested in pictures. But usually I'm confronted with, you know, kind of sentimental and not particularly interesting things or things that compel me. And I've become expert of warming out of those situations and still being polite and having good manners. So when this guy told me his in-laws were art collectors, I did the eye roll into the cranium. But I did say, well, what do they collect? And he said, well, they collect things like Passaro, Monet, Degas, Mary Cassatt, then going into post-impressionism, Chagall, Picasso, etc. And I said, oh, really? Well, do you think you might ask them if they would mind giving me their contact information? Their names were, their names are, Drs. Morton and Tobiah Moer. And he said, no, not at all. Please, they'd welcome a phone call, I'm sure. And so I did call them. And they invited me over. And their easygoing hospitality and kind of like ordinariness was remarkable to me. They clearly had no inflated or exalted sense of themselves as important based on their collection and on pursuing the things that gave them pleasure, which was very refreshing. And I only had the vaguest idea of an exhibition I'd like to do with them. But they said, you know, look at the things and just sort of see what happens. See what gels for you. And it was amazing because I was in an apartment in Denver. And I was looking at things both on the wall and stacked against the walls that one would be more likely to encounter and say the Metropolitan Museum of Art or the Louvre.  Most people say, well, I like the Impressionists. You know, maybe these days people would say, I like Andy Warhol, you know. But the Impressionists moved from being a group of outliers about whom there was tremendous ambivalence to being probably the best known and the best loved group of artists. And also, I think I feel safe to say that we can date the inception of modern art, of what we call modern art, to the Impressionists. So the Moors casually allowed me to go through all the works that proliferated in their home. I was a little overwhelmed. And as I was foraging through this, really, this treasure trove, I would occasionally come across and notice smaller, modest works. They looked like sketches. They were, in fact, lithographs by Degas, Monet and Pissarro, which, while they didn't pack the wow factor of the larger canvases and drawings, they were, to me, they were very riveting and beautiful in perhaps a more subtle way than the major paintings and drawings that the Moors also made available to me. I quickly noticed the lithographs, that's what they were, were signed by two people, suggesting that these were the result of a collaboration. The artist's signature, Degas, Monet and Pissarro, was always accompanied by the signature of someone named George William Thornley, with whom I was totally unfamiliar. And the evidence of both signatures implied to me that these were real collaborations. The artist's signature provided the imprimatur, the evidence of his claim to them as original works. And Thornley, well, who was George William Thornley? I had never heard of him. And at this point, the project turned into a kind of sleuthing detective story. Why hadn't I ever heard of George William Thornley? And Dr. Moer was able to provide me with basic facts about these collaborative efforts, but otherwise there was scant information available on the web about Thornley. In fact, when I did find something substantial, it was usually because he was an artist known primarily for painting traditional maritime and seascape paintings. And his work as a lithographer was kind of sidelined or a footnote. Anyway, the whole nail-biting narrative can be found in this lovely publication, which is both for sale, but I also, we're going to make sure they're distributed throughout the gallery, and that people can have a chance to read this. Really, what for me became a detective story, and I was the detective. So I'm thrilled to have played a part in the rediscovery of Thornley and his profound impact on the Impressionists. And while I can't say this for certain, I believe this exhibition is the first that I'm aware of to bring all these works together and to assess their impact on the progression of Impressionism. They are not a footnote. They are important works that invite us to intimately engage each artist's themes, concerns, and processes in a condensed and economical way. So I'm so grateful to doctors Morton and Tobiah Moher who welcomed me into their home and gave me access to their remarkable collections. I wasn't required to jump through hoops to win their trust and support. This is unique in my experience as a curator. I had no need to dazzle, court, or seduce them, or even take them out to dinner. So I'm so happy that this project also, and I wish you were here, this project brought me and Kim Managé, the director of the Longmont Museum, together again. Around 20 years ago, Kim wandered into my office. At least that's how I remember it. You know, maybe she called before. I was at that time director of an institution called the Sinker Gallery, which was affiliated with the Meisel Center for Arts and Culture. And immediately we became friends and she became a very valued and trusted assistant to me. And the first show we worked on was just a blast. It was called No Joke, the History of American Comics. And it was a lot of administrative work. We had fun together. And our relationship, both friendship and collegial, continued through today. And I think the Longmont Museum is really fortunate to have her at the helm. I also want to mention Jared Thomas, who is a consummate professional, and I've relaxed into trusting his instincts and decisions, as well as Justin Veitch, who has been so helpful to me. And so the elegance and coherence of this exhibition is really entirely there doing. It was very odd. Ordinarily, I would have been here placing the works and installing them. But Jared and I would get on Zoom and we'd kind of, you know, and I kind of relaxed. Once I saw what he was doing, I really relaxed into trusting his instincts. And it worked out beautifully. I hope you can come see this in person. So they all made the project flow beautifully. I hope that you'll be able to see the show in person. Zoom is great. And in many ways, it's the best that we can do right now. But there's no there's no substitute for a direct encounter with works of art. Many thanks to all of you who are out there. I don't know who or many there are. I'm thrilled that you opted to share this evening with us. We have more programming to come. And you know, who knows? Time may be coming very soon when we'll bump into each other in the gallery and can chat and talk about whatever might interest or compel