Hello everybody, E here. Welcome back to another book review. Today we are doing Kill or Be Killed, which is a graphic novel by Ed Brubaker, Sean Phillips, and Elizabeth Breitweiser, I think. My buddy Liertes DD sent me this for my birthday and I read it almost immediately. I think it was the day after he sent it. I was looking forward to it. It's very much in the vein of one of my own stories, Hope for the Wicked, and that series, the Larry Laughlin series, which is continuing. If you guys follow my work, my writing, the series is continuing. Penis for the Dan will be re-released in the spring of 2019, and then every six months, roughly six to nine months after that, there will be another new Larry Laughlin book that comes out. And there's a total of five of them. Hope for the Wicked, Penis for the Dan, Flesh for the Asking, Corpses for the Grinder, and last but not least, Judgment for the Righteous. Those five books are coming, so just be patient. The first two are re-releases, Hope for the Wicked and Penis for the Dan. The last three are, they've been written for years now, but they never released before. Anyway, that information is mostly for Liertes because he enjoyed Hope for the Wicked so much. But today we're talking about Kill or Be Killed. This book was a lot of fun. It was very gory. The artwork was on point. There's all different kinds, there's sex, nudity, all different kinds of sex, nudity, violence. I'll think the only thing we didn't get was drug use. It was a very dark story, very, well, noir. It's not a detective story though.   That was very interesting. And the very last page of the graphic novel kind of alluded to a twist, and I'd be interested in Liertes. I'd be interested in discussing that with you, whether or not it's supposed to be a hard twist or whether or not it's supposed to be an open-ended kind of thing. And I know there's more after this. What did you say? There's four more, five more, something like that. I am looking forward to getting into the rest of them. I don't know how long that it'll be before I actually get my hands on them. It's rare that I seek out graphic novels, but maybe I'll look into getting these soon. There are also 10 bucks a pop, which is rather cheap for a graphic novel, but still a little more than I pay for stuff like this. So not that I don't, I don't know, I just don't set aside the budget for that kind of thing. Any of you like that or you don't, there are certain things that you like, but it's just got to be in a certain price range. You don't go beyond that. Now I'll spend, you know, $30 for a hardcover, but when it comes to comics and graphic novels, I have like a threshold of like five bucks. And I know that's, I know that's terrible. I'm sorry. Fuss at me down there in the comments below. Not that I don't value the artwork, it's just, it's not my thing. It's not something that I'm going to return to. But if you got, please let me know if I'm alone on this. It'd be nice to know that I'm not, but even if I am alone in it, at least I know that I'm over here by myself. Either way. Anyway, so I'm going to give Kill or be killed a solid four stars. I did like the artwork. I did like the story. The, I don't want to give any spoilers for anybody who is looking to read it. But there is a very odd kind of love triangle thing going on that I liked to a point that it has to do with infidelity. And it's really weird. But right now I read a lot of stuff with infidelity in it. I'm reading Jaws right now. I was rereading Kujo just for a certain couple of scenes. And those just happen to be the scenes. The infidelity is a lot of cheating going on in the literary, in my literary world right now. It's just odd. But that was probably the only part that I was if you know, but just because I've read so much of it. So if you read Kill or be killed, let me know down there in the comments below. But until next time, I have been E, you have been U. Thank you for the birthday gift again there. See you next time. Talk to you guys later. Bye bye.


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I'm DroneTech, and today I'm going to tell you the disturbing story of Albion College in Michigan and their propaganda effort to demonize and, in fact, wrongly blame so-called colorless people for something done by a person of color. We've all seen this before many times.  The school and the media instantly judge without having any idea who actually did it.  But not before the damage has been done and the myths have taken on a life of their own. Well, here we have another one of those hate crime hoaxes perpetrated by a black student and now carried on by the college itself after the truth has already come out. So this all starts when a student discovers the messages and then posts them to this Facebook group called City Watch News Group.  Hatred and injustice have no place at Albion and will not be tolerated. Now, notice this propaganda poster that they included and the fact it doesn't have any white arms doing any communist poses. This demonstrates who they've already judged as the enemy, the so-called people of no color. Now, their next tweet here is a real forehead slapper seeing as how they've already made a judgment about who's guilty, saying, quote, we are currently investigating who is responsible for the racist graffiti in our residential buildings and we will seek criminal charges against those involved. If they are Albion College students, they will also immediately be subject to student conduct process, including the potential suspension or expulsion. We cannot become a true community of belonging until everybody feels safe on campus and it is our responsibility to continuously reaffirm our commitment to anti-racism through both words and actions. You know who might not feel safe on campus? The ones that you didn't include on your little communist, uninclusive poster. Now, this entire event, of course, led to marches and calls to boycott the college because students say they don't feel safe. I mean, come on, really? Because someone wrote some graffiti on a wall, these students don't feel safe. It really just shows how pacified and weak our school systems have made these kids. When I grew up, I was taught that sticks and stones will break my bones, but words will never hurt me. Words only have the power that you as a person give it. Fast forward a couple days and the college finds out that it was actually a black student. Does the college walk it back, apologize for rushing to judgment or call out the fact that it was actually a black student? Of course not! Earlier today, we identified the individual responsible for the racist and anti-semitic graffiti in Mitchell Towers. The student who was acting alone acknowledged their responsibility for these incidents. And you'll notice they don't mention if it was a man or a woman. They have been immediately removed from campus and placed on temporary suspension while we conduct a full investigation as part of our judicial student process. But didn't you just say that the student admitted that they did this? Why would they not just be expelled from school immediately? What we know the acts of racism that have occurred this week are not about one particular person or one particular incident. Oh, of course not! We know that there is a significant history of racial pain and trauma on campus and we are taking action to repair our community. But what action, why do you need to repair anything? It was a hoax, it wasn't real. It's something that somebody did to make it seem like there was a real threat. And the college seems to be playing along even though they know it was a hoax. We will change and heal together as a community because we are committed to doing the work. Unless you're the part of that community that happens to lack color. Andy Noe responded here and it's the most obvious response that I think any rational person would have given that it was assumed by your faculty and administration that this was a white supremacist attack. Why didn't you inform the campus that the student's suspect is black? Exactly.  You're going to carry on like it was a real event and leave the impression that non-existent white supremacist monsters did it. It's just like all these anti-Asian attacks that are carried out by black men but then the activists in the media continue to blame white supremacy using Pepe Silva level mental gymnastics to rationalize it. So in summary, what we have here is essentially a black student who wanted to put a target on the white students using a hoax and the college is apparently choosing to play along. Their generalized statement just leaves it open for interpretation that a white student was behind it. The fact that these things keep happening and then on top of that you have the reactions of the media and the colleges themselves leaves me feeling that these so-called hoaxes are actually more like false flag attacks. Demand for racism is apparently outpacing the supply so they need these false flags to keep the focus on an enemy, the people without color and the fear high so that they can push their agenda. That's all I have for this one folks. If you enjoyed it, please hit that like button, share and subscribe. Make sure to hit that notification bell and I'll see you all next time.


