Good morning friends, Sunday morning podcast time with brother Mike Thank you for tuning in and may God bless you today I'm brother Mike I'm the counselor at the Arizona Deliverance Center in Phoenix We're on 15th Avenue just south of Indian School Road. It's the Red Brick building when you visit the services Thursday and Friday nights at 7 p.m. Arizona and Pacific time we have Preaching teaching healing and deliverance at both of those services both of them are broadcast live on our YouTube teaching channel among other platforms YouTube comm slash house of healing a z assuming to YouTube hasn't canceled us But if they do we're on several other platforms You can catch us there You need to get ahold of me just send me an email Mike at hardcore Christianity comm I get lots and lots of emails and I answer all of them I Sent an answer to every one of my emails. So no matter how long it takes me hour two hour three or whatever it is I just keep plowing through it I'll be in Carlsbad, California at the senior center. I am a senior citizen. I Know that's hard to believe I'm an old man, but I'll be at the Carlsbad senior citizen center This Saturday this Saturday Okay, we're having a four-hour service there look on the website hardcore christianity.com Just click the calendar button at the top and All the information is right there We will see you there next Saturday. I hope you're able to to join us Some of the ministry team is coming to the service as well. Thank God for them appreciate their help You can if you're in the Phoenix area, you can call the ministry line if you need to set up a Counseling appointment. There's no charge for born-again Christians<PHONE_NUMBER> is the Ministry line to set up a counseling appointment if you happen to be in Maricopa County and Again, there's no charge to born-again Christians God may God richly bless you. I wanted to tell you a story. I told you this story a few years ago After I first started my Christian counseling practice as I mentioned I was a secular counselor for 25 years and God had me transition out of that into Christian counseling and In 2005 I had Been open for only a few months and a woman came to see me from a very large famous prophetic ministry here in the Valley Phoenix is the second hottest spot for prophetic in the United States Reading in California is the number one hot spot, but Phoenix is number two. We have a Couple of very large prophetic ministries here in the Phoenix area Well, this I had never been involved with Prophetics before other than I had attended a few of their services. I'd gone to a couple of their seminars In different places I had seen Patricia King. I saw Todd Bentley and so on a woman came to me for counseling and This was in 2005 the beginning of the summer And this after my initial interview of her she seemed Like a really great person. She was she loved the Lord. She was a Very likable person. She had been serving in in this large prophetic ministry in the Valley for You know, several months Didn't seem to have had no mental illnesses for sure She didn't have seemed to have any significant emotional problems You know, she had some issues with her mother as I recall or somebody like that But I thought well, this is going to go pretty smoothly. So I took her into the prayer room And I started to pray some casual prayers and To my utter amazement this woman started to manifest powerful spirits Her body started shaking Jumping up and down on the prayer bench. She was laying down praying All kinds of strange stuff started happening and I was kind of taken aback by it. I was shocked I'd never seen that happen before and didn't know anything about it and She went through some massive powerful deliverance that I wasn't expecting but when I saw that This was kind of sovereignly happening and I was not involved in it. I saw the Holy Ghost just move on her I jumped in with both feet, of course, and I played it on out right to the end and About an hour later it was over And she said that she couldn't believe that those spirits were in her. She did not know that She felt so different so relieved so light On and on she went and so on.  She went back to this prophetic ministry Told them what happened and then from that moment on all summer long I had these people coming in and I was booking them in three and four people a day I was taking three or four counseling appointments a day This was in 2005 when I had a lot more energy and I was a lot younger I was I couldn't believe it and it was the same story practically not not in every case but practically They seem to be good people. They love the Lord. They were in ministry. They were doing good things and they had these incredible strange spirits That were that were heavy manifestors heavy manifestors and I noticed that many of them had basic spirits And sin in their life that should have been repented of the normal stuff you repent of After you become a Christian a lot of them hadn't repented of it, but they were already in the ministry And they're already doing a good job in the ministry And this went on literally all summer long the entire summer I was casting these strange demons which caused me to Research it and I came up with it They were Kundalini spirits from Africa And to make a longer story short I put in an enormous amount of time researching it and studying it And I found out what had happened these African spirits Kundalini spirits Had invaded the Toronto blessing And they had infected all the people at the Toronto blessing And uh, that's The manifestations the strange ones were occurring all through that revival people were doing crunches Severe jerking hysterical laughing Barking like dogs moving around on the floor like a snake different things all kinds of strange manifestations And the people run on the Toronto blessing. They were really good people Randy Clark is a beautiful man our nose. They were fantastic people Uh, they had no idea what they were and didn't understand it So they just made an assumption which turned out to be deadly They assumed It was God all the manifestations were God Some guy barking God some guy slithering God hysterical laughter rolling around Backflips God All of it crunches sit-ups everything God They just assumed it was God because number one, they couldn't figure it out And number two if they said anything about it was going to cause a split or divide in the revival and they didn't want to disrupt it So from the Toronto blessing all over the united states these spirits Infected the charismatic churches They don't infect churches like Episcopals Lutherans and Methodists and so on Those the demons already have them bagged They can't manifest in those kind of services because they don't those people don't believe or follow anything like that They only attack Pentecostals and Charismatics And Pentecostals and Charismatics because they have in many cases an emotionally based religion and a sense based religion They will welcome in these spirits and it is a Cataclysmic disaster It's a disaster I've been casting these Kundalini spirits out of thousands of people Since 2005 I have had thousands of people Come in for counseling or come to the live services That have had these Kundalini spirits now these demons from Africa, they're Extremely intelligent and they Mimic the Holy Spirit, but they're not using the spirit man They're using the person's souls They give them soulish good feelings Emotions sensations They give them Cold and hot sensations in their body.  Let's let's cheer. Let's do backflip. Let's let's party They they make statues bleed. Oh, that's that mother mary's got it. She's bleeding. Oh, that's amazing Uh, look, there's a statue with oil coming out of it Oh, that's that is wonderful Uh, and then they lead the person to all kinds of weird doctrines like Christian and Ouija boards Like Christian tarot cards and different supposedly discernment methods of Helping the person get closer to god and so on well When I first started researching these demons, I couldn't believe it. They are in the word of god the Corinthian's church Got invaded by Kundalini spirits. Here it is um, if you go to, uh Excuse me the Galatian church the Galatians in chapter one listen to this Paul says quote. I marvel That's the greek word for mazzo. It means I'm shocked I'm in a state of shock that you are so soon removed from him that called you into the grace of christ to another Gospel the greek word for another there is heterus Heterus means Something that's totally different from something else for example, you have an apple And an orange That's heterus They're two totally different fruit Then Paul says in verse seven Galatians one Which there is not another gospel Although some there are some who are troubling you and would pervert the gospel of christ Now the greek word for another in that verse is different from the word Another in the previous words. It's not heterus. It's alos alos means something Of a similar kind and quality for example You have a red apple and a green apple. They're both apples, but they're just different Heterus means you would have an apple and an orange totally different fruits unrelatable. They're both fruits, but they're totally different ones Alos means they're both apples. They're similar One of them's red one of them's green Jesus used another comforter In the gospel of john He used alos for the holy spirit and himself I'm going to send you another comforter Then he may abide with you forever alos meaning something of a similar kind and quality Holy spirit jesus similar heterus Holy spirit demons totally different no connection And paul says there isn't another gospel similar to the one That you receive there's only one gospel. That's it. There's not another one. That's That is truly similar to it. It's unique Of its kind and quality But he says there's some of you some some people coming in Troubling you terasso means to agitate or cause a division or cause headbuttings And there's something coming in to pervert the gospel of christ And then he says Though we or an angel from heaven Preach any Any other gospel Any other gospel which we haven't preached the greek word for preach there is Terasso proclaim to proclaim the gospel Let them become accursed Anathema as I told you before I'm saying again if any man preach Preach another gospel Any other gospel The what what you received from us He is cursed Can you imagine paul saying something like that? Anathema it means to Curse something and kick it out excommunication out you go go Leave Can you imagine that? That's unreal It truly is paul said you're cursed Even if an angel from heaven Well paul didn't Didn't probably didn't know it at the time but these kundalini spirits are angel specialists They're they are specialists In angels They love angels They love to manifest angels they like love to make angels appear In your dreams in your room visions of angels They're all over the place Some prophetic sea angels that are hundred feet tall others of them see them as a foot tall All of them are familiar spirit visions kundalini spirits cause trips to heaven And they cause trips to hell And these are demonic visions that are as real As you touch in your hands. They seem as real as anything in this world They all they also cause fake healings For example, if a spirit in your body is causing an illness And someone prays for it The kundalini spirit will give you a fake healing the demon will simply back off temporarily Giving the person an illusion that they've been healed because they feel better Or they have less pain Or the pain is moved After the service After they get home after they go back to work after they go back to their lives. Boom. There it is It comes back It's it's a fake healing I saw several of those Fake whole demonic healings and Todd Bentley's revival in Lakeland Florida years ago People were getting healed. They felt better on stage Later on in the crusade you saw they were back to normal the demon simply backs off Releases the symptoms that they were causing Then later on the demon reattaches and moves in And the person is in chronic pain again Or they're limping again or they they've got whatever it is These spirits are enormously intelligent.  