you. Again, I'm so grateful to have had this opportunity. And thank you so much. Oh, right. So actually following my little chat, we'd like to introduce Morton and Tobiah Moore. They'll be speaking to us on on video or is it a Zoom connection video? And and they're delightful and articulate. And and I'm happy to have this connection with them and to introduce them to you. Thanks so much. Tobie really likes the French Impressionists. So we went heavily into French Impressionists. And well, I like them too, but you are the expert on French Impressionists. And I became interested in the interactions between the Impressionists. It was an interesting group, for example, you know, about a stay together for about four decades, but then broke apart because of the Dreyfus trial in France. And that just tore the group apart. Anyway, Sir William Thorneley was a printer who made lithographs and he was a good friend of Camille Pizarro. And Camille Pizarro brought him into the group. And he was considered so good that they allowed him to sign his name alongside theirs. So these are additions of Thorneley, Camille Pizarro's, Thorneley de Ga, Thorneley Monet, and the original additions, which we have, are original signatures. And you can get copies, of course, that were made later on, but they are not the original signatures. These are original signatures. And if you look at the lithographs, they give you insight into what the Impressionists were doing and what they thought, for example, there was a time when Monet became an amateur of Japanese art. And so Thorneley put chomp marks at the bottom of his lithographs, like the Japanese artists used to sign. We tend to look upon people who lived several hundred years ago as maybe savages, or at least not learned, not up to date like we are. And yet they had lives and they had knowledge and interactions between themselves that were very interesting and in an effort to try and understand that, I find that fascinating. Like, for example, we have a lot of Mary Cassatt. Mary Cassatt worked in pastels mainly. So did de Ga. It turns out that Mary Cassatt was a protege of de Ga. I find this just, you know, the fascination between the collaboration between the artists at that time. They collaborated much more than people do now. We say that de Ga was the one who did a lot of ballerinas and ballet dancers, but all of them did. Monet did de Ga, Matisse, and they all helped each other and were gave criticism to each other on how to do it, because it was a small group that was really on the outside. This wasn't the favored way of art in France at the time. The classical style was the thing. You know, the establishment in order to really make it. The Impressionist group persisted and finally became popular and then because of the Dreyfus trial, this went apart. We love to loan our art out for the public to see. If you keep it in a vault or never let anyone see it, the public doesn't benefit. So we see things in these pieces that we appreciate and which gives us pleasure and we like to do the same for the public. And being able to share them with others. That's what's important to us to me. I don't know about them, because I can only speak for myself. But it's important to share it. We usually have a lot people coming over to our apartment to look at our art and they say to us, why are you showing us this? I've never been so close to a Rembrandt or Remlord before. I said, because it's here and why should we be the only ones to enjoy it? We would like to see other people enjoy it too. I'm the Curator for Education at the Longmont Museum. Thanks so much for joining us. And my name is Jared Thompson. I'm Curator of Exhibitions at the Longmont Museum and I'm going to ask Ann a few questions. She used to work in a print shop. So Ann, you actually worked in a lithography shop. What was your role? Well, it was a pretty cool job. I worked there for about three years and I was an assistant. So it was kind of the lowest of the low. I do all the menial tasks. What kind of jobs did you as an assistant? Well, a lot of sponging of stones, a lot of cleaning, a lot of preparing of stones, a lot of soaking of paper. So what makes lithography unique? Well, I think lithography is really kind of a magical art form. It's so special because when you look at all the different kinds of printmaking there are, for instance, etching or intaglio printmaking, the process for that is that you lay down a layer of wax on top of a metal sheet and then you draw into the wax with a stylus or another sharp tool. But with lithography, you really get a sense of the artist's hand in the work because the artist draws directly onto the stone and then that stone becomes the image printed on the paper. So it's almost, you know, just like reproducing a drawing. It's very different. There's no tool in between the artist and the medium. And then on top of that, of course, they can approach it with a pencil, a crayon or even they can paint onto the stone. So there's a lot of ways to transfer an image onto the stone and establish it in the first place. It's just really special. So in your experience in the litho shop, why would an artist collaborate with a print maker? Well, there's a lot of reasons.  But essentially, when it comes down to it, visual artists such as painters or sculptors, their medium is paint. It's very direct. When you get into printmaking, whether it's lithography or another process, there's a lot of technical expertise that you really need to be able to produce a finished work. And most visual artists don't have that skill set on their own. So they collaborate, they work together because it's the expertise of the print maker. And then the vision of the visual artists that sort of come together, they work in tandem kind of off of one another to build a final, final piece. So yeah, we actually have a really good print maker here in Boulder County and Bud Shark. And if you guys aren't familiar with him, definitely check it out. He does amazing stuff and his work with some really big name artists. I think it's Studios and Lions. Yeah, yep, just outside. What do you like best about this exhibition? Well, there's a lot of things I really like about this exhibition. I think that it's really special to see William Thornley's work with these three different artists to see a whole collection of prints, of lithographic prints together. You really get a sense of the daily life of the artist, of the space they lived in, of their process even. It's a little bit like getting a peek into an artist's sketchbook. And I think that's really special. Another thing that I think is super special about this exhibition and just lithography in general is that with sort of the evolution of printing, art became more accessible to more people. Most people couldn't afford a giant grand oil painting, but many more people could afford a lithograph because it's a reproduction. There's more than one typically. So it makes it just a more accessible and it's more for the people. I think that's special. So going back to your apprentice in the print shop, what were some things you enjoyed doing in the print shop and what were some of the jobs you did not enjoy? Well, you know, the whole process of how a print shop works is kind of a special thing.  