Welcome to JSA TV and JSA podcast the newsroom for telecom and data center professionals. I'm Laura Nolan coming to you from sunny Miami Florida for Metro Connect USA 2022. Joining me today is Patrick Jean Grosso the vice president at Mission Critical Facilities International or MCFI. Welcome back to JSA TV. Thank you very much Laura. Nobody told me it was going to be this cold in Miami. I know it's warming up though feeling good. I tell him we leave it'll be nice and warm. Exactly exactly well can you tell our viewers about MCFI for those who may not know much about you. Yeah so thank you MCFI is a design build data center solution set. We also offer micro grid solutions for green technology with green technologies helping clients meet their sustainability needs but primarily doing data center refurbs as well as design build showing lower costs and quicker times to market. Wonderful wonderful and just hot off the presses recent headlines MCFI announced the deployment of its genius modular data center. The first data center co-location facility in the Permian Basin which is huge news so you can tell us more about that. Yeah so we did a one megawatt solution for BBT big bent telecom and they needed a solution right at the edge in the Permian Basin to help their clients who the oil and gas industry where they're doing a lot of data collection and a lot of monitoring of the wellheads within the Permian Basin so they needed a solution up and quick and we helped deliver that solution with our genius data center design. So not only to improve safety at the oil fields but also in the underserved communities improving communication there so twofold. Yeah so it really also like you said addresses the underserved area where they really don't have a lot of the the latency little latency and you got to go all the way to Dallas or to Houston for your data so this gives that better serving in the community as well where they didn't have much broadband to begin with. So a big boost for West Texas and the oil and gas industry. Wonderful so here at Metro Connect when you're talking to folks the audience here how are you communicating how MCFI can help the sustainable micro grid solutions or edge data center strategy that they're looking for how can MCFI be a part of that. So it's twofold one is helping clients that are rolling out fiber solutions and they're looking they need a green solution and so what we offer is our micro grid solution which is primarily solar based for primary energy and then uses lithium ion energy storage and fuel cells and the real key there is the fuel cell alleviates the need to have diesel gen sets. Diesel gen sets are environmentally tough to manage you've got the diesel fuel you got to worry about and you've got maintenance on a monthly basis you have to deal with so you kind of get rid of all that with our solution that has no moving parts and so maintenance goes down to nothing can help with cost of electricity can help on a number of different levels especially on permitting can help you with permitting in locations where it's hard to permit a diesel generator you can now permit this a lot easier because everybody will kiss you because it's a fuel cell. That's great news that's great news Patrick. So what are some of the other technologies that MCFI is looking at for future projects. So one of the things that the genius data center and not necessarily technology but a different application of the solution and really talking to a lot of the guys in this at this conference are people who are building cable landing stations CLS right and typically they just build a cable landing station and then everybody else connects to it and the data goes off well there's really a good opportunity to build a co-location facility as part of that right it doesn't have to be big 50 racks 100 racks gives you an opportunity for additional revenue but it gives it to you at the edge right at where that that the data is coming in from whether it's coming in from Latin America whether it's coming in from Europe or it's just jumping around from region to region right so but it gives you that ability to additional revenue and sell space sell IT cabinets at the right at your right at the cable landing station and fast speed the market to extreme yeah fast speed the market so we can be up and running with that solution normally we say about eight months right now eight to 12 depending on lead times but because the way we've designed it we're minimizing the lead times by being able to order stuff right away versus because the design's already done excellent well speaking of time I hear a lot of chatter downstairs so I don't want to keep you too long so you can go back to networking but before you go tell our viewers where they can learn more about MCFI so you go to MCFI group comm for the our main website and you can go to genius data centers dot com to see more about our genius data solution and then for our micro grid solution you can go to micro genius dot com excellent lots of ways to find MCFI and even connect with Patrick on LinkedIn if if you're on LinkedIn so choose well thanks for joining us again Patrick always a pleasure having you thank you so much for having me and thank you viewers for tuning in to JSA TV and JSA podcast happy networking


volunteers, the orientation committee members, there's one over 800 of them to move in, almost 9,000 of you over the past 72 hours. And now you have a new family. We believe in the old gold and black. We are the Boilermakers. Welcome to Boilermakers!


I'm Daniela, I'm a performer, I'm Andrea, and I'm very curious about your process. And I'm Davey and I'm also very curious about that. I'm Gabrielle Ditto. I'm Eric, I'm one of the artists. I'm Kent and I'm one of the artists. And that's Devorah. Hey, I'm Devorah. She's one of the respondents. I'm Julia, I'm going to do scratch. So I'm just going to like set the stage a little bit for all of you. So first thing is first. This process is one of the artists. So maybe you're curious. That's right. But it's actually for the artist. Yeah, and so you can all are in charge also of steering things, going in a way. So I'm just going to give you a little map of how things are going to work. Okay, where do I go for? What do you do? There's a sign. But there's a thing on the wall. Oh, okay. Where are you? There is a sign. Where are you supposed to go? I guess. That was really actually very good. Yeah. There you go. Everything I've done for some strange reason has been in the lodge. So anyway, we're going to... So this is a process to give useful constructive feedback to our wonderful artists and their beautiful work. And that is set up a really cool structure where they have what's called a twin and an opposite. So the premise is that there's someone whose style, approach, methodology might be a little bit more aligned with the work that we saw. And then this is twin. And then there might be the opposite of someone whose work, process, methodology, aesthetic style might be a little bit more in contrast to the work. This is Sabrina's assignment. So if you don't disagree, that's fine. So what we'll do, so that we know where our folks are coming from, each of them will just do a short, like, hey, this is who I am, this is the value maybe, aesthetic theme. And then we'll have Devorah with our thoughts. And then Marvah Goode, Marvah's response. And then the artists will have some time to ruminate, ask questions on the response for the rest of the room, kind of like at. So this is the kind of feedback that we use to you, and then we'll have a kind of more open nature. Make sense? Yes. Sure. So hey, I'm Devorah. I'm the courtistic director with Ben here at the Bulls Fury Theater. My work before was in Bulls Fury at a dance theater company for seven years in San Francisco. And then finally joined, joined forces in Bulls Fury. So my work as very physical comes from theater to dance, then back to theater again. And we have a cornerstone for our work, the viewpoints, Suzuki training, LeCoc, very movement oriented, and just straight up a lot of contact and probably sharing. So, I mean, that kind of puts it in the realm here. It's quite a compliment to say, oh yeah, we're twins. I kind of like that. Eric was reflecting to me like a couple nights ago that he knows my work all the way back to what with my dance theater company. When I was dancing, we were doing all kinds of crazy things. Yeah, right on. Did he pay you 50 bucks? Right, yeah. She's lying with us. Anyway, and also Band-A-Line has been in the festival that we produce. So, oh, and this one too? No, you're showing us yours. I was celebrating the festival. Yeah. Anyway, we're going to talk about Band-A-Line and this great show. What else did I say about the work or anything you have joined? Just the violin. I love each violin. So, that's it. I don't mean to make a joke, but I don't want to do it. No pressure. So, I but have always done performances since I was a kid. And I was, I did go to college and the theater people were too mean, so I switched back these three weeks to something called Borland Terps. So, the background is in kind of giving service to the literature, and then you perform, but that's the training I got. And so, I never had a relationship with a theater theater, but felt compelled by social circumstances to start performing again, and realizing intuitively that it made me could turn things around in a big way for people to feel like they were powerful and really healing. And in the weapons movement, we started kind of broken into these huge fights and battles that were just like burn it down, burn each other down. And so, I started performing again because of that, even though I was so scared to perform. I was, I've always performed just a little. My tear is like a hair thickness less than me carrying about whatever the things got me to do that performance. So, I did one called City of Waterton, number three, they got to tour a lot about, I spent three years interviewing construction workers about the building of New York City's Third Waterton, the mayor, and I've been doing that kind of work since 87. And solo shows mostly in one show with actors which was incredibly challenging, but on abundance with the American money that toured in 2003 and 2004. Moved to Maine and has been spent the last eight years helping other people make art, figuring out non-arts based issues in city government. I've been in the city manager's office for eight years in the city government. The police did a play that I wrote for them and directed in response to a shooting in the community. Racism incidents resulted in story workshops with the public service workers and that kind of thing. And now we're back to the viewer amounts and we're doing some more coming up. Can you talk about a lot of the work. And I just encourage both of you to be as specific as possible. So that's awesome, it's not actually great. That's awesome because I know there's a lot of information. And how much time are we talking about? 10 minutes. 