Hello, everyone. Welcome back to another Adobe After Effects tutorial. Guys, we're in After Effects 2020, and I'm going to show you how to get rid of a person or an object from a video. It is magic. It is almost exactly like what you do in Photoshop with content to where fill for those of you that are Photoshop users. But now you can basically do this in video. It's pretty amazing. I'm going to show you how to do it in a few short minutes. Let's get right into this and skip and just roll. Okay, guys, so the first step here, I've got some video I downloaded, and it's just this guy sort of standing there like Indiana Jones with a camera and a black hat, so whatever. But anyways, Indiana Jones here in the middle, and we're going to get rid of him. This video I downloaded free off Pexels, so if you want to follow along, just search whatever, or just get any old video and follow along with me, Piece of Cake. Next step here is I've made a composition out of it, and I've made it about five seconds long, and I'm going to reduce it actually down to about three seconds because the reason why is this is a very computationally heavy duty technique. It really makes your CPU and GPU and all that stuff really go into overdrive. Your computer will heat up, so I'm just going to go ahead and make this very, very short so that it doesn't take a whole lot of time to do. So I'm just going to go to, I'm going to reduce it to three seconds here, and then I'm just going to go to composition, trim comp to work area. So we're working in about a three second piece here. Now the next step here is you want to make sure you're clicked on the video.  You want to be clicked on the layer or on the video, and then we're going to draw a mask. Now normally I would just draw it with a pen tool, but I'm going to draw a very, very loose mask because I don't want to make, I don't want to make this tutorial about drawing masks. This is a tutorial about this content to wear technique. So let's just draw a very loose mask, and this will show you exactly what you need to see and do, etc, etc. Very loose mask guys. I drew it right at the end here because I wasn't thinking, so I'm going to go to the beginning and I'm going to take a look at that mask, and I'm going to delete it because I shouldn't have done that. So make sure your play heads at the beginning. You can draw it from the back, but I don't want to confuse you guys if you're new to After Effects. So play head here at the beginning. Now we're going to draw that mask one more time. Again it's a loose mask and it's just going to be around him, and something like that. I don't even know. It's not a big deal. Now when you drop down the video, you drop down, you will see masks. You will see that it is set to add automatically. I'm going to set it to none because I want you guys to be able to see the whole thing as we go here. Again we're at zero seconds. We've drawn our original mask, our initial mask. The next step here is you want to make sure that the mask path stopwatch is clicked. Let's click on that because this mask is going to move over time. So we're going to have to move a few points, and not a whole hell of a lot, but a little bit just to make sure that everything kind of goes. So I'm going to scrub through here, and again you'll make sure that the stopwatch is selected, and then as we move forward, the guy's not moving a whole hell of a lot. But right about here, you know what? I think we can make a few quick adjustments. So the next step here is you'll still see that I've got the pen tool selected. This is also kind of unique, and it's kind of weird because I would have assumed it wouldn't be this way. But you actually have to make sure that when you're about to change these points, you have to be on the actual top layer. If you're on the mask like this, it moves the mask in its entirety. So the whole thing moves. And that's not bad, right? Because that would work in this situation. So I'll just go ahead and do that. But in a few seconds, a few split seconds here, like right about here, I'm going to want to move individual points. So again, I'm going to make sure that I'm selected on the upper layer, or on the video layer. Now with the pen tool selected, I'm going to just draw these a little bit out just to make sure that nothing, we don't have any nonsense, and everything kind of gets contemplated. I'm going to move the play head forward a whole bunch. Everything's still within the mask. Okay, this isn't too bad. Let's see if anything else needs to move. Maybe this point here will go up in a second here. Yeah. And then his arm starts to move. That's fine. And boom. Okay, good. So we've got this mask. And again, if we click on it, you'll see as I scrub through there's slight movement right there. And the mask is around the object or the person that we want to delete. Now the next step guys is you want to go to make sure you're in the default window. And if you don't see that, and if you don't see the default at the bottom right part of me, you'll see content aware on the top right here. So you'll see content aware fill. But if you don't see that, you want to go to window, drop it down, and make sure there's a check mark beside content aware fill. Wow, so many words, Curtis. I'm sort of speeding this up. But again, I don't want to waste your guys's time. So so now I'm going to open content aware fill. And before I do anything, I'm going to go back to my mask path. And remember how we it was set to add. Well, then we set it to none. Well, now we want to set it to subtract. Because really, we want to delete this dude, right? He's coming out. So he's coming out of the video. So we're deleting him. And I'm just going to move this down a little bit. And okay, there we go. So he's deleted. Now on the right side again at content aware fill, you'll notice that I have the alpha expansion set to about six. This is not a necessity. But I like to give it a little bit of room on the edge, just in case also before we hit any do anything, you will notice that there are three fill methods, object surface and edge blend. Object does the trick in almost all cases. I will make some separate videos if you want to learn about the other two fill methods that aren't used all that much unless you're looking at like logos and stuff like that. And the last one here is range. You can either do a duration. So like we only wanted to do one second, or we can do the whole work area. So let's just do the work area. Now here's the pivotal step. We're going to click generate generate fill layer. And it's going to take a few seconds to render this. So I'll just do that speed up in post production. Then I'll join you. All right, here we go. All right, welcome back and look at this guys, you're going to see a few things. The most important one being that dude is gone. He has been deleted. And not only that, the background has been filled and it's been filled very, very well. Now a few things here, you're going to see here a fill layer. Now this is basically just a set of images, right? As you can imagine, we're doing 24 frames per second, for example, and we're three seconds long, that's 72 PNGs. So each frame has a replacement image if you want to if you want to get right into like the into the deep stroke. So it's replaced an image. And now let's check a quick look at what the new version looks like. I'm going to click off everything. I'm going to go to the beginning and I'm going to hit space bar. And look at that. He is gone. You're going to see a little bit of movement. But that's okay because that was in the original shot, right? Because yeah, there was the grass and stuff like that. So with that one, one friggin move, we have taken him out of the video out of three seconds of video guy. That is the power of content aware fill inside. It will be after effects. It's amazing if you're a wedding videographer and someone's in the shot and you got to take them out, try this out. This is the way to go guys. Thank you for watching this tutorial. I've got some more complex, well, more advanced tutorials coming up on a few of these other things. Stay tuned. I'll be back soon. Thanks for watching.