A routine traffic stop has resulted in the arrest of a Red Lake woman who was found in possession of three pounds of meth. 57 year old Shannon Rose Lazley Rudolph has been charged with first degree drug possession and fourth degree DWI. According to the release late last Sunday night, a state trooper was on patrol when he observed a vehicle making multiple traffic violations in Bemidji. The trooper conducted a routine stop and spoke with Lazley Rudolph and observed that her eyes were bloodshot and watery. Her pupils were dilated and she was speaking fast and stuttering in her speech. The trooper conducted a field sobriety test and Lazley Rudolph was placed under a rest. During a search of the vehicle, a backpack was discovered which contained three packages of methamphetamine that totaled over three pounds. Lazley Rudolph was transported to the Beltrami County Jail. If you enjoyed this segment of Lakeland news, please consider making a tax deductible contribution to Lakeland PBS.


Welcome everyone to theCUBE's presentation of the AWS Industry Tech Partners Showcase. This is season one, episode one, kicking off a new series covering the exciting partners from the AWS ecosystem to talk about accelerating immediate supply chain volume velocity with AWS. I'm your host, John Furrier. We're here excited to have guest Benjamin Dubois, who's the Chief Revenue Officer of Telestream, company everyone knows a lot about in the broadcast business. Benjamin, thanks for joining us today. Thanks John, looking forward to our conversation. Yeah, everyone in the business pretty much has probably used you guys, very well-known brand. Congratulations on your great performance at NAB. We want to just drop in and ask you before we get into the conversation around the cloud, cloud-native, talk about what Telestream does right now. What's the core business for the folks who aren't following at home? Telestream has been the, I would say, tech leader in many aspects of the content processing platforms initially. And as through acquisition, we've driven now supply chain, trying to automate the simple and simplify the complex as much as we can. And we offer a number of point products both on the in advance and two end solutions in combination with partners like AWS on the content creation and production side and also on the content distribution and monetization side. So, go ahead. You guys have been driving a lot of these solutions in the industry. Now cloud is on the scene with benefits. We're seeing some examples of some operational efficiencies, but now the supply chain conversation comes into media. You also got software supply chain. We hear about that on the other side of the tech business, but now you got media supply chain. Where is the action from an efficiency standpoint and for a new content development standpoint? I think what happens is we interfere in the overall media supply chain and multiple endpoints. First of all, we manage it out of the content today. We manage a lot of the archives today and that happens through acquisition, but because of us we're managing multiple exabytes of content today and people are trying to find out how to leverage a cloud as they're looking for OTT services and direct consumer services, also leveraging fast channels, which is a new thing that's happening massively in the industry. And the idea is to how can you leverage the cloud, the burst capacity, but also fully cloud native solutions to optimize your overall supply chain. We've been trying over the years to really optimize every single task, whether it was transcoding content preparation, maybe post production at terms, all the way from the ingest to the distribution. Now people are more looking at, how do I optimize the entire supply chain and leverage all the content that I have to really sell it to as many platforms that I can on the long run. And so the interesting part of Terostream is we understand both live file and stream, which a lot of tech vendors are either or not all three. So that gives us the ability to focus on certain areas. So a couple of use cases that we've had, maybe that can help your audience understand it is intelligent ingest, leveraging, taking any feeds, but also any camera content and taking that to the cloud and doing something with it there. It's how do you migrate these archive content to the cloud? What we've seen is people wanted a copy of the content in the cloud and now they're reverting. So what used to be the backup becomes a primary because once it's in the cloud, you can do a lot of things like leveraging AWS recognition to add more metadata and then feed in to your distribution set. And what you also can do in the cloud is once you have all the orchestration and the content processing aspect, you can start really thinking glass to glass and end to end for your customers. So trying to leverage that digitalization of the entire portfolio and the entire workflow to make it more efficient. That's awesome. Here's a lot of use cases and value proposition there. I got to ask you about the Telestream role in helping facilitate the migration to the cloud. Take us through that. How does that work? What are some of those use cases? That's a big one. You mentioned intelligent ingest, but this is a migration to the cloud. And a lot of people seem to be moving there. How do you guys facilitate the migration of media to the cloud? Well, I think there's three leverage, three different ones. So ingest is one. Ingest is a lot of people get masters, for instance, delivered to them in the cloud right now. Or if you do live production and you're doing, say an event next year in Paris as an example. And a lot of feeds actually are going to come directly available in the cloud. And so the idea is to be able to capture that content as it is and put in directly in a post-production workflow that helps you do this, both by delivering the right files, the right metadata alongside it, and being able to, in addition to that, add the metadata to it. Another side of saying this, what I was mentioning about the archive, you migrate what is currently today on tape libraries, for the most case, or some on-prem disks. And that's a big conversation to manage. You need to manage your storage. You have multiple copies of this. You want to get very quick to the people that are going to test it in a studio environment. You want to ingest something in Atlanta and have someone in Hollywood being able to edit that right away. So facilitating these movements of data and the storage across the different regions that you may have in AWS. And then finally, it's all about the content processing, so ability to do transcoding, add subtitling, add captioning, do this, which is something we're really known for, is having that sophistication of building the right transcoding and packaging of the final content. Yeah, the product's been amazing. And this whole cloud phenomenon brings up, you kind of brought up my next question, which was once it's in the cloud, you're enabling the content production for the customers in that new kind of workflow and team configuration. How are you making that more successful? Because that's a big, big deal. Enabling the content production once it's in the cloud and then working, how do you make it more successful with the teams? Well, I think initially people looked at, the tips at all in the water was cloud of mostly for burst capacity, the flexibility that gives them when, I'm thinking of UK customers that had to, for instance, serve an entire sets of seasons of a very successful show onto Amazon Prime. And obviously they were not scaled on Prime to be able to do that. So what they did is run for a few weeks, months, a full set of workflows in a cloud that allows them to deliver that to Amazon Prime easily. That was the first aspect. Now what's also really happening now is people are not just interested in migrating their aging platform into the cloud. They want to use the cloud to build new sets of solutions. So live production is a good one where you have sports is a great case where you're not no longer sending 2,500 people to a big event.  