10 minutes? Right. It's not longer. I'll keep time so you don't have to worry about it. Thanks. Okay, great. Well, that was awesome. I think that's first there. Because, and I won't be so great but I think what was lovely to see is and a real joy to observe is this true marriage between these visions. It looked like one piece. These people were very multi-talented multi-integrated and that was something that I really enjoyed as a spectator. It felt like you had made an example and that brings a lot of questions for me regarding how it happened which I'd love to hear about. I think Kent, you had spoken about the empty space and not having props and even if you didn't say that it was evident in the work because I think I really appreciated your use of time. I thought time was really well catered for in this piece. Just allowing and also this joy of taking a lot of distractions away. One of the first images I wrote suit blue and that's a lot of information for people sitting on chairs suit blue, suit blue and just being able to have the time to just observe that, take that in and already my narratives are going, going, going, going and I can be allowed to take that in and so I thought that was very successful. I felt very allowed to have that experience so I appreciated that a lot. Maybe I'll just refer to some notes here. Also setting up the first moment of using breath in the first gesture and where that comes from it allows us to be very skilled in there ensemble feeling to be able to allow themselves to be surprised by when that moment occurs so I really appreciated that. I appreciate and this is in Eric's other work too that something was going oh yeah there was a child delighting verbally in what was going on and you just acknowledged it and I also loved that. This aspect of the meta that you put at certain sections throughout I think it's also as a genre we maybe it opens the dialogue for that of how we're commenting on ourselves and I thought that that was successful in terms of where, how that was happening this is a really play you know I think Keith says Daniel says that I'm sorry that whole thing of just like commenting on yourself. The banality of the first real dramatic thing being a piece of tape on the ground it was just kind of so weird that it was interesting to me and then you realize it's not just some random moment but that it's actually very thoughtfully a way to get you to your next space so then it becomes a marker for your chair which is also a comment about the play and then so it's setting up all of and then it sets up this whole other section of the chairs the chairs the chairs the chairs configuring and so getting mileage out of the one thing that you allowed yourself to have the drone over there a little Benji stool there but anyway so that was very satisfying to kind of be to have this experience of being intrigued by this seemingly random act and then to have this follow through that was very satisfying the idea the thought of speaking when absolutely necessary came up for me which is I think what was happening is that the first story didn't come out until like verbal storytelling was the last thing that we received and experienced as it progressed and for me that felt right because we were learning so much just to be moved and your story was being told so many other ways that then there was a moment where it became very compelling over also the moment where Daniel was being threatened that was another compelling moment for her to speak raising the stakes there which I appreciated so I thought there was a lot of care with the use of text and how it was presented there was the idea of we which was intriguing to me we were there we were all there we were there every story was about us and I began to think what is us with us your children your childhood mates your dorm room mates you know I just went on to college it's like her dorm room mates in a car with an accident that I started going off in my personal life but yeah just this idea of we who are we is a very powerful pronoun so I appreciated that provocation and then just like the chorus and the hero you know the concept of there's one person carrying the story and the chorus is ground-based was very clear and very well used I thought and satisfying for me with time repetition is just like it's like this toast done with spraying butter just so satisfying to just see everybody like do the same motion and all at once or then later repeating seeing a piece of choreography and seeing it repeated again especially with modern dance is useful to the viewer because you get it all the first time so then you get to chew it up and enjoy it or experience it again so those are some strong points that I felt were really successful some I one just thing is like hey you've got chairs I would be really interested so other things that if you were working again if you're interested things I'd like to see or explore questions I had I'd like to see the chair being used in other ways and maybe they are in the next chapter I just didn't see it but like you know you have a chair you could stand on it for example like open up the vertical space you did use it in other ways what are all the ways you can use that chair I think would be really interesting to see that's one thing I said I thought of and then I just started having a lot of questions and anxiety when we got to the part of the story that is difficult and you know I'm still asking myself and that is choices that were made and what part of that are just things that I would do differently or want to see differently and that has to do of course with Tara's storyline of starting to be oppressed so I will address the parts that maybe first that I think are just stuff I'd like to see and then I'll adjust like the content but I was just like we have this okay for me I see a beautiful woman on stage and I want to see her do something more than just be beautiful because I feel very very strongly that you can do more than that and I want to see that that means you were given a lot of like miracle voice beautiful singing and you're very just very talented in that and I bet you could make some other kind of sounds too ugly sounds, different sounds like I wanted more soundscape that allowed us to see more of who that because this character that we dig into more so I wanted as a woman I wanted to see her totality instead of a representation of her being a young beautiful fragile victim I'd like to you know put that word into the room I want to see her power too and her complexity so that was something that was coming up for me and then also that I was like getting very stressed out about this trio where the two men are I was like well she can lift people well why would she and then I understand directorially that that's where that was going just like the echo of the tape you had thoughtfully put that piece of the next story so you know I'm interested in what other people have to say I also wanted to say just comment that right after that a person next to me said was that was that an active violence that just happened and I said what do you think and anyway it was provoking thought provoking emotionally provoking and I thank you for that if this was a San Francisco audience I would go further that's I don't know what other audiences are I said if it was a San Francisco audience I would maybe go further meaning deeper and it's like I want to respond sure meaning I can see more and I felt that there was a suggestion of what happened I'm not saying that I need to see more violence on stage I need to see a deeper addressing of what that means and that can take many various forms so that's me personally I don't know if and that means what does that mean like is that her struggle only or is that just more deeper complexity of this character or I have an idea of what I think happened and what I interpreted I guess the reason why I say audience is that it depends on audiences what is the age who are the people what is who is being affected what is the level of understood trauma I don't know maybe to be sensitive about that I will wrap up so that's a very it's a hard topic to talk about I can only give my emotional emotional and aesthetic response to it but I thought that the work was very well cared for and very well respected in terms of what we thought it should be or what our interpretation what we were seeing was and so I thank you for that and I really want to see the whole people thank you can I just add something that occurred to me that I do sometimes in my career it's sort of just more efficient if it's alright with you guys if you say something that you hear somebody say something that you agree with you can just sort of like snap or do this so that visually people can see that that doesn't have to be restated so I'm not surprised that several of you said you wanted to ignore more about the process because I thought wow right? wow whatever the hell process that was it shook him up with a hell of a good piece and how they did that and and you said so many good things that I would agree with so I don't want to repeat it but I think one of the elements in theater is the love and kind of rigor that gets brought to making work both on the part of you truly like amazing and moving performers but also the directors and however else that happens and that was so clear right from the beginning we were in it was like the game was on you know we are together and that kind of control and confidence and playfulness and I think a lot about joy in theater and the element of people actually even if it's a tough play there's a perceptible human way you could pick up that the people are actually enjoying what they're doing they are where they want to be and it is communicatable regardless of the topic so I really felt that and I thought the quality and the skill that you all brought as performers and also directors in choreography and in choosing the stories was just it was joyful because it's so much fun and things are that good it's just fun and for me in theater or any of us I assume it's at least half as painful for everyone else but that's not the case as it is for me and I thought I was very impressed I write my own shows and I was very impressed with the writing and editing and I don't know what that process was but it really was good it was well done it was good about it you didn't have extra extra stuff in there there was no fluff and it had a point but there was an elusiveness that I easily confounded in performances that are non-traditional and I've realized years ago I needed to quit wondering what it meant that that would be a helpful add but what I described to somebody earlier was there were enough breadcrumbs that I didn't start disassociating I wasn't battling any buzz of confusion and yet I truly didn't and it was a nice preamble but the piece itself kind of let it happen and the way it was titled the genetic is just so helpful just to help us help give us a shared version of the map that we get to be fully engaged as well and do keep on to your faith be more detailed and you all are good just technically technically wise whatever in the dancing and in the story