Hey everyone she bear 1,000 here today, we got a quick fix the basket monkey bought from Tmoo and It's got One of the ends broke off it was bent, but I got it straightened out for already so she could finish her video yesterday so Let's get this off here. We're gonna put a little tack of weld on there. Hopefully better than what they did Also looks like it's sound crooked Well, it doesn't look like it. It is sound crooked Okay, so Stick around be a quick fix for you. Okay, so we're just gonna this is just velcroed in here We're gonna take this off JB weld would probably work, but I'm just gonna go ahead and put a tack of weld on it. Oh wow look That wasn't broke like that before So we're gonna have to weld that too that And This yeah, that wasn't broke yesterday All right, let's get started on this. Let me get you down here I got to grind some of this paint off of here and then so we can have something to stick to There's where that bend was It's also bent this way all right now Gotta be able to get a Get a ground on here. That might do it. You guys see all right Okay, let's get this let me get my helmet and I just unplugged the welder.  All right now. Let me get some paint out All right, let's let that dry and then we'll put the Basket part back on to the basket frame, I guess and that'll be done. Okay, so it's dried. It's cool Ready to use I guarantee you my welds won't break Even though they're not the prettiest Well, I can run a bead Really nice with a good welder, but that's just that 110 Harbor freight thing that her dad had For a long time, so it's not gas. It's just flux core So it's hard to get a good weld but Something like this I didn't mind because it's not gonna be seen and It just takes a little tack.  Hey, thanks for watching guys appreciated. Don't forget check out monkey 1000 channel and Check out all her T move stuff. She's been getting She's been on videos with her mom Also, check out Dennis Hollbacker channel He's been putting up some really good videos. He's just started and his wife is just started so And he's getting a lot better every video you can tell a difference. So he's doing very well. Good job Dennis and So with that being said, thanks for watching guys The link will be in the description to their channels and we'll see you in the next one. Bye bye guys. Take care


Hello everyone, welcome to a brand new episode of how to run on Zwift a very exciting episode for me. Anyway, I've been waiting for this for ages We are talking today about the brand new Zwift Bluetooth direct connection between your Bluetooth devices and Zwift running on a PC if you're running Zwift on a PC You no longer need to go via the Zwift companion app to connect your Bluetooth devices All you have to do now is take your Bluetooth devices load up Zwift and they are connected directly provided You do have Bluetooth on your PC You need the latest version of Windows and you need either a Bluetooth dongle to plug into your PC or you need Bluetooth already on your PC. So you can see the Zwift pairing screen here I do have the Zwift companion app running and you will need it if you want to do remote control But you no longer need it to directly connect your Bluetooth devices. We can do that from the PC So if we go up to the cog on the right hand side of the screen and click on that We get an option. We get an option to use as Zwift companion app as previously or the new beta built-in Bluetooth tool. So I've clicked on that and Now click off it and you can see my Bluetooth devices are paired or they're available to be paired So I've got the my run treadmill. I've got the milestone pod and somewhere should also be the new Zwift run pod as well Which does exist and there it is. Okay, so we now got the my run the Zwift run pod the milestone pod and the ticker Which is my heart rate monitor all connected direct to the PC via Bluetooth And all we do is we just select the one we want click, okay And we are done and you are ready to go that is it There is no need to connect via the Zwift companion app anymore If you have a PC that's running the latest version of Windows and you have Bluetooth Installed on your computer or via a dongle you are good to go and that's it We'll see you for another episode of how to run Zwift very soon. Bye. Bye


Can women over 50 wear lavender, wear purple, wear bright colors? I think so. I love this look that I created today and it is using two of my very favorite palettes. The one is the Lilac U a lot from ColourPop and this palette is just full of pretty pinks and lavenders. And yes, it is in the wrong order because during the tutorial that you're about to see, I dropped it in the pans. Three of the pans fell out and I probably put them back in the wrong order but I will fix that later. And then on the deuce palette, we are going to be using one of the colors today and that is that one. The deuce palette is a gorgeous palette that I use over and over again. It's probably my most reached for palette from Juvia's place. But you don't need to go out and buy brand new palettes. If you don't already have these, you can look in your stash and see what you have. But if you do like lavenders, I really do like the lilac palette a lot. And then this color that is on my lid is out of the deuce palette, deuce palette. Let's get right into the tutorial so you can see how I created this. I have everything on except for this eye is not done and everything else is going to be done for you guys. So let's get into the tutorial so you can see all about this look, look down and then I'll look straight ahead so you guys can see how this look turned out and how simple and easy it really is. All right, everybody. So zoom in really close. We're going to start off with the Sephora Guide Tape. You can use scotch tape. You can use, I think they said Shop Miss A has some. There's, you can use whatever tape you want. You don't even have to use tape if you don't want. You can just take a little bit of a baby wipe after and just swipe up. I already have primer on my lid, which is the Honest Ozzie Beverly Hills. And I take that tape and I put it a quarter inch approximately away from my eye right there in the corner and then up to the tail of my eyebrow. And I try not to make too much of an expression where I'm going like this, but I try to not get that float fold in there either that I have now that I'm aging. Okay, so I am working with the Lilac UL Hot Palette from ColourPop and we are going to be starting with this color right here, which is a very light lilac color, lavender color. And it is a matte color. I'm going to be taking a Zoeva Fluffy Blending Brush. You can use any fluffy blending brush that you have. I'm just going to be loading my brush in that color and then tapping it off as usual and starting out here from the corner. And I'm going to load this all the way from the tail down to the crease. This is my transition color, but I'm going to be using it like a lifted look a little bit. So I'm going to be pushing this across and as I come in, I'm going to taper that in a little bit so that it's a little bit rounded, a little bit look of the arch there with the actual eye shadow and following the line of the eyebrow and then coming in to the inside towards the inner eyebrow. And it's okay if it gets down on your lid, that doesn't matter. We are just working with just this transition color right now. Don't do windshield wiper. I tell you guys that on every single one, don't do windshield wiper. We are just actually pushing up and going around and leaving about a third of an inch, maybe less right up there in order for it to have some lightness up there and not bring our shadow all the way up. So out here all the way up to the tail of the eyebrow and then all the way over. And I will just continue to work with that until I feel like I have it built up to where I want it to be. And these shadows are so easy to blend. You notice I didn't put on any powder onto my eye primer before I started. That's because it just seems to cling a little bit better for me. Next I'm going in with the next fluffy brush I have. And this one is from Luxi. I think this is the 231. I've used it a million billion times. And I'm going into the actual violet color. Now this is more of a plummy purple. This is a violet purple. So you can tell that this has more of a blue undertone, whereas this one has more of a red undertone. And I'm just going to load my brush and then I'm just going to tap it off. And I'm going to go right down a little bit lower. So I'm not going completely to the tail of the eyebrow. And I'm just bringing that over. So now all I'm doing is doing a transition color. But I'm doing it very light handedly. And I am doing it with very, very small motions so that there isn't a lot deposited. I'm going to pick up a shader brush. This is like a flat shader brush. And I'm going to go into that same color. And what I'm going to do is I'm going to deposit this on the outer third of the eyelid right there to deepen that up and to darken it up. And you can see it actually looks like two colors because we use two different brushes. But it's one color. We're just changing brushes. And then pull that all the way about two thirds