Who have good ministries and who are good Good ministers For example in 2nd chrithi chapter 11 Paul says There are false apostles and deceitful workers transforming themselves Into apostles of christ Yeah He says don't worry about that because even Satan Himself is transformed Into an angel of light So it's no great thing that his ministers are transformed Into angels of light I hope I hope i'm not blowing anybody's mind here, but The deception in the church is scary And I can attest to it because I was on the front lines on it and have been on the front lines of it Since 2005 when god opened my eyes to see What these holy spirit fakers are? They fake the holy spirit They give people sensations They take you In a vision to the courts of heaven They tell you about seven mountains. We're all going to be conquering And it goes on and on and on false doctrines flooding through the church fake doctrines People jumping around like they're on fire These demons are so intelligent and so smart They they're able to fool the most powerful Of all ministers I mean you could take somebody Like kenneth hagan Who was a super anointed man of god in the early days this guy was literally amazing He had He had tremendous ability to read and teach the word had a tremendous anointing for all kinds of things Later on in his life when he got old these kundalini spares tricked this guy And started infesting his churches he started to have People jumping around With insane saint vitus dances People falling around on the floor like tuning forks People flying out of chairs hysterically laughing Rolling up and down the aisles And he thought it was god He actually thought it was god somebody of his caliber kenneth hagan can you imagine that? Well, you can because these kundalini spirits Are so powerful and so Intelligence They could they can fake out anybody They can fake out anybody Here's how they do it. They invade the church And they look for churches who are hungry for god And they look for churches that want miracles. They're tired of traditional christianity They're tired of denominationalism And they said hey We want what we want is Miracles we want to see god move We want to see supernatural Move for god. That's what we want That's what we got to have Guess what? That's the churches they invade And that's what they give them major league sensations Major league sensations physical sensations visual sensations auditory sensations Dreams vision prophecies people to have these kundalini spirits are chronic word givers They run around the churches Hey, I've got a word for you. God gave me a word To give to you And people don't know that the bible requires that every word be confirmed with two or three witnesses They don't do that. They just accept the person because they see them as credible And if they give them word, they just accept it Well, the deception is absolutely enormous. Check out 2nd Corinthians chapter 11 if you would Paul says He says I fear for you I fear less by any means as the serpent beguiled Eve That's the greek word ex exobatel. It means to completely and totally deceive Eve Was listening to the devil talk to her And she got caught. She was completely fooled But the greater sin was adam because adam was not fooled Eve was tricked Into believing what the serpent told her adam Was not tricked and he ate the apple. Anyway, therefore to whom much is given jesus said Much is required And paul said less by any means the serpent that beguiled eve Through his subtlety And this is where we're at here with these kundalini spirits are so subtle They're so sneaky Nobody catches them As the serpent beguiled eve through his subtlety so your Minds should be corrupted that was mistranslated The greek word for minds there is naama. It means thoughts So that your thoughts should be corrupted from the simplicity That is in christ These demons are thought invaders Hey, here's a question board. We can get deep spiritual insight from god It's kind of like at a weegee board. You move this thing around. It's a bible instead of a Here's some here's some christian cards to determine your future And give you a prediction of your ministry here. We'll see what god's let's let god speak to us through these cards This is how smart these things are They are thought invaders. They invade the person's thoughts and drift them over To the world of familiar spirits kundalini spirits are a offshoot of familiar spirits And familiar spirits are the worst kind of demons they can cause they can cause miracles They are the smartest of all The demons they do all the witchcraft in the world They do all the church witchcraft They run all the church denominations. They created all the false religions to be able to create a A religion as complicated as Scientology Hinduism and so on Think about the intellect or intelligent you would have to have to create those religions I mean this intelligence that human beings are unfamiliar with we we don't know What kind of level of intelligence these demons are they're that smart? I personally know several Ministers of the gospel who are very intelligent people Very good people with good hearts and who love the lord Deceived by these spirits and they will not listen to me or anybody else They believe it They believe it It's it's frightening and these spirits from Africa Through toronto blessing through the rest of the country Up into canada they're spreading all over They're everywhere These demons are corrupting christianity And they are they are a forerunner to the rise Of the false prophet coming in just a few short years. He'll be here During the tribulation to set up The planet earth to be taken over By the antichrist. He's the main figure of human history the false prophet people Believe the antichrist because of the false prophet It wouldn't be an antichrist if it wasn't for the false prophet because he has all the miracles And he has the ability of Major deception He will be the most powerful spiritual person that ever lived on the planet worse than nimrod Yeah, that bad worse than nimrod This is this is the man Who is going to hand the planet over To the antichrist And when that happens The planet earth is in trouble. It has never seen before in fact. That's exactly what jesus said. There will be tribulation Worse than any time in human history. Can you imagine that? That's going to be amazing. How's that going to happen spiritualism kundalini spirits taking over the church For mayor spirits taking over the rest of the planet Everybody going spiritual everything spiritual and it's going to spread everywhere in particular over social media And as you know in revelation It's the false prophet That turns the icon in the greek, but it turns the statue of the antichrist and it starts Talking and moving Oh, that's easy to do.  We'll be doing that. It's going to look real. I saw a video not too long ago barack obama And he was saying the stupidest stuff you've ever heard in your life and the stuff you knew that barack obama would not say I mean it was just ridiculous It looked Exactly like him and it was his voice It looked and sounded exactly like barack obama We're already into AI. We're already into deep fakes If you see something on instagram or facebook There's a fairly high percentage Fairly high possibility Not a probability yet, but it's getting close But that person talking is not that person It looks like him. It sounds like him It's not them And it's it's already happening AI is just beginning to take over. It's just beginning to infiltrate our society AI Now in fact 60 minutes had a show Just what a few weeks ago a couple two three weeks ago they had a they had a segment on on Bilking seniors out of their money and what happens is People are using AI to call Elderly people up Impersonating their their grandson or their granddaughter who's in a trauma situation and needs $10,000 ASAP And it sounds exactly like the grandson or the granddaughter I mean we've entered a world now And it's going to get exponentially worse Where you cannot practically trust anybody Or anything it's all happening under the authority Under the supervision Of satan himself He's putting this thing together through fallen angels and through familiar spirits all over the planet earth It's happening right now as i'm speaking to you I Go over all this stuff on my radio show 10 10 a.m. Every morning money through friday at 7 30 and 7 15 in the evening By the way, i'll also be on am 1100 starting next week every sunday morning at 8 o'clock i'll be on the radio here in maricopa county But these are the kind of things i talk about on the radio program But today i wanted you to be aware Number one if somebody gives you a word The bible says in the mouth of two or three witnesses every word is to be established you never accept a word from someone Never do that number two number two Do not as paul told timothy do not let somebody lay their hands on you if you don't know who that person is Because they can transfer a spirit a Kundalini spirit into you They can transfer a Kundalini spirit into you quick story I went to a service in northeast phoenix And there was a famous prophetic preacher going to be there and I thought well, I'll go up there and take some notes So I did I went up there with a friend of mine and I sat in the back Had my I had my note pad out I've taken notes on the service This guy was a pretty good speaker. He was Pretty interesting. He was about in his 40s His wife was with him They had an altar call after he was done speaking And they lined people up from one end of the room to the other And I was amazed at the power in that service This guy and two or three other women were praying for each person And they were just falling on the ground and going into seizures Some people in the service were doing crunches, you know, they were jumping forward and doing their ab work And and doing the hose ho Ho and I mean it went up and down the line. I couldn't believe it. Well, one thing in the service really hurt me I had a friend of mine A beautiful woman of God who I personally knew and I knew she was a powerful christian I knew she loved the Lord. She was legit 100% legit I knew her and uh She had fallen on the ground when this guy came by And was snorting.  That's what I knew. Hey, these things are The bomb And after thought to that story, you're not going to believe this two or three weeks later a big fight broke up Broke out on the pastoral staff and that church disintegrated disappeared. It was gone overnight. It just wiped out What am I trying to say the holy spirit lives in your spirit, man He does not use your soul To manifest his presence.  It's too dangerous You don't know where that person has been You don't know who they have been With Okay They have been with All right Don't don't go into a group prayer meeting where everybody's praying for each other You know everybody's standing around in a group and they're all putting their hands on each other They're going through a fire tunnel a prayer tunnel Everybody goes through and everybody prays for them and you can see them manifesting in the tunnel Half of them don't do anything you just stand there like bricks walk them through the other half are jerking and flying all over place And they think it's god That's the key these spirits are so intelligent They're so smart They They make you think it's god And and wouldn't wouldn't you normally think it is god because It feels good The sensations are good The the body temperature changes feel good, right? Oh, you it it's it's sensational. Who who doesn't want to see a glory come Oh Wow Who doesn't like that? I mean What's wrong with the bleeding statue? It's all good Well, what's wrong with it is these demons are manifesting their power They're manifesting their power And they're tricking people and they're infesting them With terminal illnesses that pop up later their favorite terminal illness is cancer Their second favorite one is fibromyalgia These familiar spirits love to give people cancer And the church and the ministers and the apostles and the prophets all pray for this person and they die anyway Why the person doesn't need a healing they need deliverance from familiar spirits kundalini spirits These demons I've noticed love fibromyalgia. You know the best way to get fibromyalgia gold dust minerals on the floor Remember those little diamonds that used to come out of thin air? That's how powerful they are They're capable of performing miracles miracles I went to a service one time where some guy some minister Was leaking oil. I know you think I'm making some of this stuff up. I'm telling you I I saw it I mean it was pouring out of the dude oil Yeah, oil I mean he could have changed the oil in his car.  