And then it's also using existing. So one of the things we facilitate is how we can migrate existing workflows on Prime to the cloud because we have an understanding of what they're doing on Prime. We can bring some ideas to do it in the cloud but optimizing this. Obviously you want to change your habits. You have a lot more flexibility. You have a lot more elasticity. You have the scalability you never had. So now you need to change the workflow not to repeat the things that we've seen in the industry as well when we moved to digital, people were just moving the same workflow they had with state and then they did it with file. Well, now that you're in your cloud, you need to reinvent your workflows and optimize them. And it's all about the optimism of that supply chain. How has that gone for your customers on the changing their workflows or optimizing them? Is there playbooks? How do you guys help them along there? What's been your experience? Yeah, I think there's a number of playbooks that we leverage. What's been interesting right now specifically at this minute is people that have launched large direct-to-consumer approach. So you can think of the large ones and I will name them but you know who they are. They initially were built as a completely separate entity. And so what was interesting is we were delivering on premise using tools like Vantage which is probably our flagship product. For instance, for companies in New York, their full workflows of content preparation for broadcast and then delivering that to the broadcast payouts. And then we would hand it over to, for instance, a company called encoding.com we just acquired last year that was doing all the encoding and packaging for the VOD for these large D2C customers. And what we end up doing is when you know the entire food chain, so to speak, the entire supply chain, we can come back and optimize some of this because now we don't do an end-off any longer. We're starting to optimize these workflows. So what we're seeing is a lot of convergence of what people do in OTT and direct-to-consumer now bring up into the broadcast world and vice versa and everybody can learn from both to try to optimize these workflows. I think that the next gen is really going to be about live production and studio production which is very exciting and we hope to be participating. The other thing at the very end of the spectrum on the distribution line, we have a set of solutions on the monitoring. So we're monitoring the quality of service and the quality of experience. Well, we bring this quality now on the contribution line. So really trying to leverage all that IPs that we have both on-prem but now taking it to the cloud and enabling new workflows. I was going to ask you about the quality on the delivery. It's come up a lot. You know, when you're delivering the media files to partners and end users, what do you guys do to ensure that quality for delivery of media files to the partners and end users? So we have intention monitoring capabilities that allow you to check, you know, at the head end, pre-CDN, post-CDN, if you have a loss of quality, if you can come back so that you can then inform potentially at the encoder level, whether you need to make some changes, et cetera, et cetera. And we do that both on traditionally on the linear side but also on the ABR side. So we're able to really leverage these tools. And as I mentioned before, it's now increasingly becoming all part of not only the experience towards the very end, but also as you prepare and you produce content. I love the cloudification, you know, the cloud native media bringing stuff into the cloud. What's on the horizon from Telestream on what customers will do with the next gen technology in the cloud? I can imagine there's some differentiated, heavy lifting that can be automated away. Intelligent ingest that points to maybe some, maybe AI in the future. How do you guys see some of these under the hood capabilities either scaling, changing, or being more innovative for the customer? I think the main thing is to leverage AI and ML in a different way. For sure, I think it's going to revolutionize the content management aspect of things. People have really focused on the hybrid environment into optimizing costs. So now you also have ability to track, to do cost tracking and optimizing through business rule, how you move things from glacier, going deep archive, moving back when you need it, being able to bring AI into searching mechanisms so that in the archive world, once someone passes away, for instance, you can anticipate that and you start retrieving stuff up front. So some of these new ideas around AI and ML. And the other thing that we'd say is probably going to come and we're participating at a certain level at the smart ingest level, but we are doing this also because we have the well-known tectronics video brand as well as part of this thing. So we have oscilloscopes that were physical on-prem appliance. We're doing a lot of that, that's probably for the future, but in the cloud and having these capabilities in the cloud so people can really leverage what they can do during live production. And we think these capabilities are moving away from just the truck, but getting the truck as an input into the cloud and then optimizing that live production workflow, I think is the next stage. And I think it's going to, there's a lot of things that's going to happen with the move to IP and everything that while maintaining a hybrid environment, we think a cloud native is going to be very, very fast and very efficient. I love the live production innovation. I think that's going to be a real game changer because it's going to move the, down the power curve, enable more producers to produce content, more concerts, more events, more live action. And not just at a tier one level, also being able to provide tools that allow, you know, not all your, your, not just the MLB level of baseball, they may down a little bit, not a notch and enabling more channels and more functions. If you start combining the ingest capabilities, the quality monitoring of, of contribution feeds, the advanced