of the way in almost to the inside of the eyebrow, but not quite in the crease and define that crease. And you're just going to kind of play with it a little bit, pull it a little bit out towards the tail of the eyebrow. Now go back in with that second brush, the second or the medium fluffy brush, and just blend it in with the top part or the transition color. And then again, I'm going to grab the original brush. And I'm just going to go across and lightly, lightly blend everything out towards the tail. Specifically, it's just a softer look that I wanted for this look. I'm going to go with my Urban Decay 24-7 pencil. You can use any purple pencil you want to. I think this one is in Vice and I'm going to go into my waterline. And I'm going to do one coat first. I do already have a little bit of concealer on. But as I was working this morning, it kind of just came off. So we're going to put that a little bit more on in a little while here. But I'm going to really darken that waterline up with this purple to give it an all over purple look. So I'm not really using any neutral colors. I'm just using violets and lavenders. And you'll find that if you go back in here a couple of times, you're going to really get a better look. Now see on this eye over here in my waterline, I put that on like probably three times as I was doing my eye makeup, which is probably what I will do with this as well. Now to get that color on the lid, I used the Deuce palette from Juvia's Place. And it's this color right here. It doesn't look like much in the pan, but that is the prettiest duo chrome color. It's so beautiful. So I am going to lift that with my finger first. And I'm going to put a lot on my finger. And then I'm going to take my spray, which is the Seal the Deal Hydrating Spray from Flower Beauty. And I'm going to spray my finger. And I'm going to let that dry for just a second. And then I'm going to pat that across the lid. What that does is it helps to seal in that color and also helps give it some vibrancy. And I think this is such a beautiful color of purple lavender. So it picks up some pink, but it also picks up all that purple goodness that you're wanting on this look. Just a beautiful, beautiful duo chrome color. And you can see how it just reflects the light so well. And I just sit here and I just kind of blend with my finger a little bit.  But the colors almost just blend themselves because between ColourPop and Juvia's Place, you've just got such beautiful formulas. All right. One more time, I'm going to go into that waterline and I'm going to deepen it up again. Like I said, I do this a couple of times. I'm going to take the tape off. And with that corner color, I'm going to take my original fluffy brush and I'm just going to soften that ever so slightly. Okay. So once you get that softened, then take your eyeliner again and go on about the outer third of your eye, connecting the under eye right here with the lid part. Then take a pencil brush.  I bring that in almost all the way and then I'm going to take a flat paddle brush and I am just going to go back into the color in the Juvia's Place palette and I'm just going to pick up a tiny bit. I don't want too much, but I do want this to go in the inner corner as well. And so what I'm going to do is I'm going to kind of just be connecting the eyelid to that inner corner and there is the look. So it is not complicated. It is a pretty simple look. I'm going to touch up that concealer right there. I'm going to put some eyeliner on the top and some mascara because it takes me a long time to do all those and I will list a tutorial for all those things for you guys so that you can see what I do. But right now I'm going to just go take care of that and I'll be back to talk about the simple spring lavender look. Okay you guys, so there is the finished look and I will look down so you can see what it looks like and to this side a little bit. I love wearing lavender. It's one of my favorites. I'm going to pan you out just a little bit. Also what I did was I touched up my lip gloss. I used the NYX and I think this one is in meringue and it's just the prettiest pink and it's such a pretty color for spring and I just really love it. I've been absolutely loving all of my NYX glosses kind of revisiting them with just a lip liner and then using that. So that's a very simple spring look. I think very wearable. Maybe you want to kind of tone it down. Don't feel like you have to go out and buy these palettes. They are really nice. They are some of my favorites. But just kind of look through your stash and see if you can match it. That's really kind of nice to be able to do that. That's what I've been doing lately with my makeup. So I hope that you did enjoy this tutorial. Please give it a thumbs up if you did. I would really appreciate that. Hope everybody is doing really really well. Thank you very much for tuning in to me today and let me know what you think about this look and if there are other spring looks that you would like to be able to see I would like to know that as well. Love you all very much and I'll catch you all in my next video. Bye guys!


The 25th Variety Bash is here at Parliament. The 25 years has been one heck of a journey. And speaking of journeys on this bash, we're on our way from New Plymouth to Auckland. Join me, Mark Wright and Susie Cato on the 25th Trillion Variety Bash. Cato! He the children's charity had its roots in a theatre in Philadelphia in 1929 and today helps disadvantaged kids all around the world. In New Zealand, Variety's work began 25 years ago with a hiss and a roar and a popular bash concept jumped the Tasman to light up the faces of Kiwi kids. I'm proud to have been associated with the bash since then and the wacky way it raises awareness of Variety's work. The Penelope's, Virgil and Parker are ready for the day, the first day of the bash and what a wonderful way to start the day with a very special presentation to Sydney Mitzvah. I had to organise through the Rotary Club $2,000 to go towards the cost of the bike and Variety came in with the other $2,000. They are imported. They're absolutely amazing. Apparently it completely folds down and once you remove the battery it actually only weighs 14kg and it can take a weight of up to 145kg so I can ride on it. Especially in the shopping malls and that I can take this into the shopping mall instead of using my wheelchair which is cool. I think it's really good having organisations, workers, joint ventures. Everybody throws a bit at it and we get the end result. One happy kid. That's what the bash is all about. Very, very special. We better get on the road. Parker, if you wouldn't mind, the honours please. Sydney's special trike epitomises what this is all about. Along the bash route, dozens of grants will be handed out to recipients who have been identified for or requested help in various ways. Funding comes from the bashes themselves who have spent the last 11 months raising an entry donation of $2,000 each. This week is about celebration and seeing just where the money is going. Right now though we're going south and the weather's not on our side. Mind you, it's not just the rain getting everyone wet. In true bash spirit, putting the fund back into fundraising, we've stopped off at a farm. In Promptu Stops, a commonplace. Brightly painted cavalcade is a kid magnet on a wet Saturday afternoon. We saw some kids standing outside a community hall and we've come in and here they are so the bashes can give them their giveaways. It's actually a wedding. It's the day after the wedding. And we've gate-crashed it. Sorry about that. It's okay, we'll forgive you. Are you okay? Does this sort of add something to it for the kids anyway? Yep, definitely. And who's this? This is Paige, my friend's little girl. She's showing off the cap that she's just been giving the higher cap. Hey Helen, congratulations on the wedding and sorry to gate-crash. I hope we've added something else to it. Day one of the 25th annual trillion variety bash may not have all gone to plan, but you have to say it's been pretty incredible. What is incredible is the number of waterfights on the bash. With a dozen firetrucks, many of them operational, some form of waterfighters never far away. Departing our overnight stop at O'Huckier Air Force Base is far from a dry affair. The bash enjoys generous support from the RNZ AF's mechanical workshop team. Deployed each year to ensure these old cars stay on the road. Some of them are over forty-five years old. Fifty years old, some of them now. So, yeah, there's a lot of little niggly things that are easily enough fixed on the side of the road if you've got just the right amount of gears. And if it's too major, then we can usually stitch things up just to get to the next major town and borrow someone's workshop. Everyone seems to be pretty accommodating around the country. It's also a great fit for the AA. I think it's a community thing. The AA is out there in the community delivering what it can and helping women to care. After all, we are a club and we are a member of an oriented base and a very community feel. And for us to get involved in a modern organisation, because that's who we are, it's a real positive for us. And we just like to muck in and do our part. Bruce Davies loves it so much, he's become a basher himself. Teams come in all shapes and sizes and numbers. From the all-girl duo from Aussie in the cupcake mini to the fishpot cafe entry, a dual-staring seventy-foot extension ladder fire truck imported from Los Angeles. This morning, the trip to breakfast is short and sweet. We hitched a ride with the fishpot cafe truck and we ended up at Clifton Street School and we met a very special young lady, Ella. Now, Ella, you're receiving one of our checks today. What are you receiving it for? Swimming lessons. And you're doing something very special with your swimming lessons now. You're doing the special... Olympics. And representing Manawatu. An absolute star. It's the Thunderbirds kite-flying competition that's the star attraction this morning. Teams having to build a kite from a still-shop plastic carry bag. Actually, it's a mixed bag, really. Some work and some don't. This year, there's a couple of new teams and our resident team profiler, Mark Hellier, went in search of one of them. Team captain of NYPD. Big Willie.  