I thought well, this is interesting. I'm going to watch this I don't know 10 12 14 people came out not one of them got healed Nobody got healed this guy that was leaking oil didn't even have the Kundalini power that the other guy I had saw Where where where they fall down and then they start jumping around and howling and Vibrating tuning forking. He didn't have that He was praying for people. They just stood there nothing happened And he had oil pouring out of him And people were going up there thinking wow this guy's got that kind of god anointing with oil pouring out of his shirt Look at him. He soaked And I'm going to get healed today. Nobody got healed in the service. It was literally incredible And I remember my heart went out to these poor people they They so wanted somebody to help them And the Kundalini stepped in and said hey, I'll help you.  You would If you'd like to see these Kundalini spirits in action And you want to hear all about them. It's so easy to do You need only do two things. It's easy to do you go right to the internet right to youtube Sid Roth And the Elisha list Just go right there After I'm done if you don't believe me Almost every single guest on Sid Roth. I flip through that show all the time every time around on tv I check and see if Sid Roth is on Because I want to see what what's the next Kundalini thing coming down the pike. So I use Sid Roth Just to keep up with it Elisha list give you a full update on everything I almost fainted one day. I was watching a show with the great preacher Mario Morella He's a hundred percent a real deal. He doesn't have any Kundalini. He's a powerful man of God He was on this show With three other ministers and one of them was this lady who had either pink or green hair She looks like she was like my age, you know old And she was she went on to say that she had she she goes to heaven every week literally heaven Every week and sometimes she goes up there and jesus and And jojoba are Golfing they like the golf One one trip she went up there. She saw santa handing toys out children in santa land. There's a santa land In heaven And I felt so sorry for Mario Morello because he was on there with with those her and two other ministers And he never said a word The guy never said a word And I'm sure it's because he didn't want to Disrespect the other two ministers and didn't want to cause a giant ruckus, but later on A few months later he came out with it About these Kundalini spirits and he started writing about them Before that just a few months. He never touched it. He didn't understand. I don't think he really understands it He hasn't had the experience I've had with it to see the inner workings of how these demons work He doesn't know that But he knows something's really wrong no kidding santa in heaven Did you know the tooth fairies in heaven? you know that Folks the false prophet the monster is coming I think he's only a few years away. I truly do. I I think even though i'm old I think I might have a shot at seeing something Rapture tribulation something like that. I think it may be that soon And so With the false prophet on the horizon spirituality and spiritualism Will dramatically accelerate Over the next few years It's going to go right over the top And there's going to be so many spiritual distractions from the basics of the gospel paul called it the simplicity of christ It's so simple. You need to be forgiven. You need your body healed You need the demons out of your body. You need to renew your mind You need to then start blessing others boom hit it The simplicity and the beauty of the living christ It can't be compared to anything and never will There is no such thing as another jesus. It's a familiar spirit. It's a demon. They're faking you out Bleeding statues are not from god.  Are you kidding me? That's a red flag. Nobody saw it I was the only person in the meeting who saw what was going on during the lakeland revival 90 of the group Number one ministers of the prophetic movement 90 could have been 95 Let's say 90 to be fair. We're at that One service the night they ordained Todd Bentley the apostle of the entire movement The entire prophetic movement. He was ordained as the number one apostle And that was a few weeks before he ran off with his girlfriend and left his wife and kids What was happening there?  We have two Zoom services every week Two of them, okay Tuesday nights at 6 30 pacific time Wednesday night at 6 p.m Pacific time You can be delivered on the zoom Broadcast If you're in if you're in maricopa county or arizona or you're in california come visit us We get people coming over from california all the time Come on to the services thursday and friday nights at seven o'clock Come in for a counseling appointment call the ministry line<PHONE_NUMBER> If you're in the prophetic movement right now and you see All kinds of hidden sin through the movement It shouldn't be there If you see a lot of weird manifestation People vibrating like hallelujah lord And they're shaken rattling and rolling Those are kundalini spirits. They've probably transferred into you and The blood of christ is able to deliver you from these monstrous deceivers Because satan is behind it all because he is as it says in revelation the deceiver of the entire world You need to Some email you needed to call you need to come to the service something You need to zoom it out Tuesday or Wednesday to get these things out of you because as i told you I know this for a fact i've seen it over and over and over for years These kundalini spirits for some reason Love cancer and joint disorders fibromyalgia arthritis stuff like that they seem to specialize in that I don't exactly know why but That's what i've seen that Send me an email mic at hardcore christiania.com i'll send you the information for the zoom i'll send you the id code And i'll send you the password Tuesday or wednesday night, please If you went to a prophetic church, you didn't know it you just went there with a friend Maybe you went there for the first time just check it out And somebody Wanted to pray with you they had an altar call you went down there You were innocent you weren't doing anything bad.  He's only a few years away now. I mean this thing's this thing's rapidly wrapping up And you need to be free and you need to set others free


What are Azure Blueprints? Azure Blueprints are a declarative way to enforce some structure for our subscriptions. Now if you manage subscriptions at any scale, whether it's 10 or 100 or hundreds, very often you want to define some commonalities, how we're going to manage access and things like that to those subscriptions. So in order to do that, we can apply Azure Blueprints. They're a declarative JSON document that allow me to apply versioning to four distinct artifact types. One is role-based access control. One is resource group definitions. I can also include Azure Policy, and this actually gives me a little bit tighter control over Azure Policy if I deploy it through a blueprint because it's tied to the blueprint artifact. And finally, I can deploy resource manager templates. That means I can define controls for my, through policy. I can define controls through RBAC, through role-based assignment. And I can deploy specific resources and resource groups into my subscription in a standard way across all the subscriptions I manage or across some subset because I can apply them at the subscription level or at a management group. And if you're not familiar with management groups, it's another great thing to go take a look at. But Azure Blueprints provide me a nice, versionable artifact. I can put it in source control. I can deliver it through continuous integration and delivery, and thereby include my governance and management in my DevOps process.


Life is a combination of two things, a certain amount of time and certain amount of energy. Time is rolling away.  We cannot say, today I didn't use it, let me roll it back, there's no such thing. Time is just rolling away. So the only thing that we can manage is our energy. Our energy is we can manage in such a way either it is, you know, where it makes your life very profound, these are two aspects when it comes to life. One thing is to make your experience of life very profound. Another thing is your activity must be impactful.  In fact, it makes you frivolous and it is also possible. I'm telling you, during my time, I'm saying when I was in university, I, thirteen of my friends over a period of seven, eight years, thirteen of my friends died. Some to drugs, overdosing, some riding motorcycles, too wild, you know, not knowing where the limit is, trying to ride like somebody else, all right? You can ride to your limit, you can't do what somebody does. Somebody else maybe doing something else. You must ride to your limit. You must know where is your limit and you stay on that edge and see how to push that edge but you don't try to do what somebody else is doing right now. So like this, thirteen of my friends in seven, eight years time, about four of them to drugs, remaining nine of them to motorcycles, they lost their lives. They're all wonderful riders they rode with me for many years. They're all... It's not like in United States, okay? This is like sitting on a microwave, riding in United States. There is nothing, just put it on the cruise and you sit. This is not like that in India. You riding an elephant can be on the road, all right? And you need to be super alert and intuitive to ride at a certain speed. These are good guys, very good at what they're doing. But somebody drinks and drives, you know, rides. Somebody thinks he can smoke and then ride, smoke up and then ride, like these kind of things or somebody, at any cost he wants to go ahead of somebody, whatever, essentially not calibrating your energies right. Those who died died. Many others, they became accountants, they became lawyers, they became something else. They're all my age now. When I look at them, they're all, they're all successful people. They got money, they got wife, they got kids, all this. But no life in them. Time will run anyway, whether you like it or you don't like it. Today gets over, tomorrow happens, tomorrow gets over. It's happening to all of us. So these are the only two ingredients you have, time and energy. What you make out of your energy is the profoundness of your life and also the impact of your work. Please all of you make that happen for yourself. First and foremost thing is life should become profound in your experience. And how you impact people, you don't have to worry. Whichever way you do it, it will be for the best. But if you live on the surface and try to impact people, sometimes you will do good things, sometimes you will do terrible things to people, maybe with good intention. Because most horrible things on this planet are done with best of intentions, not with bad intention. Sagar, thank you for blessing us with your wisdom today. We'll get around to the class for Sagar right now.