options of connection with the post production tools that you need and the distribution end, you can have a full chain and you can easily build, we have type integration with a lot of the key players as well on the distribution side to be able to fully enable a lot of people to leverage a cloud to, to build their own and become their own broadcast system. Benjamin, I know you guys have a lot of tier one customers. You mentioned a few of the names. We all know who they are. One of the big ones, as you see the emergence of digital first companies, like theCUBE, we're small, but we're in, you know, B2B enterprise tech and we go around the world. We do a lot of live productions, but we're small. We might want to have a truck, a virtualized truck. Why would we ever buy a truck? We could use you guys. What do you guys look at the next gen customer base beyond the big whales and the big, the big companies that you're serving? I mean, every company should be a media company in the future at some point. This is where it's going. I think there's certainly a lot of tailwinds in the media space and there's a lot of new ways of delivering video, but also building video. And I think video is a medium of the future for sure. And everybody's consuming it. Slightly different use cases. You know, the level of quality is going to be different. The needs are going to be slightly different. But at the end of the day, it's all about efficiency and a little bit the ability and the ease of use for a good quality content to get to the customer. So it's that idea of getting the eyeballs on that video and the way you do it is, you know, by optimizing your supply chain. You know, I remember when the cloud came on the scene, entrepreneurs would have to build data centers before they could ship any code. And then the cloud came and they could swipe their credit card and they can build products. That created new brands, new entrepreneurs could get in the market. Media is a lot like building code. It's the product you create, you're building on the cloud. Is there any new things that you see out in the horizon that's from a game-changing personnel perspective, creative talent? Do you see the YouTube generation coming up? They bring in audiences with them. You've got this digital piece. What do you see out there that's coming around the corner that people may or may not see? I'm sure you see a lot of things coming on the video. Yeah, I think we see a lot of YouTube creators and also people, digital teams within large, larger media entertainment entities coming with a very digitally savvy nature by their training, by their interests, and they push the envelope of, again, trying to be more efficient. TikTok is a big thing. You need to be able to build TikTok stuff. But once you do the first level, as we've seen in YouTube, then you start getting to a much higher level. You want the level of the influencers to have a better quality in their content. We see podcasts changing as well quite a lot. And so their needs are slightly different. The quality is always increasing. And I think we're known for helping people get good quality. And what's interesting in those new talent, is they're also pushing the envelope of how do you interact with technology? And we pride ourselves in building self-serve technology. We're also, dare I say, API first on a lot of things that we do because we see a new set of people. We used to interact with a lot of broadcast engineers and now we interact with a lot of DevOps people. And it's a slightly different approach because they're trying to get to the same conclusion in a different way. Video nerds also play well with cloud nerds as we found API first, a lot of scale, a lot of process, a lot of reliability, performance, all part of it. You guys have 80% of most of the professional video content in the world and you're constantly migrating those assets to the cloud. Final question, what's it like working with AWS? How's that been? Talk about that relationship. We have a great relationship with AWS. It's really a partnership. We not only leverage everything that they offer in terms of services, but we partner on going to customers and trying to enable these migration of certain workloads to the cloud. We're partnering very heavily right now on the archive migration, people that have 10 to 30 petabytes, maybe more of content sitting on LTO. How do you leverage Snowball to help ingest some of that into AWS? How do you migrate it, but then also build on top of it so that we can leverage, for instance, AWS recognition to generate metadata how we can incorporate some of our content processing tools to unify those media. Some of these media is a bit old, so we turn it back into something that's usable today and help facilitate the distribution of that into their different content management system. So clearly a very tight relationship on the technical side, but also on the commercial side where we can partner very nicely and build. I think we see ourselves as an enabler through technology of migrating people to what they want to do in terms of business outcome and having a partnership like AWS is fantastic for that because they're looking for the same idea. Excellent work, you guys elevating media companies into the cloud. A lot of benefits there, certainly storage, optimization, scale, Benjamin Dubois, Chief Revenue Officer at Telestream, thanks for coming on. Final minute we have left, take a minute to tell the audience what you guys are up to at Telestream, what you guys are doing at NAB, what's the new products, give an update, put a plug in for Telestream real quick. Thanks John. Well Telestream has been a great company in terms of enabling these workflows. And we have a lot of pieces and we keep doing these best of great components, but we're certainly working on building more and two end solutions for our customers, helping them both in orchestration of their workflows as well as the optimization of every single one of these workflows. We're very proud to manage a lot of content on premise, we want to manage a lot of that content in the cloud and we're helping these customers to do that. And it's a very exciting time right now with all the set of tools that we have to becoming a trusted advisor for all of these larger many companies to migrate the workflow to the cloud and optimize that. Well it's well known that Telestream stands for quality in the industry. You guys control a lot of that media. Congratulations on your success. And as the cloud comes, it'll be more head room, more opportunities. I think more customers for you guys for sure. Certainly we're going to see more builders and new talent emerge. Yeah, there'll be some content that might not make it, but they'll be doing videos out there. Benjamin, thanks so much for coming on this inaugural episode one. Thanks for having me. It was a pleasure. Okay, great, great job. We're here at theCUBE. I'm John for your host. This is season one, episode one of the new series covering the exciting partners from the AWS ecosystem to talk about accelerating media supply chain volume velocity with AWS. Thanks for watching.