We are. What attracted you to the Bash, pal? This vehicle is starting to attract all sorts of attention. Mate, what attracted us to the Bash was the Southern Dash that we were involved in last year and, man, did we have a great time doing that. Opened our eyes up, seeing that there was a lot of gaps needed fooling around New Zealand, helping Kiwi kids. So here we are now doing the main bash. Awesome. And the car itself, mate, you want to tell us a little bit about what it is and the notifications that you've made to it. I know that you've spent a lot of time on it. Yeah, we have spent a bit of time on it. We found it down in the cargo, had to get it driven back up into Taronga. From there, we've then cut and polished her, news breaks, service, the whole lot. She's all ready to go and a lot of fun doing it, Mark. Absolutely. And I see that we've got a reasonable theme going here. What is the NYPD stand for, pal? NYPD needs your precious donation. So please give it. We'll be happy to receive it. Light bar up there, what else have you done to the interior? In the interior, we've had to just clean up a little bit. Sheepskin's all through, as all in most should have. And yeah, the light bar's great. We've got a siren under the bonnet, just all the stuff that makes the kids laugh and have a good time. Main sponsors, we're for small business people. And we've dug deep in our own pockets, but we're also people that supply us with product have given us product to carry on and try and raise more money for variety. Glenn's involvement, ironically, is through his son Mark who suffers cerebral palsy. He first came on a bash two years ago, thanks to Mark Helia. Now, he's got his dad involved. And ironically, that makes his dad a virgin. A bash virgin, that is. David Drake, though, is far from a virgin basher. A long-standing basher, a long-standing bash team, Dave. What brings you back for the 25th bash? Well, I've done so many now, and I think this is the 18th, and it was the 25th, so I thought, well, you've just got to come back and do another one. I didn't intend to, but here we are. It's a pretty hard thing to get away from, isn't it? Definitely. Once you're a basher, you're always a basher, I think. So I brought my wife and daughter along this time, and we're having a great time. The vehicle itself, Dave, can you talk through what exactly we have here? Well, it's a 1965 Ford fair lane. It had done a couple of bashes before we bought it. We bought it in 1995, and it did our first bash in it in 1996. So she's three on the tree. She started off its life as a cocky's car in Stratford and then a cocky's car in Hunterville, and then Barry Hitchings from HarperCollins bought it. There's a couple of bashes in it, and took it back to, put it back to a classic car, and we persuaded him to sell it to us. We said we'd look after it, so we tried to look after it the best we could. In Waiuru, the bash hands over one of Variety's most visual grants to a small school in the Ohakune region, the home of the sub-bus team. So congratulations, and it'll be really good because this is a fantastic environmental school. Cathy does a lot of work with the children about the environment and looking at the sides of it. In terms of the 25th trillion Variety bash, this is possibly the most important and special moment. What we're seeing here is a Variety Sunshine coach being handed over to Ngamatea School. Ngamatea School is very, very isolated. It has nine students on its roll. Ministry of Education doesn't want to close it down because those students live so far apart they can't actually get to another school, and the Sunshine coach will make a huge difference. The principal, Cathy, has been using her own car to transport the kids all around. This is where the bash makes a difference to local communities in a way that simply can't be calculated. The bash's long-standing partnership with Ford New Zealand has been so enduring that several years later some coaches are now being redistributed back into small communities like this one. For the parents who don't have reliable transport themselves, this will be a godsend because they have felt a little uncomfortable that the teachers have to pick up their children. Not that I've minded, but it'll be much better. We have a person that's prepared to be the bus driver and so that will actually free up myself and the other part-time teacher so that the time that we were spending transporting children to and fro from school will be taught preparing the lessons. Variety's relationship with Ford is not the only commercial partnership. The warehouse also teams up to help provide tablets to schools. The payoff is amazing. We're here on behalf of Shana Steel to thank you all for coming and gifting us with some iPads and Chromebooks. Well, we'll use these tools for learning and this will help us engage our learning focus in the future. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. We would all need to engage our learning focus even more. This will also grow young minds for many years to come. And it's a pleasure for us to have you all. I'm sure I'm not the only basher but the few tears in the rose. To hear these kids speak and speak so clearly and so well, and talk about their future. It just touches your heart and your eyes. The increase in technology will bring the children into a modern generation When you leave, you can leave with your heads lifted up and know that you've just helped us to dive deeper into our learning and took us a few steps closer to reaching our hopes, dreams and aspirations. Also you have made children smile, learn and enjoy school more. Again, a big thank you and we hope this all lasts for a very long time, even maybe reach 100 years. Yeah. Hopefully we'll see you next time. We believe that strong businesses need strong communities and strong communities need strong businesses. They're interdependent and every business has a place in helping the communities that they're part of be strong. So it'll allow more children to have access to one-on-one digital devices, which is really important. You know, we're moving into that world, we recognise that and we can just see in our real benefits from the children already. So, yeah, it really will add to the children who already use them. For the second time today, Susie's glasses fog up, but for a very different reason. The team on the phone truck that's friends on a mission is up to no good. But it's all in the name of the kids, Susie. Massive day and so many highlights. Waiuru Army Museum this morning, amazing. And of course the ability to hand over a sunshine coach, very, very special to a school with just nine students. And then this afternoon, for the drivers on the bash, something really special. The Akataroa Hill Road, 28Ks of winding, torturous bends. It's only one lane wide, but there's two lanes of cars. Professionals. Yes, I have. Good morning. Another beautiful day in Wellington. Just perfect for the bash, of course, but also for an outdoor breakfast with the lovely kids of Larbae Primary School. They have looked after us so well, and they are just gorgeous. Now, we haven't got too big a day today. Off to Masterson with a few stops, lots of schools, and a very special appointment with the PM. Our Australian superhero import, Super Huberth, catches the attention of I'm the ambassador. Hello, Your Excellency. You're really the Prime Minister. Oh, yeah, well, I'm... Peter will explain it. Over the years, Variety has attracted plenty of media personalities who share the same passion for helping Kiwi kids. As ambassadors, they're the frontline for Variety to showcase itself to the world. Prime Minister, I'd like to introduce you to two of our ambassadors, Kato and Mark Ryde. Hello, Mark. How are you? So, I'm the wonderful work person in the background right through the year. Just a big kiss. So, we're at your show start. Peter Drummond might be the chief on the Fishpot Cafe firetruck, the only team to have continuously taken part in every bash, but he's also the president of Variety