OK, well, we're going to get started. Good evening, everybody, and welcome. My name is Maria Nicanor, and I'm the director here at the Cooper Hewitt Smithsonian Design Museum. And I'm really, really thrilled to welcome you all here tonight to our Enid and Lester Morse Historic Design lecture series, which as many of you know, examines design and decorative arts from the Renaissance to the present through Cooper Hewitt's expensive collection. The Morse lectures have been a great gift to the Cooper Hewitt over the years. And our only possible thanks to the great, great generosity of our longtime friends and advocates, Denny and Lester Morse. With their support, we invite historians and scholars, educators, and designers to engage with Cooper Hewitt's collection and help grow our understanding of design. Tonight's lecture is not only my first public program since I joined the museum, but it's also symbolically marking the return to public programs. I feel like I need to say this again. Tonight's lecture marks the return of public programs in person here at the museum. So it's a momentous occasion. And I'm so, so happy to celebrate this with you, with Dr. Rivas, with all the audiences that will be able to view the recording of this lecture online in a couple of weeks. And also because it's the 20th lecture in the Morse program lecture series. So a good number for us to celebrate. Over the years, and I say this because I remember coming to the Morse lecture series as a graduate student, the lectures gained a reputation for the presentation of exceptional scholarship and design, an aspect of our programming that remains incredibly important to me, and that I greatly value as the museum that we are, but also the research institution that Cooper Hewitt is. Tonight's lecture will examine the historical context that gave rise to the unique material culture of Spanish America during the colonial age and the context of one of our current exhibitions on view upstairs on our second floor for an exchange 18th century design on the move curated by our own Yao Feng Yu, who's here with us tonight, senior curator and head of product design and decorative arts, and now also acting director for the Asian Pacific American Center in Washington, DC. I'm extremely pleased to have here with us Dr. Rivas Pérez join us to highlight the originality, the ingenuity, and the visual traditions of local artists and to help us understand how they contributed to the development of new cross-cultural world after the profound processes of readjustment and transformation that ensued from the conquest and colonization of the Americas. Dr. Jorge Rivas Pérez is an art historian, an architect, and designer, and is the Frederick and Jan Mayor Curator of Spanish Colonial Art and Department Head at the Denver Art Museum. He previously served as a curator of Spanish Colonial Art at the Coletión Patricia Phelps de Fisneros in Venezuela and as the associate curator of Latin American Art at the Los Angeles County Museum of Art. He is the Latin American art editor and organizer of the Mayor Center Symposium Program and Publications and has curated exhibitions and contributed essays to publications on a wide range of Latin American art, architecture, design, and material culture topics. Born in Caracas, Venezuela, he received his architecture degree from Universidad Central de Venezuela, a master's degree from the University of Florence in Italy, and his master of philosophy and PhD from the Bard Graduate Center in New York City. We were just introduced, but I thought that an even better biography for him was to be a great discoverer of treasures. And I think in a detective fashion, Dr. Rivas is able to do that. And I think in that fashion, he will open our eyes tonight with a selection of objects that he has ready for us. Some of the works from Cooper Hewitt's collection that Dr. Rivas will open our eyes towards tonight include a comb case with wigs and lice combs from 1671, an 18th century armchair, which is currently on view upstairs at Foreign Exchange, a 19th century panetta, so one of those Spanish combs, an incense burner from 1823, and a 17th century casket as well as objects from other American museums. With that intrigue and testing menu for tonight, please join me in welcoming Dr. Rivas Perez. Thank you for coming. I know that it's challenging. I want to thank Maria Nicanor, director, Jaufen Ju, my dear colleague of design, and Cristina de Leon, and especially Vaso Giannopoulos and Alexa Cummings for this invitation and organizing all the logistics for today. A recent acquisition at the Cooper Hewitt Museum that you see here is a chair from 2019. Really sparked my imagination. I knew this group of designers from Chile probably from 10 years ago. And when I saw this chair, I saw this incredibly object that connects with everything that we deal with in the museum world. And you will see a very random, apparently, collection of things. And then you will understand a little bit why we are here and why we have such extraordinary and complex background. I want to say that everything started in the Caribbean. From the moment of the contact in 1492, the world changed. For both the peoples of the Americas, it was very traumatic and difficult. And for the rest of the world, a Columbia writer that I really admire, Hermar Arciniegas, wrote in his book on the Caribbean the following. Before 1500, men moved in little plots of land, penned in, navigating in lakes. From 1500 onwards, new continents and ocean emerged. It was like the passing from the third to the fourth day of the genesis. All of this drama was lived as much or more than in any other place on the planet in the Caribbean Sea. And everything really happened here in Santo Domingo, which is the first really important city that had been continuously inhabited colonial city since the early 1500s. And I go often to Santo Domingo because my brother and his family, they live there. And I love markets. And in the early 2000s, I went to the Central Market Santo Domingo. And I noticed that everybody there was using very strange metal scoops. And I was intrigued, you know, what are these? But they are not using Chinese plastic scoops for dry goods. And then I saw this man at the entrance of the market selling all these things that he was doing at the market. And I found the scoops. And I realized, wow, this is extraordinary design. And it was one for me, the one that you see there. He transformed an idea that we all know into something new. It's upcycling. He used half of a can, a little piece of wood, nails, cane. And with few elements, he developed this very good and sturdy product. The cane is very light. It's comfortable to touch. The wood and the nails provide strong connection to the different parts. And the most important part is this little metal piece that you see on the top that holds everything together and counteracts torque, which is key in the design world. So this is the way I realized this and has been happening in the Americas from the early 1500s. Europeans brought materials and technology that were unknown in the Americas. They brought glass that was exchanged with the Nazi populations, especially iron that changed completely the game. And some really important technology aspects like straighted blades that we don't think of that. But this is a completely Western invention. In addition to that, the original populations of the Americas were immediately taking those elements and creating objects that were answered to their own cultural world. And this probably, this is one of the most famous one from the early 1500s, is the Museo Regi Pignorini in Rome. And it uses glass mirrors from Venice, glass beads, shell beads. And inside is a rhinoceros horn that makes this connection with Africa. This is a sacred object, a semi, from the Taíno culture. And these kind of objects marks the beginning of the transformation of the cultural world. We need to think that that period was a very traumatic period. Is for the original population of the Americas was the complete end of the world. Not only because invasion, but because of disease in particular. And then you have enslaved Africans, also brought to the Caribbean and the Europeans that were really expanding their control of the land very fast during the 1500s. And then in the late 1500s, there is this extraordinary moment in which two big minds, the most important in Potosí, now Bolivia and the other in Zacatecas, with so much silver that completely changed the economy of the world, completely transformed also the material world. And we start seeing these kind of events. Travelers were surprised that in the Americas, silver was used to create every sort of everyday objects. From things that in Europe were made of pottery or wood, in the Americas were made of silver. You see first a vernegal, otachuela, which is, I will say, like a drinking vessel used for wine or for chocolate later. That is when you have guests in the Spanish world, the 1600s or earlier, you offer this very elegant container for drinking. In the Andes, you have the carol, which is this conical wooden cup that is very different from the retreatals and the elegant retreatals of having guests in your house. But carols are very important because they serve to seal a deal and their exchange. They are usually in pairs. And the shapes has been always more or less the same, this conical cup. For each group, they represented this special moment in which you drink with your guests because of something important. And then we see, later at the end of the colonial period, the third piece that is a very strange object. It is not a carol. It is not a vernegal. More is an object that combines both. And this is what is happening in the material culture of the Americas during this period. Objects that are coming from different cultural backgrounds are completely transformed in the colonial society. And it requires a lot of imagination and creation to do so. This is not a natural process and something that it will be so evident. As I mentioned before, it was common to make objects that in Europe were made of porcelain or clay made of silver. And I love this combination because you have in the collection of the Cooper Hewitt this pot to revest. And at the Denver Museum, we have this beautiful Bolivian perfumador or pot to revest. And you can see they are more or less the same type of object. But the idea of this container is that you have inside these dried flowers or bark of scented woods. And the shape of the object is not that important. So the following century, the 19th century, after the colonial period, you start having these extraordinary objects that have nothing to do with what's the precedent. The beautiful one that you have here, the Cooper Hewitt, which is a little bit of a small architecture, and the deer that we have in Denver from Ayacucho in Peru. And Ayacucho became famous for this kind of perfumador in the shape of very different animals in silver filigree. So as you can see, materials were really key for developing this new type of objects. A key material is tortoise shell. We found that it was very rare in Europe before the trade with the Americas. It was expensive. It was used on very special objects. And starting in the 1500s, we see really exports of tortoise shell to Spain. And we start seeing in Spain furniture using those little planks of tortoise shell. But a little bit in the kind of old-fashioned, like you're using something quite expensive. And so you're using just little pieces. And I put this page of this ship manifesto where you see how they were exporting those. Those escritorios or writing desk become very important. You know, they're fashionable to have those in your house. And then in the America, in Mexico, we have this kind of way more extravagant kind of writing desk contador that it's a piece of furniture that you have in your house that you want to show off. They are very wealthy. And this particular example that we have at the Denver Museum uses a lot of tortoise shell. They are not restricting themselves to those little planks of tortoise shell. And of course, when you have a lot of tortoise shell, you start creating many objects, the kind of objects that you were using in the past made of horn and combs and little boxes, like these two pieces that you have in the collection of the Cooper Hewitt are perfect samples of these kind of industries that you get using the materials that you have available. And they start sporting those because you have so many turtles. And the turtles have these large planks that you start sending combs to Spain, like boxes. And of course, you have the peineta, which is a classic women's head ornament for holding the veil, the mantilla. And the planks of the turtles are way larger than what you can get from a horn. And this is why materialism is so important, because when you have this abundance of tortoise shell and then you realize that you can do larger pieces and more complicated and more elaborated, you are completely transforming a design into something new. And the peinetas are really the ones in the horn are way smaller compared to the ones in tortoise shell. And designers and artists realize the turtles are big, and we can go big. And this is a fantastic sample from Argentina in Buenos Aires. And for some reason, they started creating these enormous peinetas, very complicated. That has nothing to do with the Spanish peineta. They don't resemble to anything seen before. And they are very elegant, and they're very costly, because it will take an entire turtle to create one of those. And of course, there was these big competitions among the ladies in Buenos Aires. Who has the larger one?  