So it was a pretty croaky film. What was your most memorable or funniest memory from filming? I mean it was pretty ridiculous having to say dialogue that I had to say to Sonny who plays my Sean. It's tasty dialogue, maybe tasty is the wrong word to use given the subject that I'm addressing in that speech but Sonny had earbuds in so he couldn't hear what I was saying thank god. That was kind of ridiculous and hard to spit out and it's so well written and it kind of treads the line between hilarity and absurdity and absolute just bleakness. As well you know because I've talked to some people that find it funny and they feel guilty about laughing.  Do you know what I mean? Like really explicit. Did he want to hear it though? Was he like no living here? Oh totally.  He's a mad little man. He's great fun and he's dead wide Sonny. He's really really clever. Really really clever. He's got serious street smarts. I don't know what age he is now 12 or 13 but yeah it wasn't. I don't know if that kind of I can curse like a sailor like the best of them but I don't know if that particular kind of language is appropriate for anyone certainly not for 11 or 12 year old or whatever age it was then. So I've got to ask you about another awkward couple of scenes the bedroom scenes. What is it like to film in real life? Ridiculous it's so so not as intimate as one may imagine you know because there's a crew there there's a guy with a microphone holding it over your head there's a cameraman who's in your face and it's an exercise in geography really more than anything else I try and block it down very physically particularly this one was like everything in yours films was so awkward and it's not like quote-unquote a love scene there is no love there's no tenderness there's no none of those things I mean there yes love maybe tenderness is being represented in that couple's world but it's again not like anything that we recognize as such and serious as well you know because just be aware and sensitive of you know as soon as cut look away grab a towel or dressing hand that's there make sure everyone that needs to be covered up is covered up and move through it as fast as possible. How do you not find it awkward? No it definitely is awkward the whole thing can be awkward at times I mean more awkward if you have your clothes off of course and just try and get through it and you know if you have a laugh you have a laugh but you move through it and and everyone wants to get through it and and honor the moments or the scene because each love scene in a film will have a certain pace or have a certain tone to it itself and ideally if a love scene is in a film you know if it's not if it doesn't have a purpose it's called gratuitous rightfully so and if it has a purpose it doesn't form where those characters are at that time are to say something about their lives or how they coexist or how they interrelate so but you just try and move through it as seamlessly and easily as possible and then call it a day. You have one particular nude scene where you're sat in a chair Does this mean that you feel like you've got to get into fitness regime before you do the film or that you felt quite like aware of it? You saw what was sat in that chair didn't you? That was not a man who was consumed with the benefits of fitness in a life. No I didn't get as soft on this one as I got on the lobster but I got soft enough and you know it's and it was fine it's fine just sitting there naked and they shot that pretty quick as well. Goose is now particularly comfortable you know the dudes in the corner and loving it just sitting there like and out but I'm sorry. I got a sexual attraction vibe between Stephen and Martin is that what you were intending to do? There was a line initially you know where Barry's character Martin says to me when I give him the watch can I give you a kiss and I read that and I was like oh because already just Yorkshire's world the character's interrelated in such an awkward fashion as far as I can feel and so I was wondering the same thing when I read it at first and then when I saw the film I didn't feel that but you certainly wouldn't be way off the mark to think that but that wasn't the purpose and that was never something that we reached for and that's what Yorkshire does he just puts forth a certain set of circumstances and an awkwardness of dialogue or the way he frames things that you just feel that things are everything is just a little bit off you know so you'd be forgiven for thinking what you felt


There's the first one, Steven asks, why can't I ask questions about people having sex on film? What is your take on it? Why can't you ask questions about people having sex on film? I don't understand, I don't understand it.  Well, I mean, that's what you mean. Do you mean actual pornography, where people literally have sex on film and it's shown to us in graphic detail? Or do you mean people simulating sex on film, where they go through the motions of having sex? So they might be naked, but there's no literal penetration, there's no actual sex, they're just doing as if. It really depends. Look, I find it hard to imagine what kind of psychology one would have to want to be in a porn movie.  Is it possible to have any kind of healthy psychological framework? I want to let it peak off say that, there's certain people who psychologically are, what's the term? God, people who like to be watched, people who like to show themselves, so it's possible that you would have people who want to perform on film. I don't think watching porn is immoral or wrong or destructive, I actually think it can be quite educational if taken with the right perspective. You can learn something from porn, they do stuff there that in regular life, you might not encounter and you might not consider and once you see it, you go, hmm, maybe, maybe that would be fun. And it turns out that sometimes it is fun and maybe you should have thought of it. And so I actually think you can, particularly in a repressed society, in a society where we don't talk about porn, sorry, we don't talk about sex, when we don't talk about sexual positions, when we don't talk about what gives one pleasure and what doesn't give one pleasure and how to work through that, I think porn can be educational. Parents don't talk about with their kids and with kids don't get, I think there's value there. Now, some of it is over the top, some of it is pretty disgusting, some of it is horrible, some of it is, you know, downright evil. But yeah, I don't think that watching porn makes you a bad human being, particularly if you don't over-consume it, if it's not, if you're not, if you're not in a sense using it as an excuse not to engage in sex itself, when you're using it as an excuse not to pursue sex, then it's horrible, then it's horrible, right? So as long as you're not using it to, I think Elena Pickup says evade or escape reality. I think being in porn is questionable. You know, somebody said it's an ex, the word I was looking for, exhibitionist, they might always be exhibitionists who want to do that, who out of their own free will participate in pornography. Fine, right? I don't think it's the big problem of the world. This is one area where I disagree with Yoram Khazonian. I don't think it is destroying the world.  