International, the parent body to Variety New Zealand. Lucky for us, he's a very keen basher. He's a great big part of it. I've been to a number of charity events along the way, and it's just a fantastic cause, and there's so much energy and enthusiasm, and people are happy. And Lyndon Tamplin from the Bulls team is happy, too. He's managed to press some of his Bulls source into the PM's hands. Unbelievable. All the commotion outside the beehive has drawn out Minister for Disabilities, Nikki Wagner to share in some bash spirit. These are people who are doing things that they care about. It's for a great cause. It's for a good time, and everybody's coming along. So you can't do much better than that. Dear boys and girls, ladies and gentlemen, apologise for using the whistle, but we're spending a week on the road, and I have to shout everywhere I go, so I tend to blow my whistle to get your attention. I just have to make sure, first of all, that we're at the right school this morning, because we're visiting so many schools. So what school is this? Come on, I'm sure you guys can make more noise than that. Excellent. Well, my name's Mark, and I'm an Ambassador of Variety, the children's charity, and what you see behind you is just about one-third of our variety bash of this year. We're travelling around the country raising funds to help children in New Zealand, and as we go, we're also distributing the funds and making grants to deserving children whether they be sick, disadvantaged or disabled. The kids at Taita Central School get a lesson in the bash, but it's the lesson from Super Hubert that's their favourite. Would you like me to stay here all day so you don't have to go back to class? Despite the temporary ill-fitting Super suit, thanks to his luggage being lost on route to New Zealand, Super is just that to the kids. Super. I just take one card, the ace, leaving the King, Queen and Jack up there. The one card, the ace, I place there. See? Now, see these cards? I place my hand over them. Have they gone? No, they haven't. I'm not that good. The kid there's still there, right? What's this with all my power? I cover them up. You know what I'm going to do?  See, I squeeze the cards because look at them now. See? See why I kept one back to show you the difference, see? Would you like me to do that again? Yes! I take the cards. What do I do? Squeeze them and squeeze them and squeeze them and squeeze them. It's here at the school visits that the firetruck swings into action. This time it's teacher Robin Fairbrough strapped to the ladder, much to her pupil's delight. The chanting is music to Peter Drummond's ears. His sponsor, Whitegoods Manufacturer Hire, has made 10,000 caps to give away this bash, so none of the kids we visit this week would go with him. A byproduct of travelling Aotearoa is the scenery. The Rimatuckas are renowned for the spectacular climate of the Wellington Basin. It's only a short drive to Masterton, but turn right and you'll head to the southernmost point of the North Island, home to fur seals. Cape Palliser is also home to one of the region's oldest lighthouses, originally lit in 1897 and manually fuelled by oil. These days it's electric and fully automated. Nearby Nawee is a unique site with bulldozers lining the beach. It's the only way to launch fishing boats from the tiny settlement nestled in Palliser Bay. Well, this morning we're in Napier, the Art Deco capital of New Zealand, in the sunny Hawkes Bay. Although it's not that sunny, it's a bit damp underfoot. Last night though, a fantastic meal up at the Mission Estate Vineyard where Argus won the most points of the day award. I have no idea, neither do the officials. We head to Tolonga today via Taupo. The Westie GT limo is back. Sadly, no Ewan Gilmore, but his memory is well and truly at large on the bash. His brother Lyle and former teammate Ed Finn joined by Rich Manick and Taryn Moenbigh have dug deep to be here to honour one of our most enthusiastic bashes. We need to get out here on the road again. We're down to team member. We thought we'd get another Gilmore to fill Ewan's shoes. He did have Ewan's jandals on the other day. Well, if he has filled Ewan's shoes, there we are. So we've loaded up the limo. We were only able to get on the bash from about Wednesday night onwards, but we've been doing half a bash but doing it twice as hard, so it's about a full one. Do you boys are looking to get out of the last couple of days of this variety bash? The Grants actually, yes. We've worked hard on the Grant situation, Grant Dalton. We've been in touch with him. There's some other Grants that we're thinking about getting in touch with and we'll present some more Grants later on. Nice, nice. You're not going to change Skipper on us, are you? Well, Dean's looking for a new go, I've heard. And it seems we have another celebrity joining in mid-bash. Well, I've finally caught up with the bash. Good to be here. Good to see all the arm-mates again. Caught them in Napier this morning and we left reasonably early and reasonably nice weather to get to Tipperbury School where we delivered a beautiful printer and met some great country kids. They're really fun. Yeah? It's so great. The best aside of our life. Then it was off down the Napier Taupo highway to lunch at Taupo where it kind of had its ups and downs and a 70 foot drop for some of our bash members which went really well. And then it was from there on to Rotorua and everything started to go downhill as far as any weather, entertainment. Yes, it was the Luge and the Luge was absolutely fantastic. The highlight of the Luge Trip course was the daily double between Elmo and Bull. On the last site it was Elmo leading the pack going into the final corner. No bull. On Matacana Island, the Trillion Variety Bash doubles the local population making a huge impression on the local school. Thanks to Resine Construction Systems we're painting the island red and much, much more. I really do like my job. Make some noise! Come on! We're painting the inside of the library and we're painting the lilac colour. Just sort of brighten up a wee bit and we're also painting all the tables you can see over there and they're doing a marvellous job of doing all that painting. So we've got about 15 or 20 people just doing painting. Nice and there's plenty of stuff going on outside here today. Everybody seems to have bought the expertise to the table. You can look around and see everybody sort of contributing in their own way. Those two trucks came in last night refitted themselves as dump trucks so we could bring everything to the island. Isn't it special just bringing stuff out to a place that's reasonably isolated the kids don't get to see a lot of this kind of stuff and what a very special experience with them. Well they don't. To get to see someone else you have to go to the tower on itself and for us to come here we bring a lot of fun a little laughter and I think the kids are going to enjoy themselves today. So on the bash it's not all hard work we're here on a golf course but not to play around but to play.  Four disciplines First one here the drive This one's slightly unconventional much larger balls and much larger holes. See putt as opposed to the mini putt This is sometimes referred to as the sandcastle building competition or the chip and what's usually frowned upon on a golf course the golf cart racing I don't think she's got a driver's license The sun rises on the final day of our journey and the 25th anniversary trillion variety bashes on the home straight having raised almost $150,000 We've travelled more than 2,000 kilometres, visited more than 4,000 kids in 26 schools and along the way distributed $65,000 in grants to individuals and communities Dozens of books, iPads computers and other equipment have been handed over to those who need it most Bash is always doing it with genuine passion and always with a glimpse in their eye never missing an opportunity to have some fun It's fundamental bash spirit it's the fun and fundraising the trillion variety bash sure does that as this journey and story come to an end We've made at the end of another fantastic bash, 25 years the 25th anniversary bash what a milestone what an absolute milestone, it's been brilliant behind me all the groups, all the teams and the visitors too and of course the children, this is what it's always all been about, making it fun for the kids If you want to be part of the bash you've seen it go past, really just get in touch it's an experience I can promise you you'll never forget We're at our shoulders our knees and can you find your toes, come on boys in the back knees and toes


The I Am Legend home is to your right? Wait, really? I Am Legend. I Am Legend? What is I Am Legend? I thought it was I Am Robot. Both movies are Will Smith. I thought they were the same movie. I thought they were the same movie. Where Will Smith has like, the like robots start taking over the world and Will Smith has to save the world with his superpowers and then he has to sacrifice his dog at the end of the movie because the dog gets bit by a zombie robot thing. Am I wrong? I thought they were the same movie. That's Hancock. So that's actually 3 Will Smiths.