But that shows that when you have the right conditions, you really create new objects that are meaningful for the societies in which they are created. And somehow, the response from the designers and artists in the Americas to what is happening and to what somehow the colonizers are trying to impose. And this is very important, as we will see. In the Caribbean, we have this very small type of chair called Butake. And it's probably very familiar for any person living in the islands of the Caribbean, the coast of Cuba, Venezuela, and the Gulf of Mexico. Those are very small chairs. This is a very famous painting by Oger, the Puerto Rican painter. And you can see with the white arrow the little Butake, which is a strange type of chair. With this angle in the back, high back, it's very unusual. And the travelers were really surprised when they went to the Americas and I saw this small chair. I'll see the salines, this French traveler that did this very long chronicle of his travels in the Americas wrote that in Venezuela, he saw this chair. And this is the early 1800s. And he was very amazed by the unusual shape of the chair. And he mentioned that I was linked to the pre-Hispanic seats that the Caciques were using. We know, because there are some chronicles and a few examples that in the Caribbean, particularly among the Taíno, there is a type of seat that connects with this tradition. And this is a very rare example of the British museum that still have the gold inlays and decoration. It was a ritual seat. And you will use that seat to inhale tobacco powder and other hallucinogenic substances. So this means that when you get intoxicated, you can rest your back against the back of the seat. But when Europeans came to the Americas, they brought chairs. Chairs are different. There was nothing similar to this chair in the Americas. It is very high. In this case, it was called the Silla de Caderas. So you can fold that chair. It connects with the very old tradition of the Curul seat from the Greeks and the Romans. And Hernán Cortés sent one of those to Montezuma as a gift, which is the lienzo de trascala we see this chair represented. And now we have this very interesting process happening. We have the traditional indigenous chair. We have all this new technology and materials coming from Europe. And we likely have these indigenous artisans that realize, I can do my new version of the duo, which is the Dominican chair. Instead of carved from a single piece of wood, there is a very complicated process. We can use European joinery. But I'm not making this big chair. I'm making a small one like the ones that I want to use. And this is not anymore a chair connected to religion and ritual. The conquest and the destruction of the world also destroyed somehow the symbolic value of those chairs. And this is the moment on which the butaque was born. Very likely in the coast of where is now Venezuela, the word butaque, butaca, comes from the word putaca, which means seat in the language of the Cumana Goto Indians. And you start seeing them in the 1600s inventories using that word. And the trade from the Caribbean that was connecting Hispaniola, Cuba, Puerto Rico, and the Gulf of Mexico, Campeche, and Veracruz, that was all what you need. And then you see in Campeche, the production is these very sophisticated butaques larger because the clientele is different. It's not anymore the small chair that the Indians use, even if that comes from their artisans. It's now a chair that is the result of the colonial society in which Europe and the Americas blend into something new that it is a new type of chair with no examples in the old world. When 20th century designers, like Clara Portet, were looking for something, a type of chair that was really Mexican, that was really Latin American, this is where she selected a butaque in the 1950s. And she is now so famous because of those butaques. And now the Museum of Modern Art has this example that we're seeing here. But chairs and things evolve over time. In the 1500s in Spain, there was this moment of change in the late 1500s. And a new chair coming from Italy became very popular. This is what we now call the Silla Freilera. And you can see this beautiful Titian painting of the king using one of those very elegant examples. So what happens when you have the influence of a new type that has a completely different structural model to it and then you have the butaque? You have this situation in the 1700s in which there is the Spanish chair, four legs, very straight, straight seat, flat. You have the butaque that was circulating around in the Caribbean. And then you have these new visual repertoires associated to the Rococo style. And then you get to the butaque from the 1700s in which you have this very tall back. It's a seat for resting. It's a seat that you use in your private spaces.  So a seat that you in a formal situation you would never do. And then you have white arms and a very elaborate decoration. And this is how we see that design keeps evolving and transforming. And you get things from different places into something new. Now you have here at the museum this extraordinary exhibition. And one of the big pieces is this chair that was recently acquired. It is a beautiful chair. And you should go to the second floor. It's the first thing that you see in the exhibition. And I remember the first time I came here to the storage. And the curators were super excited, showing me. We found this fantastic chair. I thought, yes, extraordinary. This is from Mexico, 1700s, the second half of the 1700s. And those chairs are usually called Mexican Chipendale. And yes, you have some kind of feeling of Thomas Chipendale. And as you know, he published in 1754, this book that was highly influential, The Gentleman's and Cabinet Maker's Director. It is used as the Bible of English furniture design to describe the furniture of the Rococo style, which is often inspired in Chipendale design. Chipendale was also very influential in British America, where it's now the United States. So if you see the Mexican chair in the collection and you see Chipendale designs, it is hard to say that they come from the same book. The Mexican example is larger, kind of more solid, way more decorated. There is this abundance of rocaige and foliage all over. And it is different. It feels different. Chipendale was clearly inspiring designers and cabinet makers across Europe and the Americas. And of course, through trade, Spanish Chipendale inspired furniture came to the Americas. We know that because of inventories. Still, this Mexican chair looks very different. We know that those chairs were used in sets. Those chairs were used generally by men. And you will ask, why? How do you know that? Because women will sit in cities like this. And this city, particularly, it looks very strange. It has some kind of the spirit of the Chipendale things. But it's really deep. It's very wide. It's tall back. And the structure is quite robust. And it's kind of a little bit stocky city. And it's this kind of furniture that for years, scholars were saying, this is kind of derivative of Chipendale. It looks like Chipendale, but they never were able to create a piece of furniture like real Chipendale. And I'm not so sure that we're intending. They were. The artisans and designers were intending to create a reproduction of a Chipendale furniture. We know that women in the Spanish war were sitting on estrados. This is a tradition dating from medieval times. They were sitting on this raised platform on top of cushions placed on top of a rock. And that was the feminine space in the Hispanic war. In Spain, that lasted until the early 1700s. The Habsburg were associated with this. So when the bourbon came, it became completely unfashionable to be sitting on the floor on this Islamic fashion. However, in the Americas, they were really very popular until very late. And of course, the fashion of the furniture by the second half of the 1700s, they were following this kind of English-inspired furniture. And we have this very rare print that shows how those sets of furniture were used. If you see on the back, you see the women on this tea. And all those vices were segregated by sex. And the men were in front of them sitting on chairs. This is what I mentioned. They sit on chairs. And you have all these ladies playing. And they are drinking mate. But what is more important is that the ladies are sitting cross-legged on this seti. So a seti needs to be very robust and with a very good structure to be able to permit this kind of position in sitting. And this is absolutely unique of the Americas. You would never see women sitting cross-legged on top of a seti so late in time in the 1700s. But it was so fashionable that even after the independence, we see this. This is Bogota, 1830s or 40s. And you saw these ladies having good time at the estrado, smoking, gossiping, very fashionable. We're completely different fashion this time. And we have records mentioning that still in the mid 1800s that was the fashion. And of course, you need this very sturdy type of furniture to allow that. So what this kind of development tells us is that it is not that really the craftsmen and the artists were trying to imitate a Chipendale style. They wanted to create something that would accommodate to the use of the customs of the time. You need a very sturdy piece of furniture that you can put on top, the thick textiles and the cushions to have the ladies sitting cross-legged comfortable on those setis. They borrow elements from European design for sure. If you study this type of furniture, you will see these elements are clearly inspired of those repertoires, French and British, that you have at that time. But they are doing something different, something that makes sense in these new societies that emerge in the late colonial period. And we're not talking anymore about poor copies of Chipendale design. This is something new. This is something different. This is something that is borrowing ideas that were circulating in prints, in paintings, even in real examples of European furniture that was exported to the Americas. But this is not a poor copy of a European design. And I love this piece that I'm showing right here, because it's a very unusual chair. It is vaguely Chipendale, but it's a very late chair because it was created for the Cathedral of Caracas, for the core of the cathedral in 1797. When Jose Ramón Cardoso designed this chair, which was fashionable was the classical style. Everything was straight with classical ornament. You were recalling the ancient world. And he created these chairs for the cathedral. It was a very important commission. It is clearly connecting with the visual repertoires of 50 years old repertoires. He understood that the arts were moving into this moment of cleanliness. It is really like he removed all these exaggerated