delivery and in relation to the audience just really open heartedly respectful and very aware that this is the stage and that we are a part of it a couple things that stood out you did a nice kind of thoughtful thinking about that dance the trio and I at the time I had a similar responses of being kind of disturbed and anytime you see something that's disturbing as a theater maker myself in the way that I am and thinking about the whole I know I'm stirring a lot of stuff and going there and that's where theater should be going there where else would that only be going for not going to those tough places but then you're obviously taking on a responsibility that there's an arc there in whichever direction that arc is going there's an arc and I couldn't tell the story afterwards although I thought that ending was just to the story was just perfect in terms of like an almost one more five an almost perfect was how it came to me and I can't be that much more helpful right now but it felt like it was not a match for what just happened and I don't know that I don't contend that has to be some balancing act between getting things like whoa um can I clarify? after the dancing story that came after the dance and I was thinking in terms of directing like in also whoever puts these shows together are you the person thinking you know even at the time I was like oh wow were they thinking well that was upsetting we better put in a you know we chewed the story what I put the story before it well then what I've recorded the story and had the story running as that dance was dancing and I don't have any conclusion but these were the kinds of things I was thinking about was like do one of those things not belong you know or do they belong differently um and again saying this is where theater should be so that's not the issue for me um and the other thing that um that gives me a chance to say something during this part of the talk by the respondent was the song and um I wasn't sure it's you know something can work perfectly and then the next night it's like one thread got pulled out and you know it's all little pieces on the floor and I didn't feel that happened at all but I started like so excited music you know recording oh my god good voices singing and about halfway through I felt like why are we still singing the song um and then I thought more I think just for very exercised you know maybe just literally you know we are trying to think about ourselves maybe they're trying to you know get their get their energies back so um it was beautiful it was well sung um somebody who speaks Spanish said they thought that there might be some issues about the Spanish that was in it um I would be able to other than share that with you so you know it was dramatically or yeah dramatically and then they couldn't figure if there was they were confused by me they thought maybe there might be something in the song itself that was not accurately translated or whatever just for uh it's living now and that's the other possibility so they shouldn't be confused yeah perfect um yeah and so it wasn't that there was music it was it was yeah what was happening there um and uh yeah um I'd love to see it again I'd love to see the whole piece oh capacity was one kind of thought I had was about when you make theater how do you think about how do we think about the capacity the capacities and they're like what can these performers right like what's possible how much can they give and when you structure a piece you know um and I thought the capacity was really impressive like with what the performers what you all could hold what you could offer what you could sustain what you could build it was just seemingly like wow you know to be there to be present to actually be that engaged and that is kind of the point right and so I thought that was very well crafted and it made me think what the hell this is one third of the show you know and then I didn't get to see the rest so I was just thinking wow you know is this they pulled us off the whole night so okay thank you so now it's we really gave him hell we did yeah medic now it's sort of enough to you to ask questions to respond to and I would just offer that you don't have to explain or defend anything if that's not useful to because sometimes I just take a feedback and I just go think about it so you don't have to do any of that but whatever is this to bring it into the do that question with the spark or anything um what I've been really interested in with this process is sort of how we came together I've come from a dance background and the Cortesco folks come from a theater background and we're both interested in transcending those backgrounds and my hope for the piece is that yes there's dance that happens and yes there's theater that happens but that you're not thinking about that and not thinking about technique or oh that must be the dance where it must be and I'm curious if anybody can sort of say what your experience was with that that happened or the places where you were taken out of it by those sort of categories um anybody in the audience? right now okay I would definitely like this because in my own work I find that's what I'm also trying to figure out like how now I can remember so um I would that's what I was so impressed by doing and why I want to know about your process because I felt like they were very one like there was a lot of mystery as the piece as the unrolled as things were revealed so so much was said through the movement that I didn't find oh this is now a choreographic moment because they were so weaved I mean they were so one um and I like what you said about the necessity of the language when it was time um or important for that to shift but if everything was um how you made transitions into space um into one thing to the other it was all movement and theater at the same time I felt you really successfully aided that I thought yeah I had to push back slightly um you know in terms of all the things that I've seen in their dance theater I think you did do very very well and yet I still felt that there were transitions from one dance to the next and I I thought those transitions were pretty small um and they were close to disappearing so I was encouraged to keep just specifically like when is the moment of dance takes the lead and where's the moment of the text where the text takes the lead um or and where does narrative live in relation to those two things I think it's pretty close but I think you can take it further can you like mention a moment where you're like oh I'm switching from one to another yeah I mean I think um you know the moment where Eric towards the beginning Eric tells his story and then we go and everybody goes into the dance and Eric's like wait wait wait let's not go into the dance and actually that's a bad example because that one sort of fell down right um there was I don't know if it was right after the whole thing but there was a story being told and then there was a moment where all four of you got up stepped down a little bit and did a movement sequence or dance or moments when we were all in the chair and they did the and I don't know I actually don't let me rephrase it I don't know if it's possible I don't know how you do it without a sense of transition and maybe it's not a problem but I felt like it was pretty close somehow set them together so it was hopeful and I also and this may also reflect a lot about my where I'm sitting in front of the viewer because even though I've been making dance, theater, movement, theater for 15 years they're still a little bit where I would say hey when you switch from this story to that I don't know and to this story it's like I'm still prioritizing in my mind the spoken narrative in terms of I'm not more interested in it but in terms of that's what demarcates the story for me still that may be my problem and I was going to say I mean this is something that I found helpful in working in this kind of way that may or may not be helpful to you but I felt like watching this when you all were telling the stories there was all that kind of movement stuff and you were like they were doing the slow motion running and stuff and there were movement elements to enhance the storytelling and I felt like that maybe it was sort of like in those moments the movement leaked into the kind of more theatrical storytelling and I think I wanted to see more of the theatrical storytelling leak into the dance and for me a lot of times in my work and things that I really attached to especially when I'm just seeing dance in particular like modern and contemporary dance is gestural work and I think there were times when I wanted in the midst of some of these beautiful lifts and really cool movements that was happening to have moments where it almost broke and you just had a really simple gesture that was very pedestrian that kind of grounded us back into the not even reality but back into the maybe more theatrical elements so that they really feel like they just kind of slipped in and out of each other and because I think when you were when it was a little more theatrical the dancing really effectively and I began to see how some of that could make its way the other way around and my primary training is in dance and context and you're the duet between you and Keith which is this beautiful partnering duet with beautiful spaces and some really lovely surprising movements what I really appreciated about it was the way that what also was very like I don't want to say conventional but familiar partnering strategies were infused with a clarity of character intention that is usually not there if you're looking at a dance thing and that was very satisfying to me and the moment that the narrative was spoken through the body in a way that the text didn't also enforce so I really appreciated that there and then to go back to the other sort of primary the trio which we've been talking about like the relationship to the the range, the most great violation story I saw that so if I came before and I was watching it and rather than disturb I was annoyed and I was annoyed because from my context, from concert dance it is so normative to have the men lift the women to have the men manipulate the women to have the women have no physical agency that I wasn't like oh they're making a statement they're telling a story through this I'm just like they're doing that again and they're not thinking it that was my conclusion the beauty of the technique especially on Tara Spark they're like nice lines and a plain with feet and I was thinking about which to me undermined the violence and that it also didn't have quite the clarity of the emotional moments on the duet between people and so I then later and I was talking to people and I was like oh yeah I guess those two moments but I only figured that out later in conversation and then and so at the time I was just like doesn't she have can she pick them up, how come she can't fight back how come, you know, did it up because I was just like they're making this choice again everybody always wins, the choice everybody always