We are fighting against the Gaza Strip. There is no shade, no water, no water, no water. Everything is a mess. We fight against human lives and we are fighting against them. Later in October you had referred to the fact that the administration is not drawing any red lines for Israel. As the death toll for civilians in the Gaza Strip has gone up, I wanted to ensure that is that still the case, that the administration has no red lines at all? That is still the case. We have been very clear about where we stand on this, which is innocent civilian lives should not be intentionally targeted and that Israel must do more to protect innocent life in Gaza and innocent civilians in Gaza. And we've been very clear about that and we continue to make that point. Are the air strikes in Yemen working? Well, when you say working, are they stopping the Houthis? No. Are they going to continue yet? There is some movement, and I don't want to, I don't want to maybe choose my words, there's some movement, there's been a response from the, there's been a response from the opposition. But, yes, I'm sorry, from Hamas, but it seems to be a little over the top. We're not sure where it is. There's a continuing negotiation right now. Israel told him that they will no longer allow an unawakened voice to enter north in Gaza. I mean, if we add to this, that there are so many incidents where Israeli fired on people queuing for aid north in Gaza, do you still believe, is it still the U.S. assessment that Israel is not using food or assistance as a tool of war? So we have not made an assessment or drawn the conclusion that they are in violation of international humanitarian law when it comes to the provision of humanitarian assistance in Gaza.


You know what, I'm all suit everybody because I didn't get to pay my commission. Ladies and gentlemen, boys and girls, it is officially bizarre world here. We've got a group of buyers now, home buyers who just after the verdict came out with their own lawsuit on the buyers commission. Now this one, this one takes the cake right here because when you think about this one, I mean, here we are with the sellers. Okay, we're with the sellers on this whole trial up to this point. And they're mad because they're paying the buyer agent commission, you know, they're mad that it's baked into the price and they're paying it and all that when they're not, they're not paying it. Number one, the listing agent quoted the job 5% and they're paying out of that 5% the buyer's agent if there's one involved. And basically the seller, I mean, there's so many words the way that I, I mean, I haven't heard, you know, Michael Ketchmark or any of the other plaintiffs answer the question, what if there's not a buyer agent involved? Are you okay with the 5%? You seem to be at the time okay with what you were making, what your net figure was. What do you care what we do with the listing side commission with what you agree to pay your agent? You agree to paying 5%? It's like, why am I paying the buyer agent? You're not. You agree to pay your agent 5%, right? To get the job done. That's what he quoted you. That's what you agree to pay. Now we have a lawsuit here from the buyer side. And what the buyers are saying is that, well, I don't have any room at all to negotiate my commission because it's already been negotiated by the listing agent.  And I didn't have any room whatsoever to negotiate that. And guess what? That inflated my price that I paid for that house. Wait a minute. What are you saying here? Are you saying that you want to eliminate the fact that the selling agent, that the listing agent figures your agent's commission into the purchase price and you, Mr. Buyer, want to pay that outside of closing on top of the purchase price? That's what you telling me right now that you wanna pay it yourself. So you wanna switch it from the seller paying it, okay? Which is what everybody's saying is the seller's paying it. It's really the listing agent paying it. You wanna switch it from the seller paying it to me paying it. You know what? I'm gonna sue everybody because I didn't get to pay my commission. This is getting insane. All right, let's dive into this article here because I wanna kind of read you kind of what's, what this is all about. So you got all the details and everything. Five days after, okay? No, I'm sorry, that's a five. Days, days after home sellers win the 1.78 billion of verdict home buyers file a new suit, okay? So let's just, I just wanna read this to you and give you commentary along the way here as I hear things in this report. Days after Kansas City jury awarded the home sellers nearly 1.8 billion in damages over the real estate industry's commission structure, a similar suit on behalf of the people on the other side of the real estate transaction, home buyers was filed in a federal court in Chicago, which by the way, the Moore case trial will be starting early next year in Chicago as well. For decades, home buyers across America have been unwittingly paying too much for and receiving too little from the real estate agents to represent them reads the complaint, filed November 2nd in the US District Court for the Northern District of Illinois against seven big national real estate brokerages. So I'm gonna tell you who those brokerages are in just a second, but hear what they say, okay? For decades, buyers have paid too much and receiving too little from real estate agents. Okay, well, don't use a real, why, okay. Then why are they using a real estate agent if they're too expensive and they don't get value out of them? Can we ask a home buyer that that is not incentivized by what they may or may not get out of a lawsuit? The brokerages rely on anti competitive commission policies from the National Association of Realtors. Their results in many buyers paying thousands of dollars more in commissions than they might otherwise. Yeah, because the buyer agent is being paid by the listing agent. So the buyer doesn't even come out of pocket. But wait, the buyer's bringing all the money to the table. So they're actually paying for it. But wait a minute, isn't the seller paying both sides or is it the buyer paying both? See, see now I'm just confused because you got one lawyer saying, why are the sellers paying the buyer agent commission? And then you got this lawyer for the buyer's agent saying, the buyers are paying the buyer's agent commission. So now the justice system and the courts really have a predicament on their hands here.  