carvings. And it has this kind of liquid quality. It's like the chair is melting down. Somehow it precedes the Arnaud Vaux 100 years. He understood that the visual repertoires were changing and simplifying. And he created this very unique version of his own inspiration. And I truly believe that this transformation that we are seeing here is what gave the rise of this kind of design. You will think that I'm a little bit crazy. But I see here this melting quality of the Cardoso chair. This chair is quite interesting because it's made of lava. It's called a remote and chair. So the designers, they're going to specific volcanoes in Chile. They grab all the little pieces of lava and they mix with clay and other components. And then they fire this. And the lava at the right temperature melts down. So it creates this very liquid surface. Somehow recalls the rockage of the Rococo furniture by Chipendall. But also it's a chair that connects with that very unique place, which is Monolita in the Cuitralco, Osorno-Volcano in Chile. So the main is that there is a strong connection with the land and with the people that live there. And this is a process that has been repeating for over 500 years. And contemporary designers are accepting this challenge and creating objects that reflect this idea of that you can take something that exists and transform into something completely new. Thank you so much. I want to come open to questions. Thank you, Jorge. That was, as always, fascinating. I was wondering, has there ever been a connection between the Butaca and the African birthing chairs that have that slanting format? We don't know. There is a chance. In the very specific case of the Butaca, it's so well documented, the pre-Hispanic origin that I've never seen any mention of this African element, but it's perfectly possible because starting in 1509, we have the influence of Africans and slaves, individuals forced to come to the Americas. So there may be a chance. The war Butaca comes from the Cumanagoto, and that's not being clearly identified. And somehow, the evolution of that. But the Americas have always been a melting pot. And I think that African influence can be possible. Yes, there are two more there. Hi, thank you so much for a wonderful lecture. It just reminded me a little bit of the I've spent some time at Falling Water and Frank Lloyd Wright's house and the furniture in it that he did. And some of the designs reminded me of a transition to a couple of American things, like the Ames chair and also the low furniture and some of the slanting. And I don't know if there's any. I've never read any association, but I wondered if that was something that was ever considered. You know, that house is quite interesting. And we know, for example, that the furniture by two Latin American designers are there. The BKF chair, just a very famous butterfly chair that you see everywhere now. And Caffan was the first really supporter of that design, which is from Argentina. And also, there is some furniture by Van Buren and a New York designer that went to Mexico and created Domus, a very famous furniture company. And he had a couple of the Alacran chaise lungs. And they are still there in bad shape, but still there. And probably those were part of the 1939 exhibition. 1940, because the 1939 was a competition. And the exhibition was 1940 at the Museum of Modern Art in New York, on which Van Buren got one of the prices for Latin America. So furniture moves around more of a that you think. Thank you so much. It was fascinating. I was curious about the two things related to the furniture in terms of the use of mahogany and as well as the actual carving. And wondered, did it take the Europeans coming and raiding the mahogany sources in the Caribbean for the people in Latin America to start using mahogany? And two, did European carvers work with Latin American carvers to create these pieces?  Well, you know, the use of mahogany had been documented from pre-Columbian times. Actually, we have at the Denver Museum a very small and rare piece of Mayan carving. And we recently did testing. And it's mahogany. And the duo that we show you was made of lignum vita. You know, it's a very hard wood. It's very sturdy. And chronicles like Galliotto C'è, for example, an Italian that lived in what is now Santo Domingo in the early 1500s. He mentions, in particular, mahogany, that mahogany was used to make furniture and boxes, and it was shipped to Spain. Tropical woods were exported very early on to Spain, particularly El Escorial, you know, the palace. Monastery. A lot of the wood came from the Americas, a variety of woods. So I think that you work with the woods that you have. And the best mahogany is from Hispaniola. And even better than from Cuba, that you have the Hispaniola originally, and they cut all, they chop all the mahogany. And then the Cuban mahogany. And then there is the Central American mahogany. And you see a lot of trade on woods. For example, a lot of Lima was built using red cedar, the Spanish cedar, coming from Nicaragua, because Lima is in a desert area. So it's easier to ship the wood by sea than move that wood from the mountains down to the plains on which Lima is. And in Mexico, there are many examples of this trade or movement of wood. Jorge, we're so lucky to have you here. And as you know, we were lucky to have you here after we acquired the chair. And I was wondering if you could speak more about the upholstery, about the chair that we have upstairs is green. And the silk that's on the set that you showed is red. So maybe you could talk to the audience about your archival research indicating how the chair bind up originally looked. And perhaps sort of part of the kind of how we talked about the armchair versus the side chair and how rare that is. Yes. We have very few visual sources that present furniture. This engraving that I just included in the presentation is one of really very few from the late 1700s. And we have the inventories and the wheels, that kind of list things. In the 1700s, for the furniture, you see a variety of materials, mostly leather. So you have what is called cordovanes, which is these embossed engraved leathers. And I think that those are more from the first half of the 1700s. And then you have badana, which is a very thin leather, which is commonly listed. And then you have silks, the mask. And very late you have tafeitan, which is rare. And for some reason, it's red. It's the color. It is very rare to find other colors on chairs. Sometimes you find velvet as the fabric called velvet. And you have really to wait. In some cases, in the 1730s and 1740s, you see green. For example, the Marchionese of Torretagli, Herestrado was green. The curtains and the rodestrado, the back of Herestrado, which was huge strado and was very costly. But the furniture was all leather on that specific house. And in some cases, particularly in the late 1700s, late 1770s, 1780s, you see other colors, like yellow. That is kind of, but it's very unusual. But that's the moment when you see wallpapers, Chinese wallpapers using on this. And then you have these fresco decorations on the interiors. You see a lot of furniture and a glaze on the English style. And that's the moment of a lot of foreign influences from Northern Europe coming through Latin America. That's the moment that I show on the engraving that you see these pieces. And a lot of that furniture, we think, we used the few scholars that deal with furniture, a lot of that influence came from Spain and from the Canary Island because of the trade with England. Because there are a couple of writing desks in the British style, one of them is in the collection of the Museo Arte de Lima. And the other is in a private collection in Lima that they have labels from a specific cabinetmaker in Cadiz. And we know that those examples have been the hands of those families for several centuries. So the trade was really complicated. And the trade and the fabrics and the materials used for hoesery, we don't know much. But what we know is that the houses were very colorful. And this idea that we have these interiors are kind of more, I will say, lucky is not real. And there are very few examples that have material for the hoesery. We find traces sometimes and remains on the edges of the chair. And a few pieces of church furniture have the stuffing that is usually horse hair. The way the Spanish did in the Spanish-American too, the hoesery is a loose frame that fits into the chair. It is very rarely nailed directly into the wood but you have this frame. And this is one of the reasons because there is not a stretcher on the back of the chair, which is something strange because you see there is this frame and then you see the fabric going on top of the side of the frame, but not holding that. It's just the shape of the chair. And I can't remember exactly, but I think this is the case of the chair that you have here, which is something very unusual. If you see a British cabinetmaker will see this chair, will say, this is very odd. What is happening here that you don't have this piece of wood behind holding the cushion of the chair? And this is something very Spanish in the tradition. And I imagine that my colleague Gustavo Curiel is doing a big research in inventories. And he has been furiously working to publish the book that we are all waiting because we will see a lot on the Mexican chairs of the 1700s about the materials. And I talked to him recently and then he promised that probably next year we'll have that book. Any other question? Thank you. So this is all very new to me. This is all new information. So thank you very much. On your slides, you had under every picture artist unknown. And my curiosity is, were the artisans and artists who created the furniture, the chairs, were they lauded as artists or were they considered laborers? Were they applauded for the artwork that they did or were they considered just laborers or production people? It depends when. In the 1700s, the mid to early 1700s, when the Chippendale came in and the artistry really was so pronounced. There are like two different things there. We as artists are known because over time, sometimes we get the names of those cabinet makers because we know that a specific chair came from a church. And then we find documentation that is letting us know that a specific person can be associated to a chair or a piece of furniture or a retablo or any other piece. And this is why we have some with names and some without names. In most of the cases, because that furniture had been circulating around and we don't have the original place for which the furniture was made, then the names are lost. We hope that perhaps for teachers we will get the name, but that will be hard. And this is why we really, really in the museum world, we want to recognize that they were artists. Well, we know today recognize as an artist a creative person that produced something of his imagination, of her imagination. And this is why you see this. On the other hand, as I was mentioning, we have been very lucky to identify. And I would say it's the last three, four years in the case of Latin America, the names of the makers. Some were very prestigious and famous. I can, for example, mention Domingo Gutierrez in Venezuela. He was very important. He was the most important cabinet maker in the 1700s. And he was commissioned this very important retablo. And then they were arguing that the price was too high. And we know because there was this exchange of correspondents and this litigation with the church, which he called other colleagues to testify that he was an extraordinary cabinet maker. And he won. And he was paid. So that indicates that, particularly in the 1700s, artisans, even in the tradition of the Hispanic world, manual labor was considered a little bit degrading for individuals, just for the low classes. But by the 1700s, you have this. The society really understand that there are good artisans and good artists. And that was important. And probably my dear colleague Ronda is here. From Velazquez onwards, that's the case that you recognize the genius of the creation. And on that note, thank you, Jorge, for the wonderful presentation this evening. And thank you all for joining us. We hope to see you again soon. Thank you so much.