makes those two moments there I just want to take that even a step further and I think all of this is I love the piece and I love I agree a lot on set I was not annoyed I was really angry actually because it wasn't it wasn't even just those normative moves but there was something about the fact that and I agree it's because there's this beautiful woman there who is who is having this power and all of a sudden boom it's lifted up from under her and rather than do anything another man was able to save her just by doing moving back and around and that pissed me off I remember growing that tree on what you felt kept on making it you wondering well part of an intention that I use in the drumming is supporting her like for example when she takes the run or when she's coming down from that movement there it's like I'm encouraging her and forcing her and backing her up and supporting her as best I can from a drum so I'm watching her journey and I'm like ooh I'm rooting for her or something so that's my intention when I'm playing is to be that witness that's present for her but to respond to your initial question about integration for me the duet really did stand out and I don't know it's because I've seen you guys perform before but I was like oh this is the part where these guys who dance together dance together and then maybe wouldn't have felt that way if I'd also seen the women do something similar just putting that out but in terms of the the whole thing obviously I know we're only seeing a portion too so maybe we didn't see that portion were those things happen or not and the rest of the piece had more and you know felt more of a hold so that stood out but if there was a transition for me if there was a transition moment that seemed a little abrupt but not on purpose it was it was getting since we was getting into that and I don't know if you remember what it was but I remember thinking oh here we go to this it just seemed like it was telegraphed in a way that you could well an interesting question is if the trio informs that story and does the duet inform another story the male men's experience that maybe we didn't hear and just you're missing I'm sure the women actually do have a duet and they also have probably the two largest soons in the show that they carry together maybe that's why seeing a fragment is always challenging so many of our comments and points to maybe not at all but these are really helpful comments can I ask a question she's still in charge right now yeah the artists are still actually in charge and that is that is the element of symmetry and that the symmetry of the men and women actors at the top and all of the the sort of spatial relationships at the top of the show are so pronounced and then it goes away I wonder if during the course of the big show are there moments where it comes back in that pronounced fashion and I think that there's because of communication I think that there's a that we do this thing where we where we all feel like we're on the same page and then we go off into our realization that we're not even close to being on the same page and then we get back together to come back to the same page and then we go off again and I thought it was an interesting commentary on how communication goes and I didn't know that was a thing that was revisited if that's where the show ends yeah I am I figured that would be somewhere you know they invent this game in the end which is that's the transition into society and it's a cinema game and the audience has fun trying to figure out the rules and stuff but it ends up in an argument because they're all games through that you argue about the rules and someone's cheating and someone's making strategy and the bankers have figured out this and the hens have figured out this and they finally and actually with the resolution is that they take that anger to those four seats in front of the audience and they're silent for several minutes and the audience watches them go from anger to neutral to a little bit of a couple of things to smile we're going to fight again I'd love to hear from the performers who are here as well on time or whatever they are I don't have a specific question but I also wanted to make sure that Ken or Sean if you had a particular question or particular kind of feedback that you wanted from this group that you could put it into No, I don't think so So then we're going to just keep that in conversation Can I ask you how that trio feels to you in the story and also the story how it feels to you as a performer Yeah, sure To me, I'm not really from the dance world this is the first show I've done especially for me when we started it was just really fun to be a part of the trio I haven't done it before it was also a research piece for me to look at how how the voice comes in and how the movement and I guess I want to say I really appreciate this like you bringing this up something this is really good to talk about but being within it and sort of since these are many of these are our stories and Berlin was my story it feels like it's such a mind because that was an experience and it was a story that I brought to the table and said hey well this is a story I had when we decided it was an ensemble it was something that we wanted to show so I'm really interested in how when we have these stories how to treat it in a way that doesn't send the message that this weak woman is being objectified while still being able to use that because we feel there were some peaks and I think maybe within the rest of the show where you see more variations of our characters it's not quite so stark I'm interested in so Berlin in the moment you know where in the trio where I first saw your leg I was like okay dance so just in terms of that however I feel like yes I was disturbed but I'm not angry that it was represented this way because I'm sorry it may not be how we want women to be however there are soft beautiful feminine beings that have things happen and sometimes someone does have I just felt like I'm troubled when that happens but it didn't bother me that you were making a choice that is being called normative from a choreographic perspective because I felt like I'm troubled and I don't know exactly what's happened until I have the story right but I don't actually feel like it's your responsibility to create dynamic women in all roles and that's the what you have to say to represent women in the theater I feel like I love strong women but things happen I'm not troubled by the way she was represented to me it felt it was soft unsettling but that doesn't bother me but that was the it's more bothered that the choreography wasn't unsettling that it felt normal but that's hardly what I mean I get that one could you could take place angularity and restraint and there are definitely places but that's not necessarily what this story was I felt a sense of of the emotion of the character was communicated through the words and the next section was very unsettling I felt very with that story I was very present with the situation I wasn't present with the dance because the dance just looks like the dance I've seen 2,000 times 200,000 times also in relation to your beauty and how fluid and in that I remember a moment when you were singing while you were doing the contact work maybe it was a physical moment and maybe maybe that's it maybe there's the possibility that it's not so pretty it's you know we're not so fluid in a moment emotion so that maybe there's not that fluidity and beauty there and even go farther with how you're playing with singing and how that you know wouldn't sound so pretty in that moment I could see the dance happening without the female and then the story following even more evocative and having more wouldn't have necessarily a disconnection the way it was but Daniel I did want to I hate these when the performers don't get a chance so that maybe me and you may choose not to say anything but I'm not happy when these end without people who have done so amazingly and been such a part Any questions? Yes Which company? Grotesco Yes So everybody but Okay, so you really wanted to say that And Keith at the end of the line And Keith at the root of it The stories all came from company members Yeah Could you clarify a little bit because some of what I'm wondering in terms of everyone's response to that moment you mentioned that the women have quite a bit to do in other sections of how they're represented in other sections and is this pretty, is this one story pretty typical for kind of the entire piece of how they're represented or is this sort of one facet of how women are represented because I feel like that makes a huge difference Can I say something? It's, I'm really appreciative of this feedback I feel like this is challenging stuff to talk about and give feedback on and appreciate the way people are talking about It was so interesting because I felt when we got to that section last night it felt very different than it ever felt before doing it in this room and in the piece in the context of it because in the whole piece it feels like just such a departure at that moment and it feels much subtler it felt very explicit somehow last night and in the whole piece there's almost not so much gender for me in a lot of the piece that we're discovering the space and I mean there's gender in our costumes and then a lot of just how our roles develop and stories come out and then that is sort of the first time I really feel gender very strongly as in that and so I think it's not typical and it just felt very different it was interesting it just felt like oh boy this is it was intense it was a real big change 150U is that I saw gender and it was useful throughout there was never a moment where I wasn't aware of it so it's there I felt relationships more than gender that too I'd like to get back to your question the women actually invent language in the piece early on Tara speaks Persian and she's giving a language lesson to Danielle and it's very funny it's very very funny and then right after this piece they do a scene where they're in a dressing room trying on clothes and they're very mean to each other they're very mean I mean it's women being really mean to each other and then the play goes someplace else but I noticed last night the little particular piece we chose ends very dark and the whole play it goes dark and it gets funny again and then it goes crazy and chaotic and they have a fight and they're angry and it ends on this little up note so the relationship of the women does change a lot throughout the piece well I don't know what y'all's background is but I thought that the male duet was really great I love a good male duet especially with real partnering lists and I think it would be kind of fun if you all continued working on this to play with doing some real weight sharing and contacting them for opportunity because I think that's or if not even just two of you can you lift him can you really do some things on stage when the women start when there's a back and forth that sort of shift back and forth because like I'm picking you up