I don't understand the question. So I don't know what exactly you're asking, Steven, I don't know why you say you can't ask questions about people having sex in film. Was that a YouTube thing? Was that a me thing? Who is not letting you ask the question? Now, if it's in a mainstream movie, absolutely. I think the many context in which sex is beautifully done on film, I think it's often an integral part of the story. Why not?  Remember, in Adler Shog, it was published in 57. Fountainhead was published in 45. This was not typical of novels back then. And I think sex should be depicted in films where it makes sense, not in a gratuitous way, not just to get as click bait, but where it actually makes sense to depict sex in it, where there's a romance and the sex is meaningful from an aesthetic perspective.  I actually think they can be quite beautiful. It is an important, beautiful, amazing part of human life. And it should be part of the way of human experiences that artists portray. And I think it's super prudish and super repressed for it not to be, for serious artists, not to be willing to explore sexuality as a topic for the art. And I think that's true in cinema as much as it's true in any form of art. All right, you've probably got more than you wanted on that question. Thank you for listening or watching the Iran book show. If you'd like to support the show, we make it as easy as possible for you to trade with me. You get value from listening. You get value from watching. Show your appreciation. You can do that by going to iranbookshow.com slash support, by going to Patreon, subscribe star locals and just making a appropriate contribution on any one of those channels. Also, if you'd like to see the Iran book show grow, please consider sharing our content and of course, subscribe, press that little bell button right down there on YouTube so that you get an announcement when we go live. And for those of you who are already subscribers and those of you who are already supporters of the show, thank you. I very much appreciate it.


Well, we say we're live. We're live? Yeah. We're live. I'm trying to find it so I can't read the comments. Right. So, I went ahead and pulled the trigger on a new compressor. I have this little guy. He's probably about two years now. I don't know if I can bring it over. It's still attached. But it's a good little compressor. It's just, right now, it's a little, it kind of acts like it doesn't want to start or start pumping or... It putters. It putters a little bit. So, I figured it's just, it's time. I mean, it's oil-less and it's just one little, I guess it would be cylinder? We got that from like a Weefurge shop a year ago. It's a Puma. It got about 40, 45 minutes out of Dallas. Old gentleman told me he has one left, 100 bucks. And I went down and got it. And it's worked like a gym ever since. It's light. It's very quiet. But it just, as much as I use it, as much as I airbrush, it just, it was always, always on. What it happens is, if you don't know anything about compressors, these come on when the tank is empty. And then it fills it up and it shuts it off.  It's constantly trying to catch up. And so, I went ahead and got a new one. So, we're going to unbox it and see what we got here. This is a California Air Tools, aluminum tank. We got it from Amazon. But apparently, you can get them from Home Depot. I don't know. People keep, people are saying that they don't hit that side button. I didn't. I just turned it on. The top it'll, um, that they get it from Home Depot or somewhere else cheaper or something. This was 200 bucks. It was like 214. It's silent. And it's aluminum tank. So, it's about 20 pounds lighter than a normal compressor this size. Don't cut yourself. Safety first. Safety first, everyone. Well, it says safety first. Who does safety first? It's a baby man.  Well, you want to play in the box? No. Well, let's see here. So, if he says, oh, hell, just stab it and rip it open. Altar quiet. No way. Still free. Piston pump. Okay. That little thing was a piston. Not up. Did I say piston? I don't remember. Um, it's got a eight gallon tank. Which is awesome. Aluminum. Only 8.5 amps. Thermo overload protector. Woohoo. What does that mean? So probably if it gets too hot.   Or maybe you can, I don't know, it's a button on the side of the tank. Hmm, buttons. For those just joining in, this is Jeff's new air compressor. His last one is dying, puttering out. I have one that's probably this size, but it's super loud. And I use it for outside stuff like Meryl's bigger stuff. I've been wanting one. It's a little bit bigger. This is not a paid advertisement. Yeah, no. It's not sponsored in any way. We paid full price for this. The company has no idea who we are. Well, maybe one day they will know. One day they'll know. Wheels. That's awesome. Those wheels. Who's just getting a little bit too excited over there. Oh, thank you. I wanted airbrushes and I did a screenshot. And all I did was I put yes or no airbrush artwork and put the picture out there. And I got so many comments. And every single comment on this was it's amazing. I've had mine for eight years, four years. It's ultra quiet. So it's perfect. And I was like, all right, well, after the 50th comment, I was like, I might as well pull the trigger and get it. Let's get it out of here. Hey y'all, Rusty says she has this brand compressor and it is quiet for a large compressor and that they use it for everything. That's massive. That's about the same size as the one in the product. The yellow one? No, there's a handle on it. And this is the thing that I don't understand when I was looking at it. Why they put this handle like this. I'm going to see if I can roll it. But when you're rolling this thing, you'll hit it. You'll kick it. So what I want to try is if anybody out there, maybe at Makers, somebody has one of these pipe vendors where you can bend it this way so that you can have it out here. A little easier to pick up and move. Who knows. And you can see the size compared to Bowie. He's about 25 inches high. This is like 24, something like that. I think maybe three inches wide. We are out of room. So we got the tank itself is about 23. It stands. Bamp nose. 20 inches. 