It would have been his print shop. And then there would be a whole handful of other people who worked for him, apprentices like I was, who are there to learn the tricks of the trade, to learn the process. And it takes years and years. The printmaker that I worked for, I remember him telling me that when he was training, they would blindfold him. And he had to learn how much ink to put on the stone by the sound and the feel of the roller over the stone. So just kind of, I think one of the things that's so special about lithography is that it takes so many people working together to create a finished work. And that's just, it's just so unique. Plus lots of variables, right? So you have to get everything right every time. So all your prints look similar. Yeah. And I think that that's, you know, that's how you become a master printer is that you've, you've gained the skill to be able to, from the artist drawing on the stone to then process it and then re-ink it, reproduce it over and over again.  You can't have not enough or that's a print that you have to throw away. So that is kind of a really amazing skill and a neat thing to be able to watch and observe and learn. Yeah, it must have been a really interesting job. It was super fun. So do you have any favorite pieces in the show? And why are they your favorites? That's such a good question. I do. There's, I mean, first of all, I love that it's just a show with so many lithographs in it. And again, that quality of being able to see the artist's hand in the work. But my actual favorite piece is the, the Pissarro painting, I think it's called the Cabin in the Woods. And I just love it so much because the, when you get up close to it, you can really see how luscious the paint is. It's almost like frosting. And it's so bright and colorful. And it has so much life and motion and light. And it really, you know, you can get close and you can look so close at all these little bits of color that make up the image, but you can't really see it until you then step back. So I think that that's, that's my favorite piece for that reason. But that's actually a similar reason that I really enjoy a lot of the lithographs, especially the, the angry waterscapes, the Monet Agree waterscapes. There's so much energy and so much motion and so much emotion in the landscape. And it really comes through with the marks and the composition. And I love that. Well, thanks for the insight on that. Yeah. Now we're going to show you guys a video done by the Museum of Modern Art. And it just kind of shows you the process of lithography and what it takes to make the print. This introduction to lithography will show the artist's drawing process, materials that are used on drawing a lithographic stone, the process of printing, and the details and subtlety that can be achieved in the printing process, as well as a close-up look at prints themselves. Lithography or stone printing is an intricate printmaking process that revolves around grease and water resisting one another. An artist will draw with a greasy material on a lithographic stone. Once we've established a drawing or grease on the stone, we chemically treat the stone with materials like gum arabic to establish the areas where water goes, rosin and talc to help us through what we call an etch, or it's basically to establish the drawing down inside the stone. Once the grease is pulled into the stone, we can replace the drawing material with any colored greasy ink that we would like. The basic drawing materials that we use from a historic standpoint are things like litho pencils, and it's a pencil when it's in this sort of format. So the lower the number, or the greasier the wax here, that material is. So if you want a fine hard line, you use a higher number because that's a harder material. Lithographic crayons are in this format. So the surface of a litho crayon is such that you can use it for rubbing, or for a fine line, and it can be shaped also to fit your needs. They come in varying sizes and hardnesses as well. The surface of a lithographic stone is a very seductive surface to draw in. It's responsive and it's also sculptural because the stone in and of itself is receptive to water. So if I dampen the stone, it absorbs the water.  It allows me to put drawing material down and then remove it with things like razor blades, an exacto knife, sandpaper. So it allows you to draw in a more sculptural way rather than having the limitations of a piece of paper. This is a lithographic stone with a drawing by artist Steve Johnson on it. It was a drawing done with a lithographic crayon directly on the surface of the stone. This stone is made from limestone. It is completely open as we call it, which means it's receptive to grease and water at this state. So if I were to put my thumbs on the surface of the stone, that would become image area because of the grease from my skin. So it's a fairly delicate drawing surface from that standpoint, but it's also a positive in the sense that every fine mark that you can put down with a greasy material will hold in that fidelity. So in this process, it's what's called a first etch. And right after that, we will remove the drawing material and apply printing ink to it, which is what's called proving the stone. So now the drawing material has a small amount of talc and rosin attached to it. And it's ready to be etched. So we first apply the gum Arabic to the stone. And this is to start to establish the non-image area of the stone. So what we're trying to make sure is that the whites of the stone stay that way, and they receive gum Arabic, which will help them receive water later on. Once the stone has begun to receive the gum into it, we can apply the acidified gum Arabic in this case, which is tapen. That acidification with tannic acid helps keep that gum Arabic permanently bonded to the stone. I'm also being very gentle at this point as to not scrub or disturb the drawing material that's on the stone. Once I've etched the stone, I'll remove some of that material and replace it with fresh gum Arabic. This is what we call cooling the stone down. It's basically reducing the quantity of acid on the surface of