And on the other side, you got the sellers that were paying the buyer agent commission and we shouldn't have to pay it at all. When in fact, the listing agent is the one that's actually paying the buyer agent commission. That result in many buyers paying thousands of dollars more in commissions than they might have otherwise. Yeah, in what planet that they're gonna get representation at the highest form for nothing out of their pocket. Attorney's road on behalf of the seven recent home buyers, you got seven home buyers that say, let's go make us some money, Johnny. The issue is whether the customary 50-50 split between buyer's agents and seller agent locks out the possibility of buyer's agents working for less and still having access to all the homes that are on the market. See, yet again, we have this argument about the fact that homes can be found online and that so that should eliminate half of the agent's job. When in fact, finding a list of properties that the buyer might like online is literally the very beginning of the job. That's just step, that's step 0.01 out of a hundred steps for anybody who doesn't understand the process. Larger commissions, because they're wrapped into the buyer's overall purchase. Okay, I thought the seller was paying it. Okay, now they're wrapped into buyer's purchase, contribute to higher prices for homes. Attorneys from Chicago and St. Louis offices, law firm, Corrin, Tillery and Lowry of White Plains, New York wrote in their complaint. Okay, so what you're telling me is that you wanna extract the buyer's agent commission being included in the purchase price and you want to tack those on top of the purchase price. Yeah, that's gonna reduce the buyer's burden, the buyer's cost, what the buyer's actually paying for the house. Yeah, that works every time. They're requesting that the court certify the case as a class action lawsuit on behalf of anyone who's bought a home since 1996. They're requesting that the court certify the case as class action. Let's go ahead and get a lot of people in here so we can get a lot of money, old Johnny. Countless home buyers, their attorneys wrote, have been harmed by paying inflated prices for homes and inflated buyer agent commissions. The case claims the defendant's brokerages violate antitrust laws. Okay, when asked for comment, Redfin's media office sent a link to a blog post by the firm CEO, Glenn Kellerman, for our entire industry at congressional hearings and press conferences and appearances and sensationalized debates. And in public and private industrial meetings, industry meetings, we've campaigned timelessly for lower fees, commission transparency and broader consumer access to real estate listings, Kellerman wrote. Shortly before the Kansas City trial, Redfin withdrew from the National Association Realtors over both the commission issue and the swirling sexual harassment scandal at NAR. Redfin, Kellerman wrote, has been on the right side of history. The blog post written before this latest suit was filed does not directly address the latest suit. George Zelks, a Chicago based tillery partner and the lead attorney on the case declined to comment. Well, why wouldn't you comment, man? Of the defendant's brokerages, three have not yet responded to the publisher here's request for comment. The three that have not responded yet are Compass, Wykert and United Real Estate. A spokesperson for one of the defendant brokerages, Douglas Elliman said the firm declined to comment as well. So you got Compass, Wykert, United Real Estate. You also have EXP, you have Howard Hannah. Looks like that's it. So a press representative for EXP Realty emailed a statement that says, while we are still studying the formal complaint, we have been closely observing the ongoing antitrust litigation against our competitors in recent years. We're committed to upholding fair and transparent practices compliant with law. And we already have mechanisms and a plan in place that enables buyers and sellers to negotiate commissions. Howard Hannah's press office emailed a statement that says, in light of ongoing legal matters within our industry, we are actively monitoring the situation and will provide updates as necessary. We will continue to represent buyers and sellers in real estate transactions and remain committed to upholding our core values and guiding principles as a company. The Chicago case came two days, two days after the Kansas City Court found the National Association Realtors and a pair of big brokerages guilty of overcharging home sellers. They weren't guilty, see right there, weren't guilty of overcharging home sellers. They were supposedly guilty of conspiracy. A verdict that has been called an earthquake and a bombshell for its potential to remake the way Americans have bought and sold homes for more than a century. That same day, the Missouri lawyers who won the case filed another one for the sellers with a new set of brokerages as defendants, yep. So he filed another suit as well as, well, you guys all know that the defendants in that new Kansas City case for sellers are the same as those named in the new Chicago case for buyers. The second suit that Corin Tillery and Lowry Dangenberg has filed for home buyers is substantially similar to the first and the attorneys are likely requesting, combining the two into one large class action lawsuit against NAR and a total of 15 national brokerages. The first filed in 2021 named defendants, NAR and six national brokerages, including Realogy, now called Anywhere, the parent company of Caldwell Banker, Home Services of America, Remax and Color Williams. Those defendants filed to have the case dismissed arguing that home buyers don't directly purchase the services of an agent because sellers disperse the commission to their agent who then pass along half to the buyer's agent. That would mean home buyers have no standing to sue. In May, 2022, US District Judge Andrea Wood granted the defendants motion to dismiss. The plaintiff's attorney later resubmitted the case, rewritten to explain why they believe buyers do buy their agent services directly. It is essential the buyers who are the ones paying the money from which the seller disperses commissions. My gosh, man, these lawyers. Wood has not yet ruled on whether the case can go forward as resubmitted. If she allows it, the attorneys would presumably request to have that case rolled into one with the case filed last week against different defendants, which uses the same language only on buyers being direct purchasers. And then here is the actual paperwork of the lawsuit here. Guys, this is the wild world that we live in in today's world and I am all for it. Bring it on and people are saying, oh, you sound like you're happy about all this. No, I'm not happy about all this. I think all this is complete garbage and it should be thrown out of court immediately. But the fact remains that it's being let through. Whatever happens happens, we're not in control of it. All we can do is control what we do day to day. And you know what I'm gonna do? Continue to develop my skills to go out here and service more people and help more people buy and sell real estate, help more people learn how to help people buy and sell real estate, get better at anything that I'm trying to do because it doesn't matter what happens, I'll move right over to another industry if I need to and that's what's gonna happen. If they flip the switch, talked about this two videos ago and made every agent W-2 employee instead of 1099, that would crush the market immediately. If you think there's some bigger agenda here, like big tech is out to get real estate agents or the government wants to take us down or whatever the case may be, they could do it with the snap of a finger. They don't have to go through all this. They could just take us out of the game immediately and then what will happen?  They'll just stay employed as a real estate agent, getting that little minimum wage or whatever they're gonna get and the true players of the game are gonna move over to something else and continue crushing it with all the skills they developed, learning how to market themselves, how to communicate, how to close. All the components of running your own business that a real estate agent has to learn how to do. They're just gonna take that and go somewhere else. That's what the winners do. They ain't worried about nothing. Throw a curve ball at me and see what I do. I don't care. Let's get it. See you in the next video.