but not you're picking me up I have a question about the process that you worked with because I think this is a a lot of what we're asking now about sort of beauty and grace and things like that I know before you you said well you came up with gestures and then you gave it to him and then you made it more I don't know what the word is it was like maybe more pedestrian or maybe more narrow or something like that and I think that this is kind of the roots of some of this because dancers are great generalizations but dancers touch be very beautiful grace ball and actors are talking beautiful grace ball or they can be awkward and stupid and floppy and a lot of other things be like greater vocabulary which is certainly great and I know this is a generalization but that's okay but I find like working with my company if we have dancers we have to spend a lot of time getting pretty like clumsy and awkward and you know it's probably just their particular training but I really would like to hear more about this kind of back and forth about how you worked together and how you kind of shared this process very American I go back 10 years so he worked with Della Davidson and was choreographer out of the Bay Area and we did a large project together and it was our first I mean I think Y'all actually had already been doing some dance theater but this was the first foray to work with a theater company on top of it and I think that Della and Eric carried this out if I'm wrong but they've been working hard to not be beautiful so they take different shapes and you know they really worked hard and so kind of choosing the right partners is the most important part if we had a classic modern company that we were working with we never would have come up with the same show and it allowed us we've done several projects in between I went there with a net grant to work on the text for dancers which was a big leap and then we invited Eric into this and his contribution became really big and it was backed by Vandalide and the companies were close enough that we could cross those lines very quickly so we could send them gestures they would make it into a form of dance that our actors could perform and interpret so it was really I think the right collaborators it was probably the most important part also the one thing I like is that because we've been working together for 10 years I feel like this piece was really a continuation of the work that Della, John and our ensembles were doing and what I'm liking about this process because I feel like we're still in the middle of anything going for it is that we have these questions that have been fermenting and like we're looking at a lot of the same questions and we've tried them in so many different ways and that feels exciting to go deep and some other questions well a big one about what is dance and what is theater and what are we doing and how do we be human beings on stage and not only technicians and how do we make something that's meaningful to us and the audience has a powerful experience, how do we go into dark places together how do we cut through a lot of the ritual of theater that from a theatrical perspective becomes fairly hollow because we forget where it comes from so for us to go back to theater brought to empty space and say how can we put actors on stage and make every moment real that was really the focus there's all these rituals of deliberated text telling a story all these things, sets and costumes and all that stuff that we associate with and we put a plan on and it's it's very difficult to do that and make it all ideal usually a large portion of it is not and the audience sense that I can speak to that a little bit as an actor this work is a built part of what I usually do always when scripted it's a very classical contemporary and very strict blocking and very strict play analysis and it's very here and very technical and so this for me was a real treat because and also a little bit of a challenge because I don't I am the character it's me pretty much on stage and so my first in the very beginning of the rehearsal process I was confronted with okay how do I not overact myself how do I do that so I was really negotiating my craft as a trained actor into something that was more exploratory and really a treat movement being able to be part of a dance pretty good as well yeah it's a move on stage and I've really been creating you know being you know the corsets looking here it was like it's one of the great three so this has been a treat for me in that respect so we're technically over time I can feel there's Jason in the conversation to continue it until the plenary starts at 3 yeah 315 right now so there are great conversations you should continue them you can even just sit here and do that in case you need to go to the bathroom can I I just I want to respond first of all I you know I apologize for my anger and that my anger would with you that's not you know or what would happen so I apologize for getting so angry and passing a judgment on that when you say it that it makes total sense that it was your story I think we this is as a playwright I get into this a lot when I I write myself characters that are somewhat based on myself in some situation I'm very passive whereas in life we're even our choices to not do something or not passive and so I don't think it's about what you did in that moment I think as it's always hard for us to make ourselves when we're we make ourselves too passive as the character because we see life is happening to us right that's what you do in life oh this happened to me and this happened to me this happened to me but in theater each character and in truth you know in reality we are making a choice every time and we're making an action so maybe it's exploring the choices that you did make and just knowing that it so that you're not seeing it all as happening to you it did all happen to you but you did something whatever it was whether it was to stand a certain way to back away to you know whatever so maybe just exploring those choices I like your anger yeah because one of you know the piece is about communication so part of what we wanted we wanted to definitely make sure the audience wants to clue it into they are communicating to us and we are communicating back and forth a little spoiler alert before we play the game at the end of the play Tara asked the entire audience to stand and sing the national anthem because that's what we do in America we sing the national anthem before games and you should have seen audience reactions to that piss me off you know I mean freaked out and then there are no reactions they would almost get into conversations amongst themselves because some people would stand up and do it and other people wouldn't and then there was all this discomfort about it and it was a great moment great moment I heard something about somebody who was not a theater person per se that brought up a very interesting question which is John you would give him the prologue explaining that there were gestures they were dancified and then brought back he said if I hadn't known that I don't think I would have been as interesting in the gestural or in the historiographic work just bring points to that question in the process how much do we already know about this yes continue the conversations thank you


My deep play of the week is Kyle Yuzcek. Yuzcek now has an 11% target share in the season, and that's been with healthy running backs around him. It doesn't sound great for Matt Berita here in week 6, which means the 49ers are lacking a real pass-catching threat out of the backfield, because Alfred Morris is their lead back. And as 9.5 point underdogs, they could be throwing a lot in this game. And with CJ Bedford under center, they could be throwing a lot to their backfield. I noted on this podcast a couple of weeks ago when Jimmy Garoppolo tour his ACL, that CJ Bedford really liked targeting his backs through the air when he played last year. Carlos Hyde dominated with over eight targets per game with CJ Bedford, and that fell to fewer than four without him. Bedford was targeting his running backs on over 36% of his passes in 2017. In 2018, CJ Bedford has thrown 91 passes, and over 25% of those tosses have gone to players in his backfield. That's on his highs his rate last year, but that's still a decent rate. Yuzcek saw seven targets last week, and I think he could be decently involved in the passing attack this week as long as Matt Brita is out. So if you're in a PPR league, he's not a bad player.


Hi there everyone! Today we are unboxing the Adata Spectrics D40 which is a 32GB RAM kit part of the XPG series and it comes in a black box with some red elements typical of the XPG series and along with the product information there is a small window through which you can see one of the sticks. Now when you get the product out of the box you will see that it comes in a plastic enclosure and on the inside there is a small black cardboard which protects the RAM sticks against scratches. Now as you can probably notice on top of each and every stick there is a white strip. It is in this white strip that the fancy LED lights are installed and also there is the red heating on each side of each RAM stick which helps with the heat dissipation and there is also a small sticker with product information. For you if place these sticks in a configuration so you can see how they glow and all of their glory. That's been all for today. Thank you for watching. If you like this video be sure to subscribe and give us like. Bye-bye!


The Wacom Fire Station hosts their annual open house Sunday afternoon. The family and children have a chance to get inside the real fire trucks and interact with firefighters. More than 100 people from the neighborhood showed up, and Sparky, the fire dog, was also there. We invite the community into our station. It's supported by Puppagenos. Puppagenos, we just got pizza here from Puppagenos, so the kids love that of course. We bring in the community and we, again, it gives the kids to meet all the kids in the schools that we already saw, their families, and it gives us another chance to talk to the adults, the family members, and it brings everybody in the community together and gives them a chance to meet the firefighters, play on the trucks, see the trucks, learn about some of the tools we use, and just all hang out and have a good time together for a little bit. The firefighters also did a presentation on fire prevention, including memorizing safety tips and planning escape routes.  He showed us. Yeah, it was really cool. We come every single year, the kids really look forward to it. It's one of their favorite events of the year because they just love coming to the fire station, learning all about fire safety, looking at all the fire engines, talking to the firemen. The event is sponsored by Puppageno, the Massachusetts-based pizza store. For the past 25 years, they have sent out free pizza to fire station open houses throughout New England. The education program started in 1995. Mia Chen reporting for BU News Service.