the stone so that when we buff in the gum Arabic into a very thin and even sheet, we don't run the risk of having too much acid remaining on the stone. We use cheesecloth to buff this in very evenly. Next, we'll be washing this drawing material out with lithotene. It's a greasy solvent, which is a refined turpentine made especially for lithography. The drawing material will be replaced with asphaltum, which has also been thinned with lithotene, to create a greasy, very ink receptive base for the ink on the roller to replace it with. At this point, your drawing will disappear. It's not actually gone, and what you can see is a residue or a ghost image as we call it there in the surface of the stone. That is where the stone has been converted to soap or oleomanganate of lime. Right now, when we buff the asphaltum down onto this, we're going to replace that drawing material, which is in effect grease sticking to grease. So it's the grease loving area of the stone or the oleophilic area of the stone, accepting new grease. When a stone has been etched properly, you'll be able to see a fairly clear ghost image on the surface of the stone. What will be happening next is that we are going to wet the surface of the stone. I will go over it with a wet towel and a dry towel. Kate will sponge that surface, and I will apply ink immediately to the stone, and that will bring up our image. In the beginning, we're not actually interested in transferring ink to paper. We're actually more interested in forcing ink into the stone so that it can start to fill up the greasy reservoir where it was. You can see only a very small amount of ink has actually been transferred because we're starting to push ink into the stone first. It's an average of four to six news prints for any given particular stone to come up to a full inking. When printing on a dampened sheet of paper, we can achieve a different tonal range based on the softness of that paper. What we want to do is match that movement and flow of the hand. What I'm looking for when I look at this is to see if it feels as if the hand has moved across that surface with a drawing material. If it has, and if it maintains that character, then I would consider that a good impression. Thank you so much. That was such a really amazing video. I love to watch that video because I think it gives such an organized and clear and structured picture of how a lithograph happens, how it's processed. He was super passionate about lithographs. You could definitely tell he came through. I have to say I also really love that duck image. I want one. I wonder if they auditioned it. Who might be? So, Jared, I want to talk to you about your experience a little bit now. So I've got some questions for you. Ready? All right. So what do you think is special about this exhibition? I think we're really fortunate as an institution to actually have this work in our galleries. We're very grateful to the Mowers for loaning us these works.  It was really great working with Simon Zelkin developing this. He's got such a great deep knowledge of art history and contemporary art. It's so true. We collaborated with CSU in the printmaking department. So we worked with Johnny Plastini up there and he loaned us a bunch of objects related to lithography so our visitors can actually see the process and the tools they're used in making that. I'm so glad we were able to do that. Yeah. And I was an art major with a printmaking minor. So I really have appreciation for lithography because I've made prints myself and it just makes me appreciate what a master printmaker William Thorneley actually was in to see these works firsthand is just definitely a treat. Yeah. I mean, we're so lucky as well to be in a small community like Longmont and to have access to this work. Yeah, for sure. We don't have to to fly to Paris during COVID, for instance, to see it. We're lucky for that, I think. Yeah. So how is this exhibition different from other exhibitions that you've worked on and helped develop at the Longmont Museum? As you know, I've been here for quite a long time. So I've been involved with other 40 exhibitions. This one definitely is memorable. Just, you know, as Simon said, this is world-class art we're showing on our walls. And just to spend time with it and install it has just really been, you know, kind of a dream. And we're lucky the city of Longmont has been really supportive, you know, just to make this happen. Yeah. Yeah, absolutely. I mean, I feel like, too, that we have kind of a broad mission statement but allows us to do this variety of different kinds of things. Like maybe you would talk a little bit about this is a world-class art exhibition, but what are some of the other kinds of exhibitions that you've worked on here and the different groups of people that you've worked with to build them? It's varied. I get to work with all sorts of different people. Everyone is so passionate about what they do. Anywhere is from legal sculptures to low riders. You know, you name it, we've done it. We do have an exhibition coming up called Longmont 150 that's celebrating Longmont's 150th anniversary. And interestingly enough, it's the same time period, roughly, that these works were created so you can kind of see, you know, these are kind of a snapshot of what is going on in an artist's life. Yeah. And then you'll be able to see in the Longmont 150 exhibit what was happening in Longmont at the same time. Yeah, I think that's so fascinating, too, because like you said, you get this picture of what life was like in the late 1800s, you know, in Europe, around Paris and France. And then you can even, you don't even have to wait for Longmont 150, but you can go right across the gallery to Front Range Rising and get a snapshot of what life was like here in the West, in the United States, in the same time period. And the contrast is amazing. It's so different. Yep, I agree. Like just the life experience. Yeah. Wow, blows my mind. Well, considering that and how grateful we are that we don't have to travel to France right now to see an Impressionist exhibition, tell us a little bit about some of the challenges that you faced while developing and installing this exhibit during COVID.  