Umgadi are warrior priestesses selected from the first-born daughters of Outworld. From infancy, they are trained to defend the royal family. I will prevail, Earthrealmer. This fight is more important to me than you can ever know. Limei used to lead the Umgadi. It was on her watch that the princess's father was murdered. Surrender if you wish to remain unharmed. Let us pass, Tanya. The Emperor's family are in danger. Are you so easily taken in by lies? Let's see if you still fight like an Umgadi. My edge hasn't dulled, Tanya. Once again, you prove incapable of protecting the royal house. Are you unwell, princess? I am fine, Tanya. For you to hold the throne, we must keep your secret. With Lou King's help, maybe they'll find a cure. If he could have helped, he would have done so by now. We are victims of dark art. It disfigures, then debilitates. In time, it will turn us all into bloodthirsty monsters. Death is our only release. Priestesses, in my heart, I am still Umgadi. I will always honor my vows.


The Lisolo Malamu Good Talk project is a community-based participatory research study aimed at increasing COVID-19 vaccine uptake among adult Congolese migrants living in the UK. It involves a series of qualitative interviews, semi-structured interviews with professional stakeholders, and co-sign workshops with participants. The study will also use behavior change theory to develop tailored interventions and make recommendations across socio-ecological levels. This article was authored by Felicity Knights, Sally Hargreaves, Tushna Vandravala and others.


Hello, I am Marie Girolamo with Michelle Hull and today we will be exploring how to create choice board lessons using hyperlinked Google Slides. Before we get started, don't forget to subscribe and hit that bell to enable notifications for our channel by clicking our logo during the video. Also, leave us a comment or check out our related videos by clicking the pop-up cards in the upper right corner. Here's how to get started with your choice board lesson using hyperlinked Google Slides. A choice board lesson is a lesson where the student chooses the way they are learning about a particular topic. Choice boards are typically set up as a grid containing at least four options or choices. The average choice board contains nine options and is set up as a three by three table like the one pictured here. Today's tutorial will walk you through creating a choice board in Google Slides. We will make them interactive in that the viewer will be able to select links on the slide to use a variety of applications like YouTube. These hyperslides are the basis for the choice board. We will assume a few things. First, that you are familiar with Google Suites for Education. If you'd like a refresher on some of the basics, take a look at some of the videos posted on the DIS channel. Second, in order for the students to be able to complete any of the assignments in e-learning, they must have a computer with access to the internet. If this lesson were set up as a traditional paper lesson, all of the hyperslides would need to be printed. Lastly, students must be familiar with Google Classroom and have the knowledge to upload their work. If you are unsure of this or just want to give them the resources, just in case, you can share these videos with them on one of your slides or as an addition to your Google Classroom resources. Before we dive into the tutorial, a little bit about us. My name is Marie Girolamo and I'm a Library Media Specialist here in Ory County. I will be your narrator for this tutorial. Michelle Hull is an art teacher here in Ory and she developed the samples in this tutorial based on a series of lessons she used during the COVID crisis. If you have any questions at all, feel free to contact us. For the purposes of this tutorial, we will walk you through the creation of a four-choice choice board. Once you know the basics of creating a choice, which we will show you, you can easily expand the number of choices. First step, open Google Slides. Unless you like a plain white background, change the theme or color of your slides. You can do either of these options from the menu above the basic blank slide or as you can see there are theme options along the side. I will choose to set my background a solid color. The choice boxes are added to the slide using the text box feature. Before we add our text boxes, I do two things. The first is I eliminate the text boxes that are there by default. To eliminate them or delete them, you simply click on one of the lines of the text boxes and hit the delete button on your keyboard. The second thing I do, which I think will come in handy, is I add a grid on my slide so that the slide is separated into four equal quadrants. To do this, select View, Guides, and Show Guides. Once you are done creating your slide deck, you can remove these grid lines by simply going up to View again, selecting Guides, and clicking on Show Guides, this will toggle it off. The next step is to create our boxes. The choice boxes are added to the slides using the text box feature. In our example, we will be using five text boxes for each of the four choice boxes and one for the instruction bar. And when the nature of these text boxes or choice boxes, we're going to put titles in them, again using text boxes that will be hyperlinked. To insert text boxes, you can either select the shortcut, the box with a T in it, or you can select Insert from the menu bar and from the drop-down box, click on Text Box. As the cursor turns into a cross, click on the background for the corner of the box and drag it diagonally to where you want to place the other corner of the box and release the mouse. This is the box we'll be using for our instruction box. We'll change the color of this box using our Fill tool, and then to type in the box, click in it and start typing. Then format the text as you see fit. The four choice boxes we'll be creating using the same method. Insert your text box, modify the format, color, etc., and then type your text. An easy way and a quicker way to create all of the text boxes is to create one and then copy and paste it into the slide. Then go into each box, change the format, color, text, and text format as you see necessary. The next task would be to insert our title boxes followed by the click here circles and then add our images and videos. Once you are satisfied with the way the choice board looks, it's time to insert our hyperlinks. This is the fun part. In this first box, Michelle would like the students to click on these artists so they can see the artist's work. So what we'll do is we'll select or highlight the words Bridget Beth Collins and we'll link it to a page that exhibits her artwork. So with that text highlighted, you go to Insert in the menu bar, select Link, paste the website you'd like the kids to get to, and click on Apply. As you can see, Bridget Beth Collins, the type has changed, the font color has changed, and it is now underlined, which means it is a hyperlink. Now you're not going to be able to see it unless you click in the words. You'll see exactly where it's going to. Okay, the next one is done basically the same way, the Reku link.  Now I'm going to show you how to create a link in the slideshow. So these circles, these red circles here, Michelle wants the students to be able to click here and go to another page in the slideshow. In order to do that, it's very simple. It's basically the same way we did with text. You simply click on the circle itself, make sure you're not clicking in the words. And then go to the Insert menu again, click on Link, and note where it says slides in this presentation, click on that, and below it would list each slide in the presentation. She wants this circle to link to slide six, so we'll select slide six and then click on apply. And you can see the link will appear underneath the circle. So when they click this circle, they'll get to slide six. Now we'll do the same thing with the circle underneath that, this link to slide seven. The next thing I will show you is how to create a link on images.  You can either copy and paste them from another application. You can do Insert, Image, Upload from Computer, Search the Web, et cetera, okay? So these are some of the images that I put in here that actually Michelle put in here for you. And this one is linked to a Google Doc.  And from here just copy and paste the URL from your Google Doc. Make sure your settings are okay and that anybody with a link can view this document. And then you click Apply. And that's basically it. So when they click on the image, they can get to the document. You can have the image linked again to a video, to another slide in the slide deck. Basically any place on the internet. Okay, the last thing I want to show you is how to insert a video. Okay, you can insert a video by inserting an image and then going to Insert, Link and pasting the URL of the video. And when they click on that image, they can get to a video. I'm going to show you another way to do that, which I think it just looks better. What you do is you go to Insert, click on the word Video. And you'll see you can insert directly from YouTube, the URL here. Or if it's located somewhere else by URL or if it's located on your Google Drive. I happen to see a video on nature art in YouTube that might be kind of cool for Michelle's lesson. So I went to YouTube and I copied the URL there and I just pasted it into the box. And you click on the little magnifying glass, the search bar, search box. You will see that video appear underneath. You must click on that video to say that that's the one you want. And then click on Select. And you'll see that the video or the picture that comes up, it looks different than the other pictures on the slide. It has a big play arrow in the middle of it. So you can see clearly that that is a link and that's a link to a video. Congratulations, you've created choice boards using Hyperslides. Thanks for watching. Be sure to like, comment, or apply to one of our other videos or share the playlist below. Subscribe to our channel and enable notifications so that you don't miss out on the next episode. Don't forget to check out our other resources and see what else is going on in Ori County Schools. Be sure to follow us on social media or contact us via email or our blog.


Welcome, traders, to another Tick-Nail Charter for you Petra Marnie. We want to draw your attention to the sterling Aussie. We're on the intraday and hourly time frame here, and we're tracking this advance from the lows here at the beginning of September. It looks like we're coming into some resistance now, and I'm looking for momentum divergence to start to be addressed and lay on this market. We're looking for a potential fifth wave extension here through the consolidation zone that we're currently trading in. As we break through 189, look for an extension into the ideal 127 extension of this potential fourth wave consolidation, 189-14. We've also got daily range resistance, monthly range resistance, watch for bearish reversal patterns there to set short positions, tugging the collection down to 188-19. As always, traders plan the trade, trade the plan and manage your risk.