23 by 20 by 9 and a half. Maybe 9. So that's awesome. Hey y'all. Really like, I watched a video of the guy that makes him. He had one compressor sitting next to it. And then he had his, this one. And actually this is the one that aluminum tank. He turned that one on and it was super loud. I mean, I've had a compressor that loud. And he turned this one on and it was a hell of a lot quieter. So let's see if we're going to have to put this in the closet and run a hose. We had to do that last time. We had to move everything because we live in loft apartments. I don't mind doing that. But the closet is about 30 feet away. Y'all are seeing something very rare. Moose kind of playing with Bowie right now. What is the PSI on it, Jeff? So right now it's filling up initially. That's a little louder than I thought it would be. It's still not as loud as the other one. Well, the other one is way louder. Like, we couldn't have talked over. We can't talk over the other one. Yeah, I think you have to set it. JJ said if you're interested in hardlining it with multiple outlets and need some help, let me know. So this is our filming area. Push your trap. But he's like, I'm just going to hang out here and make sure everything's okay. It fills up to eight gallons. Eight gallons, eight gallon tank. And this is another thing. These little guys, I'm pretty sure they're just war. Because I could hear air leak. Nearly not from here. But this was always on. Whenever I wasn't even using it, it would come on. So that means there was a leak in it. Here, I'll show you guys what this one sounds like when you turn it on. Obviously it's a lot smaller. One little piston, but that's pretty amazing. You can hear it. I think this is releasing. Oh, that is? No, it's on. Yeah. See, I have like... Oh, that's what it is. And see, that's another thing too. It's so light that I have to hold this little valve. This is what the moisture gets trapped in. Ew. And then you have to just wait. But I do love this little guy. Because it's so quiet. This is quiet to me. That's a little louder than normal. But it's still pretty quiet for the size of it. For two pistons. This one won't be on hardly ever. Because... It just fills up. It fills up. I mean, that's eight gallons. This is like one, I think. Maybe a half. So this one, when he airbrushes, comes on like maybe every ten minutes. This is 60 PSI. I want to say this is 90. Voltage, amp-hertz, phase, three-wire tank, gallon. Does not say. Right there. But it's in that... That's a fun little slot machine lever.  Sheila says she loves when we get new toys. It's very exciting. Hey, stop growling. What are you thinking? What do you think of all that, huh? Not a fan of that part. Now, I need to... I guess I can just take this off. Why wouldn't it go in that hole? Which one? Because there's not a... This is what it would probably... Oh, because you have that splitter. And I could take this off, but maybe... No, you know why? Because I have this extra line on here for distance. So I can put this... I can plug this in. Put my compressor in an area where it's not in the way and then have it long enough. Because normally this would go right here. Hey, Sue. So, yeah. So what I'll probably do... I guess I could just take this off. Plug this into there. Yeah. Low battery. Yeah, I've been recording. But, yeah. So, I love it. Are you going to plug it in and do a demo? That too. I've got to figure out how I can go the right way. One time I put this on and it was like not catching moisture. What I'll probably do is... Sorry, yeah. Because this is perfect for over there. I was like, she just walked away. I just attached this to this and it would be fine. So, yeah. I don't mind it. It's not that loud so it's not going to be on all the time. Claire's got jokes. She's dropping in bombs. Therefore... I see enough I'm plugging your phone in. I think that's good. There's nothing else I can do. It goes to 120 PSI when you turn this all the way up. I do not need that much PSI. Busy for airbrush. What's optimal for airbrushing? The best that I normally go with is about 20. I want to say 20. And that's with the gravity feed. It really depends on the size of the piece and if I want to get a lot. If I'm using Siphon Fit, maybe 24, 25. I don't look at it. This is what I use so I just do this on sound. I've done this for so long you kind of know how you spray it in your hand if it's a lot or if it's too much or not too much. Awesome. All right. I think I'm going to make all this stuff fit. Put this to use. I do have a piece that I'm going to be working on so I'll let you guys know if I do that live or not. Everyone's asking to see you use it. I'm not ready to use an airbrush yet. All over the loudness, I would give it a... How many bananas? Probably six bananas. Five maybe for a compressor this size. Out of ten? When it says it's quiet, ultra quiet, that is not ultra quiet to me. But for a compressor this size, I would say a six or a seven. I would give that little compressor probably a nine or a ten. Being as quiet as it was. So you're just basing it off of quietness. I'm glad I did get this aluminum. Does what it's made out of change the quietness of it or the weight? What's the point of it being aluminum? The weight and the rest. This fills up with water so you have to empty it every now and again. This little guy emptied the water and it will not rust. The other ones will rust. I've had one rust on me to the point where the seal was a little bit messed up. This was when I was doing t-shirts because it was on all the time. How long is it supposed to last you? Everybody on that post said they've had theirs for at least four to eight years and it's amazing. This is an oil-less compressor. When you get an oily compressor, what does that mean? What do you have to do with oil? Add oil to it. In it like a car or you just have to lube it? No, it uses oil and those last forever from how they make stuff like that. I feel it a little bit heat right now for it being on like