So a lot of Zoom meetings, like Simon and I worked together online, phone calls. He wasn't actually able to come up for the install. So I would put the exhibit on the camera and show it to him and get his input on how that's going. COVID did affect our staff. So we were a little short staffed for this exhibition, but our amazing staff actually stepped up to the plate and helped out to make this show happen. And I'm very grateful for, you know, for everyone in the staff to kind of step out of the roles and actually, you know, step up to the plate and help us get this done. You included. Thanks. I actually feel so lucky. I mean, not only that I work here always, but especially in a time like this, that because we're, you know, friendly with each other, we like each other. We work well together. We really do step out and help each other out when things are tough. So it's been fun to be able to help you more in the gallery in the last couple of weeks. So thanks for that too. I really appreciate that. And I appreciate all the plexiglass barriers you've built during COVID. Right now, I know you guys at home can see that we're not wearing our masks. This is like the first time I haven't worn a mask and looked at my friend, even though he's on the other side of the glass. Anyway, let's get back to the topic here. Tell us about some of the themes in this exhibition. And what do you find interesting about those themes? Well, doing the layout and install, I got to spend a lot of time with these works. So I was kind of looking for patterns or common themes throughout, you know, each artist body of work that we're displaying. Pissarro, you know, we've got some really nice, they're not really portraits. It's more people kind of going about their everyday lives. And then he does kind of peasants working in the field, just doing their everyday job, you know, just making a living. There's some nice city scenes.   Okay. We're really lucky in the show to have a charcoal sketch just to kind of see how he works. We also have, you know, lithographs and pastels. So you can kind of see how he translates the human form in those different media. That's really interesting to see. Monet, a lot of people think or just only know him from the water lilies or flower scenes.  Prints are really nice just to see how he translates that. And there's another portrait, portrait of Polly, which is another really nice one. The guy's got a really intense stare. He was, I guess he was just a fisherman that came into the inn that Monet was staying at, but just he's really good at capturing kind of a person's character. And it really comes through in that print. And doesn't Polly also appear in some paintings? I mean, not in this exhibit. He did an oil painting of the same guy. And it's got that same, you know, intense stare. Yeah, that look in the eyes. I think that's so neat, too, that you can see some of these, the themes throughout this exhibition are also reflected in other paintings and works that you might see elsewhere. I think that's really cool. And I love that you've organized it in that way so that things are sort of clustered together. And you can see a variety of different approaches to similar subject matter. I think that was, that was wise. Interesting. Okay, what was your favorite part of developing and installing this exhibition? It's just being able to work with these pieces up close and seeing them first hand and actually handling them, hanging on the wall, just spending a lot of time with them and just finding those themes and commonalities between them. Really fortunate. I really enjoyed working with CSU and Johnny Plastini in the print department. I went up there and learned a bunch of stuff from him. And it was great working with Simon, learned a lot from him. Nice. It sounds like you made a lot of really good connections with people and learned a lot from those interactions. That's cool. Isn't it great to have a job where you can do that? We're so lucky. Sometimes I can't believe I get paid for this. I know. Thank you, City of Longmont. All right, last question for you. Do you have a favorite work that's on display in this exhibition? I really like the portrait of Polly. That's probably one of my favorite lithographs in the show. The passaros, just his detail is amazing and his landscapes. And that's where lithography really comes through strong, where you can get that level of detail. Because before I installed it, I only saw pictures of these to actually see them in real life and just they're really beautiful. There's so much depth to anything and texture. I love that all of that really comes through in the lithographic approach. Yeah, you definitely have to see them in person. They don't really translate when you see photos of them. But to be honest, there's so many beautiful pieces in the show. They're all really enjoyable to look at. A little bit of something for everyone. Well, for those of you at home, if you would like to come visit, we welcome you to our galleries. We do have sort of limited visitation right now. So you'll have to reserve your tickets online. We are doing time tickets, but you can do that through our website. And Jared, thanks for chatting with me. I really appreciate it. Yeah, thank you, Anne. You're welcome. And we're going to hand it over to Justin now. Thanks so much. For tuning in via Facebook, Longmont Public Media and local Comcast cable here in Longmont. It's been a great evening. You know, this has been a virtual opening reception, a COVID style opening reception for a really important show here in Longmont and in Colorado. What looks to be a first. Enduring impressions will be up as of tomorrow and available for you to come and take a look at it. There's a lot to see here and a lot to enjoy. It opens tomorrow, January 29th and runs through July 18th. So you have a lot of time to check it out, but that doesn't mean you should sleep on this. That means you should come and visit www.longmontmuseum.org and make your reservations in advance. Make sure that you get a chance to see this, but we expect it to be very popular. I know there are tickets available for tomorrow and this weekend if you're interested. I want to tune you into a program that we have coming up that Simon mentioned on April 15th. It's Simon will be back for a conversation with Molly Medikovic from the Denver Art Museum. They'll be discussing painters and print makers in light of this current exhibition. It should be a really great program. I'm really looking forward to that. And that again will be offered as part of our Thursday nights at the Museum Series. Every Thursday at 7.30 p.m. we have all kinds of things happening. In fact, next week we have a special birthday program celebrating the sesquicentennial here in Longmont. That's right, Longmont as of February 2nd will be officially 150 years old and we're going to be celebrating that next Thursday, February 4th. I want to thank everyone who's made this evening possible and I particularly want to thank John Boggs, who's our pianist this evening. He's been offering us up a sort of sampling of classic impressionist composers and I thought we'd close things out with a little more music. John, would you like to take it away?