Oh Yo, what's going on everybody welcome to a special episode of phone bro's food We are here out in the six to six and we're about to be covering a type of Chinese food that we have not yet talked about This is the biggest city in China Shanghai and you know that we cannot cover authentic shanghai needs food without a shanghai needs superstar Jimmy oh I brought Jesus piece that we bought last time Last episode we introduced you as Hong Kong superstar. That's right, but then there's a very multi-culture We are the most shanghai need spot right now because the name of the restaurant It's just Q38 noodle and we are here with Shanghai native Bell This is a very Shanghai round one this egg roll first of all you dip it in vinegar Right is saute cabbage and pork strips in there. Check out this crunch Cantonese one the one that you get at dim sum. Yeah, that has like shrimp little carrots and stuff America's all about pork belly right now. Asians been eating pork belly for a long time.  It's collagen, right? You cut through the fat, but it's not really like greasy.   Small delicate the meat is very special So this one is home-sour Shaolong Bao, but there's not much fat in this compared to other meat So it's like tiny riblets that you're eating in Shanghai these days These are the Shanghai wontons They say it's a Shanghai big wonton. There's a certain type of vegetable called jitai So it's like cilantro-y but like not as pungent but you put seaweed in there That's where you get all your MSG and flavor base and this is a tozu tozu It's it's a fried chopped up eels. It's like a little bit chewy, which means it's like rubbery That means it's frozen. Oh good. This is good. There's a person who does not even like unagi that much That was actually really easy to eat. So round two. I got the crystal shrimp Qingtao Huni. It's a very bouncy meat They brined it with like bacon soda Shanghai's people love incorporating baking soda into their food That's what makes it shiny because you said all Shanghai's dishes are shiny Sanchian bao or in Shanghainese the sanchi bao Sanchi bao literally means raw fried buns. I gotta warn you There is juice inside and it could be hotter than the Shaolong bao juice because it's insulated better than a Shaolong bao is Did you see that? Did we catch that? Here, watch me pour out the soup guys Came to drip it, drip it. Oh drip drip. Oh look at how perfectly this thing is and it's just pure pork Just like putting the brain back in Oh yeah, the spiral the bottom! The spiral is on the bottom for this one. Weird! This is very very good. This is it's bean curd, right? The uke. Got the pork strips cut in the same shape as the bean curd strip Which is more or less the same shape with the big green onion strips You know what I like about that dish?  That's the good stuff Really?  I think I might like it because this is like a cold dish, so it comes to the core of your warm food is here Hey, everybody hates this Zai Xing This one is Pateci and I think that one's Tsuji This is marinated in wine But my beef lays in that this is using American chicken You see how yellow the skin is?  I feel like you're filling that chicken right in First, let's go with the wine one Oh, that's really good, man, that wine chicken is so good That's so dang good Very juicy, very juicy, salty, plump It's wine, it probably actually gets you drunk if you eat too much of it I'm not even gonna try it, I refuse I'm boycotting That skin color ain't right, man I don't want to judge a chicken by the color of its skin I want to judge it by the content of the taste Eat it and weep It's not bad, man No, it's not bad Yeah, because the sauce is good The chicken is just bland and the soy sauce is doing all the heavy lifting This soy sauce is like Lebron James and that's like the Cleveland Caps It's carrying the whole team So this is like a rice cake with a cabbage It's so good That's really good Cabbage is a great taste when you cook it that way Cabbage, I feel like it's actually the MVP of that dish Cabbage also, I gotta point out, it's different It's a Chinese cabbage, it's longer It has more flavor and it soaks up flavor better So this one's very juicy, so when paired with the rice cakes It doesn't really like make your throat close So this is Teve It's a salty pork that's been preserved And it just gives good flavor And you can just smell the aroma And if it's cooked right, it's kind of like Persian rice Like the tatty on the bottom This is not fried, it's just steamed in the pot Are you saying this is not fried rice? This is not fried Are you sure? This is not fried Fried rice is always something that has like an egg Okay, this is not fried rice, it's a mixed rice Teve This dish is to have some really good salted pork And this one has a very strong flavor Very good So that brings out the entire dish All the flavor comes from the salted pork Yeah, and it also comes from the leaves Because for the vegetables, they kind of marinate it in salt Before they cook it, so it soaks out all the water And that's why it's not very gooey It's called Liao Mi Wang Liao Mi Wang means both sides are yellow That means they fry this So these are thicker noodles, they deep fry it And then they pour the sauce and gravy over it Why give me the burnt piece, dawg? What's up with that, man? That's the more authentic piece No, no, I'm good, I'm good I'll tell you, these noodles are really toasted Tastes like bread It's like a Chicago deep dish When I travel around Shanghai, I always speak Shanghaiese No, also I feel like people always like Treat you better and you speak it It's a secret language that gets you To open doors, right? It's like going to New York Speaking with that New York accent Now we have a little segment We call it the identity portion The Shanghaiese identity also starring Matt Damon How do you guys feel about the Shanghaiese identity Potentially disappearing in the future? I think the pride will keep us alive for a while The language might slowly disappear But for me, I want my kids to be Shanghaiese also Pride is very big and I think Shanghaiese people are recognizing that Shanghaiese is disappearing So they're doing everything that they can To incorporate the language into their kids What is one essential Shanghaiese phrase? It means like little sh** It means that they love you And you're their kid, but you're also It's like some tough love Simple version, it's like Tuna It's like sh** Shanghaiese men are good at business But they're soft and weak on their will The stereotype is Shanghaiese women Are strong and tough It's a more matriarchal in the relationship Like the woman is dominant Yes Like the guy makes the money and they Hand it to their wives and the wife keeps it Holy Whoa What Wait, we ordered this? We did, we did It took them a while to cook it This is the justice Like all the Shanghaiese restaurants around here Serve this This is the special occasion You see how soft and tender It just pulled apart It took them like an hour to make this Yo, it just comes apart Pull the bone out It's like pulled pork Oh my goodness Oh my lord It's like a Shanghaiese slow pulled pork They don't see it, they don't over season So you're just eating the porky pig flavor What is it about Shanghaiese men That are really good at business So they're good at making money But they don't mind being bossed around By the woman And just Shanghaiese women are known To be like one of the most beautiful women In China So we just kind of put up with it We're also known to be like fierce And like strong Which is good, I like that Shanghaiese people are very Wily and good at business In like sort of like cunning people It's like Cantonese people And it's like Hong Kong people We're like such the economic hub And heart of China Because all the commerce passes through Shanghai Because it's by the river They're fast talking They're good Very Wolf of Wall Street That's more like it Why don't you say Pitch some of the things you're open to Endorsing in China Man, I'll endorse anything If they're paving, man Even the smoked fish They pay me enough I'll eat some smoked fish And love it It's smoked fish And it's very, very good Brought to you by Science Like a true Shanghaiese Was it weird going up Shanghaiese in Cantonese Dominated in Hong Kong? Oh absolutely Because Hong Kong people are very Elite It's also they look down At the mainland people So they call my dad Like Shangholo That means like the Shanghaiese dude or something And they kind of made fun of him And I didn't have an accent When I spoke Cantonese But my dad had a Shanghaiese accent When he spoke Cantonese So they're like making fun of him Civil beef A lot of civil beef within China There's a stereotype That because of their early exposure To western civilization Earlier than the other parts of China That they're more western And more better But what does better mean right? They might be more westernized Which means in a way They're more globalized Because they're a westernized city Within the east So that makes them more worldly So that in a way Makes them better maybe Well they have French parts of town That are completely westernized I think it comes into play When you look at the language So when Shanghainese people Talk about anyone else Who's Chinese and not from Shanghai They just say Xiaowen'ing Which means you're from the countryside But you know you may be from somewhere That's not the countryside But they just call you Xiaowen'ing Because it's like I'm from the city The perfect city And everyone else is just below me So if you're not from Shanghai You're from the country Yeah it's like New York With a big city Everybody else is a peasant Shanghainese people are not good fighters Oh that's completely true I would like to thank We're just more refined And we use our mouth and our words And not our fists Man I'll fight you guys though You're like hold on Hold on We're going to go outside Oh there's a saying in northern China Chinese people can fight Three Beijing people And one Beijing people Can fight Three Shanghai people Ah interesting But we can buy all of them I think that Shanghai is like a really unique city Compared to the rest of China And you can see things That you won't be able to see anywhere else And I think that everyone Should definitely visit Shanghai And it's like a very unique culture And honestly Shanghainese people aren't that elitist It's just It's more of a series We're actually better That too See that that was my elitist No all right I'm