Right my friends? That's better. How are we doing? How are we doing? Welcome back to my bedroom, welcome back to New Zealand, welcome back to another video and all of those good things. First and foremost I want to say that this channel is indeed currently dying a slow and painful death and I'm okay with that. But does that have to be the case? Can I somehow, someway reinvigorate this channel and begin growing it organically? I don't know but what I do know is that this type of video, this type of personal content is just not hitting the mark anymore. It's simply not. For those of you who do tune in to each and every one of my videos or majority of them, especially this type of like just one on one video, I want to say you guys you know you're absolutely amazing. You are the reason why I continue to create content.  It's hearing just little things like that that that's the reason why I do this. It's the reason why I continue to update this channel and update you guys on what I'm up to and you know because some of you just like I have with other YouTube creators in the past some of you have an interest in what I'm doing so I want to say first and foremost you know thank you, thank you to those who have stuck with me. What have I been doing whilst here in New Zealand? Well pretty much the same as what I mentioned last time just getting my way through editing the top 100 series. I've currently got down to number 50 so we're halfway through but it's taken a lot longer than what I thought. My staying power, my you know my ability to concentrate on a task was taken like during the period of making the videos so it's diminished but it's not gone altogether. So I've made my way down to 50. I've uploaded those videos on this channel for members. There's been a few members come back in which is awesome you know for as little as two dollars a month you can have full access to that entire list of videos. I put my heart and soul into those videos man I really did and I do it every year. I do that every year I put everything I've got into those videos and it's a project that I really enjoy but it's a project that I feel as if you know especially due to the fact that YouTube have well the NFL have claimed content have claimed copyright on all of those videos which is fair enough. I don't think it's fair enough to be honest I feel like a reaction video to the level that I do them to the level that I've done these 100 videos just recently deserve fair use of using that copyrighted material. I believe that the battle that I'd have to go through on each and every single one of those videos to get that over the line is one that I don't have the capacity for and I just can't be fucked with so yeah I've just resigned myself to the fact that at least this year those 100 videos will be just for the audience and it's just you know my thanks to you for continuing to stick around and support this channel and what I've been up to. So that's pretty much been the majority of my day is just you know jumping on the computer in the morning getting through a few videos and basically just chilling out and to be honest I'm sick of it I am I want to get back to Alice Springs I want to get back to my kids I want to get back to work every day you know a day being 32 you know a day that I am not working to either earn money or working towards my other goals in life is a day wasted man and a day that I'm not around my kids is a day is a certainly a day wasted and the last couple of times the last couple of years that I've come back to New Zealand I haven't really felt that I haven't but I think it's just to do with age and maturity I am feeling that I'm feeling a big time so I will most likely be in New Zealand for about another week and then I'll make my way back to Alice Springs and and insert myself back into into life over there um I'll be taking back with me a hell of a lot less than what I brought over here so I want my life to be completely you know just focused on what the important things are and due to you know this channel dying a slow and painful death which is what I said at the start I need I need I need to switch things up you know and the thing is if I was ever going to get someone from the outside to come in and consult consult with me around my channel and around making it successful again which is something I've considered you know I don't know everything and what I'm doing isn't working so if that was to happen I know exactly what they do they'd look at my analytics they'd say right over the last 365 days which videos or which which niches of content are the most successful and I know what they are it's rugby it's American football and it's gynecomastia as well as fitness and bodybuilding which is where the base of my channel was was begun but yeah so if I want to if I want to go back to Alice Springs and continue to create content content that I can be passionate about and content that you guys actually may have an interest in it's not going to be these just random videos you know talking about me in my life it's not it's not interesting it's not interesting man and I get that I get that I think I was kind of clouded in thinking that just because people enjoy my reaction videos that they're going to be interested in my personal life and it's just not fucking case because I didn't come into this with a professional sports background or I wasn't famous or I wasn't it respected for anything I just a normal guy right I'm just trying to I was a normal guy that just really wanted to be successful on YouTube and I think I I definitely managed a fair amount of success but for me to continue having success I need to go back to those niches and and that's what I'm planning on doing so stay tuned stay tuned for that whether it's going to be around rugby American football gynecomastia or health and fitness those are the four topics I'm going to focus on I'm going to you know focus on I'm going to try and take the take the limelight off of myself take it off myself and put it on topics that I can actually discuss with a little bit of knowledge no I'm not an expert and I never will be but I can actually you know help people that's that's what this channel was about originally and and I want to continue it that way so yeah here we are two weeks in Alice Springs I'm about to go and meet my cousin for the first time in like five years so that'll be good kind of nervous to be honest even though they are family which is weird shouldn't be feeling like that but I am and that'll be my son Saturday and then tomorrow we've got UFC 292 and then Monday I've got a big plan a big plan I don't know if I'll let you know what that is on this channel but if you head over to my other channel it's okay to talk that is where I will discuss my big plan for the future so yeah I think that's about it I'll be here for another week and then I'll be quite happy and content with my trip and ready to go and insert myself back into the fray of Alice Springs so looking forward to that really appreciate you guys support on the last few videos it's just a bit of fun every now and then I'll get a bit of motivation to make content and you know I always hope that they're going to be the one that hits and brings in a whole heap of new viewers and I try and make them as you know I try and put some effort into the thumbnails and that and that type of thing but nothing's working really unfortunately nothing at the moment so these top 100 videos for anyone who isn't a member will begin dropping on the channel soon for the you know general audience and I hope you guys enjoy those that'll be an opportunity for me to sit back and just hopefully enjoy you guys enjoying them you know what I mean that'll be 50 50 days of releasing two videos per day and I hope you guys enjoy that's all I can say so that's just a little update from me Saturday the 19th of August missing my kids and I can't wait to see them thanks for watching and I'll see you in the next one


Hi and welcome to the session. I am Asha and I am going to help you with the following question which says between 1 and 31, N numbers have been inserted in such a way that the resultant sequence is an AP. At ratio of 7 and N minus 1 at term s 5 is to 9, find the value of N. Let us now start with the solution and let A1, A2 up to aim N numbers which are inserted between 1 and 31 such that the resulting sequence is an AP. So the AP found will be, first number is 1 and we have A1, A2 up to aim and the last number is 31. So the total number of terms of this AP are N plus 2. Let us rename this sequence, let 1 be the first element this is noted by T1, this is T2, T3 and so on up to TN plus 1 and this is TN plus 2. So there are in all N plus 2 terms. Now the last term which is T, N plus 2 is given by T1 which is the first term plus N plus 2 minus 1 into T and the last term is 31. So here 31 is equal to 1 plus N plus 1 into D or 30 is equal to N plus 1 into D. So this implies T is equal to 30 upon N plus 1. Now we are given that the ratio of 7 and N minus 1 at term is 5 is to 9. So first let us find the 7th term of this AP which is denoted by T8. So TN will be equal to T1 plus 801 into D that is 1 plus 7 into 30 upon N plus 1 which is further equal to M plus 1 plus 210 upon N plus 1. So this is equal to M plus 211 upon N plus 1. So this is the T8 term of the sequence that is M plus 211 upon M plus 1 which is the seventh number inserted between 1 and 31. Now we have to find the M minus 1 at number. So we will have to find TN which will be the M minus 1 at number which is inserted between 1 and 31. So this is equal to T1 plus M minus 1 into D. So T1 is 1 plus M minus 1 and D is 30 upon M plus 1. So this is equal to M plus 1 plus 30M minus 30 upon M plus 1. So this is equal to 31M minus 29 upon M plus 1. Therefore a M minus 1 term or we can say that TMS term is 31M minus 29 upon M plus 1. Now according to the question we are given that a 7 upon a M minus 1 is equal to 5 is to 9. So this implies that M plus 211 upon M plus 1 which is the seventh term and M minus 1 term is 31M minus 29 upon M plus 1 is equal to 5 is to 9. All we can say that M plus 211 upon 31M minus 29 is equal to 5 upon 9. Now in cross multiplying we have 9 into M plus 211 is equal to 5 into 31M minus 29 or 9M minus 211 upon multiplying 9 to 211 we get 899 is equal to 5 into 31 we get 155 into M minus 1. So multiplying 29 with 5 be it minus 145 or on rearranging we have 9M minus 155M is equal to minus 1899 minus 145 or minus 146M is equal to minus 2044 or M is equal to minus 2044 upon minus 146 is equal to 14. So our answer is the value of M is 14. So this completes the session. Take care and have a good day.


The governor of Ogun State has urged the people of the state to join hands with his government in building the future of the state. He spoke when he received his certificate of return from INEC to steer the ship of the state for another four years. With the successful conduct of the 2023 United Nations, the Commission would like to assure the people of Ogun State that the investors learned in the election will serve as a working document which will be incorporated into the Commission's continuous improvement strategy to ensure the highest standard of election management in Nigeria. Highlight, as an electoral empire, under the leadership of the Honourable Chairman, Professor Mamuya Pupo, we remain consistent in achieving our vision and our aspirations to become one of the best election management bodies in the world. On behalf of all of us that are newly elected and sacrificed this afternoon, this, I proclaim, a renewed dedication to the vision of this administration, which is a vision of increased prosperity to our people. It is also a call of renewed hope not just for the people but for the entire Nigerian nation. We have a lot of us, I promise, that will continue oriented policies and programs so that we can ensure that life continues to be more abundant and meaningful to all the people of Ogun State. Thank you.