What is going on guys welcome back to the channel critical overload here? So we're gonna be talking about the Chucky TV series that's coming up literally this year really quickly and about how long these episodes will be now We're already going into this. I was expecting it to be this amount of time But this is apparently coming from Don Mancini's boyfriend supposedly junior moral And this has been posted from the Chucky Spain on Instagram the Instagram page Chucky Spain I'll have a screenshot up and I'll leave a link down to that page in the description of this video So as you see here, it says it's in Spanish but The description the caption is stating that he basically commented on this in his boyfriend that being competent saying that there would be 10 episodes for this season so he can he's confirming that there will apparently be 10 episodes as we have Already seen based off of what's been detailed on the IMDB page And he's also stating that the episodes will run one hour long each now Just to go off of that that one hour long mark I'm going to go out and say that this person is factoring in commercial breaks as well So what that would ultimately mean for anyone who's grown up watching those traditional TV series that are non 30-minute time slots and the ones that are over an hour long like Buffy like Angel Like a lot of these other newer shows that are coming out stranger things even but stranger things enough itself goes over an hour Sometimes most of the time actually some of the other shows they have that hour block on these cable networks where they have the commercial breaks Those episodes aren't actually one hour long They're actually 40 something minutes long like 42 to 44 minutes long So that's how actually long these upcoming episodes for this first season of the Chucky TV series will be and that gives us Plenty of time to catch up with whatever they want us to have us kept up on with the past characters get to know the Get to know the present that being of course Jake and what he's going through and his current standing with this Chucky Doll that he's going to come in contact with and that how that's going to factor into his life. So This isn't necessarily official just because again, this is apparently Domancing his boyfriend. I'm trying to understand how they know this is his boyfriend Unless he said something saying that hey I'm Domancing this boyfriend, but again, anyone could really say that I don't really think that this person is lying But at the same time, it's not Also out of the realm of unbelief ability just to predict something like that So again, this isn't necessarily something that I would say is official because it's not coming from Domancing himself or anyone that I want to say is officially Directly tied into this TV series the episodes being an hour long Not nothing surprising there about that the fact that they're going to cable television and gonna be on the USA sci-fi network That means that that one-hour slot is not going to be something on our TV listings where we see an episode of Chucky Showing for an hour and 30 minutes is not gonna be like that. It's an hour time slot So that means that there will be commercial breaks, of course So that indicates that the episodes in and of themselves will be 40 42 Maybe 44 45 minutes long each which again would give us plenty of time to Get to know certain characters get to watch them grow Get to flesh out Jake and his whole background before you toss tossing these old characters like Andy Kyle and Tiffany Tiffany though and Nika I'm expecting them now to show up somewhere midway through the season at this point But they could also show up at the same time that I'm saying that I think Andy and Kyle will show which like the last three episodes of this season I think that will be the best case scenario to do anyway. So that way we're not putting emphasis on the past We're just having them come in kind of just as Not fan service because they still matter to this story But you know, you're trying to tell new stories with Jake and what's going on with him So I've already touched on this in the past I don't want Jake's story to be watered down and become an afterthought while we're catching up with people who we Essentially already know and are attached to outside of Kyle I guess since Kyle was only really around for the second child's play movie And then we didn't see her again until close to Chucky, but you get my point. I don't really want to see Jake get set up to be our main protagonist and then all of a sudden this becomes Andy story or this becomes Kyle story or something like that. We know it's gonna be about Chucky in some way because it's gonna be focusing on what his childhood was like in many aspects And what has brought him to become the killer that he is today so I can't wait to see what happens there with all of that and That's apparently what the episode links will be. It's apparently going to be one hour long Which we know broken down including commercial rates will be 40 42 something minutes 44 nothing shocking there The season itself 10 episodes as I've talked about previously Just wanted to share my thoughts in that quick little tidbit that I got sent over my way from Chucky Not Chucky Spain, but from Ray shout out to you again that was posted by the Chucky Spain page Let me know she has think about this down the comment section below if you haven't already miss you subscribe turn on post I vacation and miss a video in the description. I have links to my social media accounts I'm a Facebook Twitter and Instagram you can message me there of course There's any movies news or views I'm gonna cover in the future, but I don't mind guys I will see you in the next video