thinking about my comment section Between Hong Kong And Shanghai You gotta be one of the cockiest Businessmen out there Yeah But the sad part is In America I'm still just a random Asian dude The last time we did an interview Was before CRN Yeah CRN didn't come out yet I mean it's gotta be pretty crazy Since the last three or four months It's been great And the best part about it It just serves as opening the door For more Asian And authentic diverse projects right Like my agent jokingly was saying Literally the next day that CRA had a big weekend That Monday Three Asian pilots got greenlit that day So it's a very reactionary town Which serves is a good time for us now So go make it Go This is your chance There's no more excuses Like people want to hear your voice And hear your creation So whatever you have in your mind You want to share your experience Your family whatever Go do it I saw it on opening weekend I thought it was groundbreaking For me obviously And it was amazing to see all of these faces That I've seen just growing up Like all together in one movie And it reaches not only the Asian community But everybody beyond And it sparks conversation Which is what makes it so important Yeah We gotta make it now Yeah so now it's solidified And one of the things I know last time I was pulling my book here So the book is On it's way of turning it into a TV show So I'm writing a file for that This is the first deal Announcement As you probably see in the news Soon or something like that So I'm super excited about that Like you know what I mean I thought it was crazy to see Appafina host SNL Dude that was like unbelievable I'm just your average Asian trumpet player Turned rapper, turned actress Very stereotypical I hope now Asian people And Asian family can see this As a real career Not just a luck of the draw C.R.A. kind of set a standard For good Asian roles Absolutely It'll be under more scrutiny And people will be a little more picky Actors and screenwriters And producers right They're like no C.R.A. was able to make money And it was good It wasn't disrespectful Yeah so there's no excuse To water anything down anymore With C.R.A. literally I'm having dinner in Arcadia Old Asian ladies And their whole family Want to come up to me Barely speaking English Speaking Mandarin to me Asking for a picture And that felt so good To finally do something That my own people is watching What's the movie you'd like to see? I'm really into thrillers Oh I'm doing one You want to be the Asian Liam Neeson Yes I'm doing the Fantasy Island reboot That's shooting in January Yes Maybe it'll be cool to see an Asian superhero That doesn't necessarily just do kung fu All superheroes know martial arts So it's like why is this Chinese guy He only knows martial arts? Give him some X-ray vision too Thank you so much That was by far the most Shanghainese video we've ever made So thank you so much You guys did an amazing job What is something we can say To the audience to take us out In Shanghainese You're going to teach us A Shanghainese tongue-twister How do youivers do that to each other? How do you


What's up everybody my name is Liz Jackson aka the media girl and my name is Ndanya aka the gracious host So we want to see what happened during the weekend so me and the girl right here And one of the things that nearly happened in Chippukizu show is back on tv after three years Three years three years and the juicy part is he's back with Kattelo And as you know Kattelo is a comedian He has a lot of money, he has a lot of cash, he has a lot of money Personally I have watched this show three years ago Me too, I have watched that Kattelo and Chippukizu in the same set It was fire, it was two vibes And I think all of us knew and I told you Steve Osimpo boy is going to watch this show He is going to watch this show Plus he is going to watch Mavijana He is the only one in Delos You know he is going to watch an epic show I know so I think he is going to watch the show So he is going to watch this show Yes I am going to watch this show after he sat on the show I heard you guys talked about this situation in Chippukizu But the main issue with the show at the time in that station So you are going to watch this show So you are going to watch this show Gangga Town And watch it So, yeah, they are back, but it was quite a shock that Omero Dkbc kwa zmim kwa fkriya kbc ni Tsunadzua kbc out of the house Nia wale wa, waza ziwechu wale Wanda ziwek waza ziwek, but anyway congratulations But let me ask you, before, ni, ni, before, ali elko ina ewa kwa shugani, kwa station gani Ebru tiri Ebru tiri, ili fungo apie Ebru Eh? By the way Ebru apie aiko, ili Elifungo? Ebru aiko Okay Kwa maiko? Aama kamaiko eko eko online, I don't know Yeah But see yo nangi Yeah, but I haven't watched Ebru tiri na minute Yes, okay Hey, what happened next? Uhum Weh? Mambo ya watu awili? Wachana na Wachana na yo So, Frankie and Corazon was ported Hanging out in a club together Hm? Kwanzaa kati chokouza, sisi bloga zulu Yeah, na jivit, aji ya na pa ni ni But let me tell you For some reason I didn't I saw it coming Like when you learn Oh, what a Rudia Weh, I don't even think wali achana Don't think so Labda wali kwa meko sana, but awa kwa chana These guys have been together because There is a time Corazon went to United Kingdom And Corazon is a manyu fan Frankie is an Arsenal fan Akambaya Jazzy and that was months ago When was the break up? Last year Last year Laki mambo ya Uneza ebu lamia skili Nikulize na dayangu Can you hang out with your ex? Tama, can you go back? Like once me sema This is over Uneza Rudia relationship It depends It depends With the Bukuti Anyway, I'm joking But I feel sometimes A relationship may not work out Because of the environment surrounding You guys Like I feel for example The people that Hey, at the people Ni kama ni wengi Relationships that I was in In campus probably did not work out Because I was a broke girl I was young I didn't know anything But it doesn't mean that Those people that I was seeing At the time about people You get The circumstances surrounding the environment Was bad But I feel like For you to get to a point Where you decide to break up Ya ni mejaribu Mejaribu imekata So for you to decide to break up With this person And then go back Uneza Rudia X Uneza Rudia X What's your jokes? Si Rudiangi matapishi Ni niki malizana Ni me malizana Tama Aki toke ya toke ya Tena kona Ate ni kona ya Chums and kona But you know As long as they're happy Me am always rooting for love As they have babies together But Pia Frankie has babies Has babies with Maureen But Maureen moved on No, I just Or maybe Corazon is Frankie's soulmate Soulmate, akuna hukam soulmate Soulmate for who? Maybe But I feel Ya, of course I do But I feel For some reason Corazon Is a better match with Frankie And Maureen Deserves someone else Ya She does She's so sweet She's She deserves someone Who shows her affection She deserves someone else basically Ya Anyway So Frankie will only say Ma bloggers Ni nishak patanshako To pattern a next club Same time Same Different club Same time To takua aposasa So Then ya On the topic apaya Mawano Ya ni marriage As a wedding that has been trending And we're not really sure What's happened With them brides Nalala je kwa Rusiya Kwa tuvo Kwanda ya kame bowe Naka ya rage marriage Naka me kasi rika Kwan is it a must Kwanza speaking on that I remember Did you see that video going round Ya at a single women conference They're praying In Gaon Wa kwa in Gaon Nasa ma esha By December Kwan is being single that bad No mi I feel To some extent I feel like The essence of marriage And Getting married By 25th or 30th Ni presya Ni presya tu liweko Longan na tuji ni nani Ni nani ali weka nge zivi tu I feel like there is so much pressure On getting married Bakai na kufanya Wufanya vitro Traders Cos But maybe they believe Wata pata wama wana wana ombia But me in a church With a wedding gaon Praying to God Crying for a husband Hi Are you everything? I know Baka mi was wondering Kwan is being single Ya ni Wara ichkulia kama Ni kitu guba mba ya Na bile Is being married and accomplishment I think I think It gets to a certain age as a woman You start to get the pressure Kwanzei Maybe you are around your friends And all your friends are married All you start to feel some type of pressure Ya true But it's not that serious But me I feel Definitely I will have a child before I get married Definitely To me Like I feel I don't want to say marriage is outdated Oh my God Musini kuwt biba But I feel People have It's like a life or death situation Like what am I going to say Kwa lewa Unaka like you failed in life Imagine no True Me actually fail A failed marriage is worse than Ya Like Hiri atu sku muo lewa Kuluko ok Zute ni baya But personal Ni kama ndenya Ad raza Wait A little bit longer To get my person Ya Za ni arakshe witu Alafui kuwtena divorce Tena oh my God What was that video That girl looked So sad Kikiya taku anang Ali kwa honga Ali kwa hibiyana Ali kwa hibiyana Buu raka na na Mwa abisha I feel like Ali kwa hibiyana Isdmaru Sunea piseko Ya li kuwa Una dosa je kuwa rusiako Sunea Imi kumusia That video that was trending Una kumu waza man On his wedding He had a chance to the bibi Una hibiyana Lafdara na bia senti I just woke up I just woke up Amina kwa meeting Ako kwa alta If you see a man posting a sky I swear A kororashio Ala Ala Ala Ala A kororashio Amen na tu Sha It's a bright day La kini we A Kuna serifu la ni siya ni pijia Bate utu ta piga Strati pijia next time Married men Remember fear Fear men You wake up every day Ten minutes Kwa gopwa na ube Because the streets It's bad It's bad It's bad The next one was Hey, so this photo that has been going around Yeah, Sasha Obama smoking And people out there were mem Hey They've decided to go hard on her But kusimu kweli my thoughts I feel like everyone has gone through that stage At some point Mama kwa leneo pichagatigandu Mama But I feel like for her Actually this is not the first time she's Got smoking in public Like two years ago kuna pichake pili kuna trend Ali ingatumali Like she's just a free spirit And I think sometimes when you are a child of A high profile person Wato nangali angata biazako Ni kama wewa uonem tu iwa Pasta ako kwa slab Oki kitamu ingenishita Misai easy nishitima But there is that Society expectation that You're supposed to behave in a certain way Because your father is who Your father is a guy Hata wene nambali Hata wewa tuwa kashikabangi apa No one sees you and takes