that. But wait, that's not for you. You can have a normal conversation and not yell over it. That means it's a good compressor. It was good because you could hear us talking. That's not yours. That's not yours. But it is. Ready to take off. I would give it just by that said that you can have a conversation and you're not yelling. Very many TWSSSs. I would say a seven and a half. Close to eight now. I didn't think about that we were just talking and you guys could actually hear us while we're recording. That's another thing that I wanted to get one that doesn't come on so often because you won't hear it while I'm recording. You hear it every now and again. And by using less pressure, the less it comes on. I was using this to run a small nail gun which you can apparently. You can use these small nail guns, stapler, maybe a small paint gun, just paint small stuff. But the more pressure you use, the more air is going to come out. This is going to come on more. Makes sense. Thank you Tara. I got it done by the awesome crews here in Dallas, Texas. If you ever want to get your hair done, hit up crews at, hold on, 15-14? Studio 15-14. Does it have a timer? He's in Costa Rica. No, but what it does is it fills up at a certain point and then it kicks off. Then when it gets down to a certain down here, it turns on and then it goes back up and then it shuts off. Congrats Jeff, new toys are always fun. Yeah. Are you going to try it out tonight though? Not on the live, but like... I'm sure. I mean, it's just air. I'm going to show you guys what Jeff's working on. His newest painting. It's a little... Some people might find it like, that's a little scary, but just because... It's a lady. She does not have a black eye. He was just playing with graphite, charcoal. She's got a dagger or a sword with rosary. This is the original that he's going to base it off of. Are you going to put the... Nope. He thought about adding horns to her, but... Thank you for turning in for a second Gypsy J. Gypsy J. Hey Liz. Man, already in love. I knew people would like it. Where's the... Tray and the new coasters? I want to show them.  I didn't see it. I couldn't see it. You guys missed it. This is my new... My newest, latest project. Look how fun. Next time I do one, I'm going to put something on top of it so it gives it that texture of the ocean kind of like it does on the bottom. Pull handles for picking up it are coral, actual coral. The colors I used were Bondi and light blue transparent and the lighter color is turquoise by just resin. I got to show you the coasters Jeff and Belish that he's going to be posting a video of soon. Never mind our messy home. Also, I may be a boxer's hoarder but that's fine. Bye Sue. Gypsy J, you're coming to the summit. Super pumps. So, we added some gold leaf to the back of these coasters that I did a while back so you can see some depth in them. The camera doesn't want to focus so that's cool. This one he tried to make red with a PBO, Pebio, Pebeo leafing but it was on... Couldn't be done. But I think they're super fun. Check this one out. What? Where's that one you did with the swirlies? I love these. Anyways, I think this is super cool. Now I want him to do a large painting on a clear with this effect. The gold leafing on the back so that it showed this through the front and gave that depth. I super love it. Alright, Bea, what you doing? I'm gonna work because I need to... I'm gonna need... I feel like you're just in my face and in my crotchinal area now. I don't know if I can... I'm gonna have to just put... He's in deep thought. Look at him on the floor with his new toy. He looks like Christmas morning. He looks like a kid on Christmas. He am. Alright, you guys. Obviously, Jeff is having so much fun my husband was like that. I'm being summons to take this little guy... a cup of tea. Deris says I wouldn't even put a drink on that coaster. Anyways, this little smiley face is trying to tell me that it's time. Is it time? Is it time? Do you... Do you... I know. Is it time to go outside? He's like, It's time. He's like, what's happening? I don't speak English yet. Okay, okay. Alright, you guys. You know all the things. We love you all so, so much. Thanks for tuning in and seeing what we're up to right now. And, as soon as he starts actually airbrushing with this, I will sneak in a live feed. It really is an opportunity. It's 100%. I know it, Miss. Thank you, Claire, for the links. Check out everything down in the description box below this video. Okay. I know it. What else? Be kind to one another. And we will see you guys next time. Bye.


What's up everybody Jason here for jazzy's case makes calm. We just sold out another Rnb for the jazzy's 110 bucks hip-grade football mixer guys So this is called R&B number two for one spot in that break guys and the way it works is that instead of putting a name in the randomizer for the names and teams in the mixer We're gonna put R&B to so R&B to get to team randomized to them and then Once the mixer sells out and you know what team is part of R&B to Then of course the hits that pop out for that team will be Distributed to you guys that are in this R&B via the serial number So it works just like a normal random number blog everybody gets a random number from 0 through 9 and like I said if R&B To where'd you get a Trevor Lawrence and they got the Jaguars and it matches your serial number 3 out of 10 Then you get that and of course if R&B to wins a Super Bowl square prize Because it's gonna represent a Super Bowl name square name instead of a customer name the prize would be randomized between you guys So even better there guys so Let's do the randomizer to see what numbers you guys match up with now again You won't know your team until the mixer happens, but at least you'll know what serial number you have to try to match up with the hits So here we go guys. Let's roll it. It is a three to six nine times. Good luck one two three four five six seven eight nine nine times three six nine Logan at the top down a nick nine times here one two three four five six seven eight and nine six down to four six nine nine All right, so Logan you have six would you with eight Deborah with Five Alexander with two Joe with one Chad with nine Neil with three Ryan with seven Douglas with zero and Nick with four So there you go guys Good luck guys whenever the mixer happens and hopefully it's a good team randomized to you guys and get a ton of hits So that way you guys can get some nice ones. Appreciate it guys. Thank you