The question for the Giants, Troy, now with a record of one and five is what, in your opinion, do you think their identity should be as they go forward through the rest of this 2018 season? Well, you'd love for any team's identity to be this high-flying offense that's going up down the field and scoring a lot of points and just smashing people on defense. The Rams are doing that, but no one else. I think for the Giants, when they addressed it, when Dave Gettelman came in as a general manager and started to assemble this team, basically what he said was we're going to improve the offensive line. We're going to draft a great runner in Saquon Barclay, and we're going to go back to old-school Giants football. We're going to pound people with the running game. We're going to play great defense. The only problem is that they don't have a dominant offensive line. They don't have a dominant pass rusher and a defensive front and all the things that have made the Giants a Giants over the years, but I do think that's going to come. I mean, this is a building process. I don't think anybody thought for a second that they were going to be able to come in this year and turn it around right away. I like Dave Gettelman's GM. I think he's going to make good decisions. I think he's already made some good decisions. I still scratch my head a little bit on the quarterback decision at the draft, but that's a whole other story. But I do think this is ultimately going to be a team that matches people in the running game and goes back to playing great defense. Good answer. That was a good answer. Good job. I was losing you there for a minute. I was mesmerized. That's it. That's it from Jersey where the Eagles beat the Giants here tonight.


We continue today with workbook lesson two sixty six.


Hello and welcome to the session. This is Professor Farhad in which we will discuss pro-forma financial information. Pro-forma financial information is part of the statement on standards for attestation engagement, which we were discussing throughout this chapter. First we looked at the level of service that we can provide, examination engagement, review engagement, agreed upon procedures. Now we are discussing the subject matter. In the prior session we looked at the prospective financial information. In this session we would look at pro-forma financial information. I want to make sure we know where everything fits in a sense to make context of it. Now prospective financial information and pro-forma financial information, they sound similar.  Why? In what sense? Prospective means we are dealing with the future. Pro-forma financial statement, you're going to see shortly we are dealing with historical financial statements. So from a time perspective, they're totally different. The prospective is looking at the future. The pro-forma is looking at historical financial information. We learn in the prior session for the prospective financial information, we can conduct an examination. Examination, we can conduct and agree upon procedures. We cannot do a review because in a review you do analytical procedures and inquiries and you're looking at futuristic numbers. So it doesn't make any sense to do any analytical procedures or ask about the numbers when the numbers are already kind of guessed made up. Pro-forma financial information, we're looking at historical cost information. We're looking at past information, not historical cost, historical financial statement, historical. Under the historical financial statement, we can do an examination and we can do a review. Just like what we do with the historical financial statements, we can audit them or we can do a review. And for the pro-forma financial information, we can audit them. Remember audit is similar or the same as examination, except we cannot use the word audit. And a review is similar to a review of financial information, which makes sense because we are dealing with historical financial data. Now what is pro-forma financial information? Let's have a definition of it. What is pro-forma? Pro-forma is for the sake of form in Latin. So it's basically let's assume something for the sake of it. But basically it's a presentation that shows what the significant effect on historical financial statement might have been had a consummated or a proposed transaction or event occur at an earlier date. Simply put, believe it or not, here's what we're doing. We are looking at the financial statements and we are saying okay, let's do this. Let's play this game. Let's go back and let's assume something happened one year earlier. What would have happened to the financial statement? Believe it or not, going back and doing what if on historical financial statement. So we're doing what if event or a transaction that applied to historical financial information and what are we going to do? We're going to reflect this what if in adjustments. So simply put, we're going to go in there and adjust the historical financial statements. Now the best way to really understand this or get a hold of it is to show you an actual example from the real world. Before we proceed any further, I have a public announcement about my company farhatlectures.com. Farhat accounting lectures is a supplemental educational tool that's going to help you with your CPA exam preparation as well as your accounting courses. My CPA material is aligned with your CPA review course such as Becker, Roger, Wiley, Gleam, Miles. My accounting courses are aligned with your accounting courses broken down by chapter and topics. My resources consist of lectures, multiple choice questions, true false questions, as well as exercises. Go ahead, start your free trial today. No obligation, no credit card required. To do so, I'm going to show you the example for Tesla. Tesla acquired on November 21st, 2016. That's the acquisition date. We completed our acquisition of Solar City Corporation or simply put Solar City. That's fine. Tesla purchased Solar City. But here's what Tesla did. They published unordered pro forma financial information. Well, why and for what purpose? Here's the purpose of it. And hopefully this will kind of give you a good example. This pro forma financial information is unordered and presented for illustrative purposes only. And it's not necessarily indicative of the operating result that would have occurred if the acquisition of Solar City and other transaction contemplated by this acquisition has been completed January 1st, 2015. So look, they completed the transaction. They completed the consolidation. They purchased the company. When was it? Let's go back to the date, November 21st, 2016. But what they did, they went back and they told you this is what the result would have been assuming we did this acquisition on January 1st, 2015. Simply put, what Tesla wanted to show, wanted to show the synergies, the operating effectiveness. What would have happened? And this is what it looks like seriously.  