a photo to one Kuna iwa pressure as a society Plus also People are talking about Aki smoke ala fokokakitwa Luka mewa Uleona Imagine just because she's plus size Yeah, she's just plus size So many people were like that She's just plus size so You know the society So according to you smoke If you want to smoke Then matter the location No, I feel it's wrong Because I do not do drugs It's not right But My opinion I feel like people just went too hard on her It was not necessary Niyo baklashyote I feel like Eh, apa na Did you two need Sasha Obama? Is he going to a random pashawata? Unless Unless you're someone who is very keen On your image Then You can smoke in private If actually If you feel like your image Is your bread and butter Ni poa tena sana Eh, between zingine wuna Feature Kido go Eh, tena wezi nipatakwa Barabarati Eh I remember the internet Never forget Yeah Eh, Sasha Anyway Onto the other trending news Um, there was a game between Katair and Kenya In guess what Kenya one Two to the one Pale Katair Lakini Kitu Ilishok Kilamutu Including myself Andru Kibbe Is the amount of people Is the amount The word, I don't know The number of people Who showed up Who showed up to support Kenya Like, my studio is a major I'm not so sure about the numbers But there are ten thousand Kenyans there But my studio Is filled with black people And of course Katair So These black people Atujiwa kama ni wana Ijama wa Afrikawate Wali kusani ka Odia Kenya But majority of them are Kenyans And the question is These people did not come from Kenya when they watched the game The residents were Back there Na wali kuwa wana Sema Yo ili Kunawatu wali kuwa Shift our quest Kwa make it Kwa match So imagine how many Kenyans Are in Katair So many And do you think it's because Katair has more Opportunities The jobs I just feel They are out there Looking for greener pastures And Actually you can I'm wondering Katair Kilam runi mknya bana Runi zafikiri oko Jiki ai Hai Hai manze Kwa chum Kwa chum guys But I feel it's a good thing To support your own Ya it is And then plus When you are far away from home And then you meet Your own people It feels so nice Ya it feels so nice Ya na maldi wu sigabata Ya don't do Where to come out in jail So I feel it was E I li kuwa poa Plus tulishinda Hai ya tuki malizia So Me and Liz We like Send each other memes Most of the time Jiki boeka And then we met A certain trend Enya Ilkwa wen? When you reply to that To that DM And no first My question is Do you reply to your DMs? No it depends You know it could be a married woman So it depends With some type of Where I'll just be like Please Always the ring Where Season wise Okay But It depends Pia mi wu click Profile yam tu Wasa sa wu kiwa Private wu na nichangana Jua na skuonia Exactly Ya So but if you look Like someone to neza say Di anaki maisha I will reply But specifically This trend Was Centered around men When you respond to a DM A laugh Utena you get into a relationship A laugh Kivu mpi Kivu mpi kuna What they met on DM Obviously A kind of vacation Katar Aka pinguapicha na Tua guide Ka post The man replied Marihim Mi e So the one that like Shooked me Shook Shooked me Shooked me Shooked me Shooked me Shooked me Shooked me Shooked me Shooked me Shooked me Shooked me Shooked me This guy Had been lying That is not married And then finally Aka find out No the wife found out About them dating So the wife Aka say man anakum bigger I don't know The man told the side chick Ati my wife is coming to Fight you Please don't fight back I love you baby To make a mind The morning 10 minutes To fear Men Because Imagine Ati please don't fight back I love you baby Wekwe belaka Me spit But you know The population of women Is bigger than that of men So I don't know What you can do about that ratio Are you Into polygame I didn't say that Now that's the question Now that's the question I'm not into polygame I'm jealous You're jealous Extremely jealous kwa kwenenu waju lakini, mako, kwa mifi na na na na... kwa kweni kwa kweneni, kwa kweneni kwa kweneni... bisha, kwa kweneni... kwa kweneni, kwa kweneni nmenezi... kwa kweneni kwa kweneni kwa kweneni... kwa kweneni... I don't know how I would react to be to be very honest but every day at 8 am I wake up before anything Fear man but I feel like also miyakiyam miyam jelas like hui wu mita kufa gai Haa kwa nzam tuwaki niyam biyati talk to you next week Talk to you next week my wife is here imagine miyatasi juya I honestly don't know But then I get a love is just a whole All right guys that was it for the past weekend or the past few days so miyandanya will be back again at Chutawambia Skugani but mta kwa mnatona frequently so let us know what you think on the comment section kwaizotopixzote if you want us to discuss something let us know down on the comment section my name is Liz Jackson aka the media girl and my name is Ndanya the Grish the Grisha's host


So I saw a headline that made me think our human beings literally on an extinction speedrun Like are we trying to kill ourselves as quickly as possible because things like this shouldn't be happening We should be aware of the way that we affect the environment with which we live So the headline reads rising chemical pollution crosses crucial planetary boundary the pace that societies are producing and releasing new chemicals Into the environment is not consistent with staying within a safe operating space for humanity said one Scientist so to my understanding there's a lot of different issues that affect all of us and a lot of these things are Interrelated right climate change is an issue that leads to ocean acidification desertification food shortages and whatnot and then we have this issue which is kind of its own separate thing because of our use of chemicals and One thing that the article which will dive into makes clear is that the rate with which we're producing chemicals as a species just everyone has Increased 50 fold since 1950 and it's set to triple by 2050 So assuming we're able to solve the issue of climate change with at this point in time doesn't seem Very likely not to be too cynical, but it doesn't look good for us at this moment Then there's this issue We're using so much chemicals that it has exceeded the point where it's safe. I Just I don't I don't know what to do I can't not laugh at these stories because of how absurd the situation is the deck is totally stacked against us and late-stage Capitalism has led to us just completely wrecking our planet all for profits all for economies that we made up We chose to make economies and emphasize that over human well-being and it's just it's a It's sad right we can we can rework the system as human beings We've done a lot of stupid things, but I think that we're savvy enough to at least try To not kill ourselves to try to design an economic system try to design a global system that isn't completely Going to get us all killed for lack of a better word So let's get to the article here So Julia Conley of common dreams reports the level of chemical pollution on earth has crossed a planetary boundary and now Threatens global ecosystems that support all life according to a new study on human-made substances whose production has rapidly increased in recent decades researchers at the Stockholm Resilience Center Examined the levels of 350,000 plastics pesticides industrial chemicals and other chemicals and found that human activity is Releasing so many of these substances each year that their production has altered the remarkably stable state earth has remained within For 10,000 years since the dawn of civilization the pace that societies are producing and releasing new chemicals into the environment is Not consistent with staying within a safe operating space for humanity said Patricia Villarubia Gomez a PhD Canada and research assistant who contributed to the report Plastics are a significant driver of the problem with worldwide plastic production skyrocketing by 79 percent between 2000 and 2015 the authors of the report published in the Journal of Environmental Science and Technology drew on research from 2009 in which a team of international scientists identified nine planetary boundaries that influence the planet's stability The new study relates to novel entities or synthetic chemicals that are created by human activities with largely unknown effects on the earth system According to the SRC the novel entities boundary is the fifth to be crossed according to scientists after climate change and global Heating land system change biochemical flows and the loss of biodiversity Freshwater use stratospheric ozone depletion and ocean acidification are still within the safe operating space Identified by scientists, but are also approaching the planetary boundaries. Okay, so the conclusion is we're doomed right Well, I don't necessarily know this is a study that was just published I think that I want to hear from the experts and what they say in terms of how we can stop another Catastrophe that we've brought upon ourselves for purposes of profit But I'm actually Surprisingly encouraged to know that we haven't crossed the entity's boundary for issues like ozone depletion and ocean acidification because I knew that these are issues But I thought oh wow, that's good I thought that we were too far gone there, but there's still hope apparently it's running out But there's there's a little bit of hope hang on to that optimism folks. Hang on to that. Hope you if you can find any But you know something like this. I don't know the impact the article doesn't necessarily state this I don't know the impact that this has I don't know if there's ripple effects I would argue that there probably are I mean anything environmental our ecosystems are all interconnected So if you affect one thing in a certain way, then other things are going to deal with unforeseen Consequences so, you know, I don't know What the unintended consequences of this will be I don't know what else this will affect But what we do know is that chemicals are being used too much and the solution at least for now Maybe this is an oversimplification But the solution is to stop using so much chemicals We need a global push to reduce the use of chemicals reduce production of chemicals So the same way that we are calling on governments all from around the world to reduce their greenhouse gas emissions There also needs to be a parallel push to reduce the use of chemicals because if we don't do that Then we're going to slowly but surely poison ourselves