And for example, if they combined Tesla energy, energy generation and storage with Solar City energy generation and storage plus an adjustment, and you have to look at B to see what that adjustment is, would give you the pro forma revenue of that energy generation and storage. Same thing we will do for other effect. For example, energy generation and storage cost of revenue. This is the cost of revenue of Tesla. This is the cost of revenue of Solar City. And this would have been the adjustment and this would have been the pro forma cost of revenue for energy generation and storage. And they will do the same thing, for example, for R&D research and development. They'll combine the two, then they will make an adjustment as if the combination, not the combination, the consolidation took place on January 1st, 2015, practically almost two years earlier. And this is basically what a pro forma is showing you what would have happened assuming the transaction rather than November 21st, 2016 took place January 1st, 2015. And I hope this example will consolidate your knowledge that pun intended will basically clarify what we are trying to do. Now to conduct an examination or a review, you have to have certain preconditions. And hopefully looking after looking at Tesla example, those preconditions make sense. First, you must include historical financial statements. Of course you should because you are starting from there. So the users, they want to see what the information looked like originally. You have to show any audit or review report about the financial statement. For example, Tesla most likely audited, not most likely the audited their financial statement. And for the quarterly they review them. So you have to include this with the financial statements. Bear in mind, the level of assurance provided cannot be higher than the audited or the reviewed historical financial statement than the historical. So simply put, if you reviewed the historical, you can only provide a review, can only be reviewed. If you audited the historical, the audit is the highest, you can either do an examine them or review them examination or review, but it cannot be higher than the original historical financial statement. Now bear in mind, the company will have to give you a written representation because they have to tell you what they want you to do, what assumptions are they making? So no written representation you will withdraw. And obviously you must obtain the appropriate level of knowledge about the entity accounting and financial practice record. Now if you audit them or you review them, that should be easy. It's already done. What procedures you should do? Think about the procedures. Think about the procedures that you would do if you're working with Tesla and Solar City and preparing a pro forma, assuming the consolidation took place almost two years earlier. First you understand what if event. What are we trying to do here? Inquire with management about the assumption made about the what if event. What assumptions did they made? Because you are making assumption, go back and making assumption what if that happened January 1st? Gather sufficient evidence about the result of the adjustment. Okay, we're going to prepare adjustments. Let's look at the results and make sure it makes sense. Make sure the results include all the significant effect. So if you change revenues, you're going to change taxes. If you change expenses, you're going to change taxes and you're going to change other things as well. Make sure it includes all the significant event. Make sure management assumptions are presented and the pro forma adjustments are consistent. They have to be consistent together. Also check the computation for the adjustment. That's an obvious and make sure it's applied properly. Read the final product and make sure the transaction assumption and adjustment all of them make sense. This is what you have to do. Written representation again, without written representation, you just don't touch it. You just why? Because management is responsible for the assumption. Tell us that. Tell us that assumptions are reasonable and factually supported. You're just not making things up. Adjustments are properly reflected in the financial statement and fairly present the what if event. Well, the adjustments are for the purpose of showing you what would happen and you're going to you have to tell you that yes they are. Adjustments are aligned with the financial reporting framework. Simply they have to take responsibility for this and they provide us with all the adequate disclosure that's needed for the pro forma. Know the thing representation you will withdraw. Simply put, you cannot do a pro forma if the company is not taken responsibility for that because look, we're starting from assumptions made by the company. Then we are preparing adjustments. Then those adjustments flow through the historical. Simply put, let me review one more time what I just said. Three important factors. First, assumptions for the what if are reasonable and factual. We have to evaluate this. It's made by the management. We have to understand it, evaluate it. Then we have to make adjustments reflecting this what if. It's okay. What if the consolidation happened earlier? Well, let's prepare the adjustments and the adjustments made are properly reflected in the financial statements. Now those adjustments, they went through the financial statements and they made the appropriate changes. I mean the best way go back to Tesla and Solar City and look at their financial statement just to see how it makes sense. Now obviously the best way to illustrate this again is to look at a final product to see what the report would look like, which will summarize everything that we talked about here. What should you do now? Go to farhatlectures.com and work MCQs to help you understand this topic better. Those topics are covered on the exam and they're easy points once you understand them. Oftentimes they're not covered properly in a and an audit course. Good luck, study hard and stay safe.