The most disturbing thing about it is that nobody seems disturbed, the most disturbing thing about the ugly, endless streets of gas stations and strip malls and this unremitting ugliness of the built environment, the most disturbing thing about that is that people are not disturbed by it. You know, and sometimes I just want to be like, hold on, like, look, look, look, I mean, this can't be right.  That's why we need to gather like this so we can join our voices and say, yeah, the emperor's got no clothes because the way that that story works, you know, the classic story, the emperor's parading around in his imaginary finery, which is, the tailors have told them that it has a magical quality of only wise people can see it and fools cannot see it. So everybody pretends to marvel at his fine clothing until a little boy says the emperor is completely naked and that, and that breaks the spell and everybody starts chanting the emperor is completely naked and he walks back to the palace in shame, but that's not actually what happens. What actually happens is the little boy says the emperor is completely naked and everybody else who also can see that the emperor is naked, reprimand the boy for being so foolish. That's how powerful the spell is. And that's why it's so important. That's why I say sanity is a group project because that suspicion, maybe everybody else is right and I'm wrong that that is almost unbearable. It's almost impossible not to capitulate to that in subtle ways and sneak up on you without even knowing it. But when you have others who also say, yeah, emperor's got no clothes, then you can hold sanity.


Most brands today are doing ASMR all wrong because there's a massive difference between cranking up the sensitivity on your microphone Versus creating a sound that's engineered specifically for your video that actually has nothing to do with what your product actually sounds like These headphones as an example are made out of plastic if we ASMR them they sound super cheap But they're not because these are some of the best headphones I have ever used So if I have this brand selling these headphones I don't want people to actually hear what they sound like but what it feels like to listen to sound through them one of these approaches is trendy and cute and the other one has the power to build a brand and increase sales and If you don't know where to start in terms of insanely cool sound effects for your projects There's artlist.io where you can find everything you need from sound effects to music to bring together to create a feeling for your audience


The Riverbank restoration project has entered a critical phase, as workers involved in the rehabilitation of the ancillary, cul-de-sac and cannery's riverbanks have received an orientation, aimed at equipping them with the knowledge and skills necessary to ensure the project's success. Workers were educated on the different aspects of the restoration process, including protection measures, safety protocols, and the proper handling of snakes. A range officer for the Millet range, Shamin Donovan Augustin, says this comprehensive training ensures that the workers remain safe while undertaking this crucial work. One of the major issues we have, especially in the Ancillary area, is the snakes, the phadilus. So it was very important to educate the workers who would be on the project, how to handle the phadilus. If a snake bite happened, what to do, how to prevent it totally. So this was one of the most important things, apart from the planting that we had to do to educate them on how to deal with the phadilus because we know it's present in the area. According to the National Project Coordinator of the ACPMEA's three project, Lisha and Monroe's, the community of Ancillary has welcomed this project with open arms, recognizing the critical importance of protecting their natural resources and the need to improve their water systems' current state. Last year, as part of the first phase of the project, we conducted an assessment of the Ancillary River and it went up through the middle portion of the river. So we'll be starting our resolution from the middle of the river and come all the way down. We're not going to be doing the entire length of the river but degraded pockets and we'll be planting native trees. So also for our species, in certain areas, we will be using the vets, depending on how degraded and what is required, what we will best for that particular area. It's intended for the revegetation activity to lead to increased biodiversity in the area. The reason why we're engaging the community and we're making points to have that community participation is that the community will take ownership of the project. The community will look after the trees in the long run and assist with the maintenance of those trees. The riverbank restoration project is a vital initiative that aims to strengthen the degraded riverbanks with agroforestry crops and forestry species, ultimately reducing erosion, deforestation and waste disposal, and improving the quality of river water. Through this partnership with the FAO, the Department of Forestry continues to take proactive measures to build a resilient and sustainable future, where the environment, economy and society are in harmony. The workers' orientation and training signify a crucial step in achieving this goal, demonstrating St. Lucia's unwavering commitment to preserving its natural resources and achieving food security. From the Communications Unit of the Ministry of Agriculture, I am Anisia Antoine reporting.


Hello and welcome to the session and I will discuss the following problem today. Check whether the relation r defined in the set 1, 2, 3, 4, 5, 6 as r is equal to a, b such that b is equal to a plus 1 is reflexive, symmetric or transitive. Now let us write the solution. Given to us is relation r is equal to a, b such that b is equal to a plus 1. Define in the set a is equal to 1, 2, 3, 4, 5, 6. Now let us check for reflexivity. We have the relation r is equal to 1, 2, 2, 3, 3, 4, 4, 5 and 5, 6. So for reflexivity we have for 1 belongs to a, 1, 1 does not belongs to r. Therefore, r is not reflexive. Now checking for symmetry. We have 1, 2 belongs to r but 2, 1 does not belongs to r. Therefore, r is not symmetric. Now let us check for transitivity. We have 1, 2 belongs to r and 2, 3 belongs to r but 1, 3 does not belongs to r. Therefore, r is not transitive. Hence r is not reflexive, r is not symmetric and r is not transitive. I hope you understood this problem. Bye and have a nice day.


In a moment you'll hear James Stewart as the six-shooter, just one of the many fine programs brought to you each week on NBC. Tomorrow night there's top comedy entertainment with the Bob Hope show, the Phil Harris Alice Faye show, and Can You Top This with Senator Ford. Bob Hope delivers rapid-fire comedy routines while Phil Harris and Alice Faye bring you both mirth and music. It's a great Friday night lineup of comedy programs, all of them heard only on NBC. James Stewart as the six-shooter. The man in the saddle is angular and long-legged. His skin is sun-died brown. The gun in his holster is gray steel and rainbow mother-of-pearl. It's handled on marks. People call them both, the six-shooter. The NBC radio network presents James Stewart as the six-shooter. A transcribed series of radio dramas based on the life of Britt Ponsett, the Texas Plainsman, who wandered through the western territories, leaving behind a trail of still-remembered legends. Halfway Crick sure wasn't much of a town. Oh, that was General Store and Cafe, Groom and House, and a blacksmith shop. That's about all there was to it. And I never figured out where the place got its name, either. It didn't seem to be halfway to anything. As a matter of fact, it was right at the end of the trail from Santa Fe. The only thing further west was a couple of small farms, and Gidd Baskin's Double 7 Ranch. That's where I was heading at Double 7 to see if I could sign on with Gidd for the spring roundup. Wow, it didn't look like I was going to have to ride out all the way. Oh, boy. Oh, there was Gidd himself, pounded down the main street. Five or six fellas behind him. Well, he had that many men working for him already. He probably wouldn't have much use for me. Britt Ponsett! Hi, Gidd! Where in the name of Moses you come from, Britt? Oh, no place special. I was landing some railroad track out of Denver, first fell. But then I thought it was about time for me to hit the saddle again. Well, if you're looking for a job, we can always use an extra hand, can't we, boy? It's mighty nice of you, Gidd, to tell you the truth, I was sort of hoping that you had room for another... Well, go on, Britt. Oh, I guess you've got enough help here without me. Well, my outfit's been growing since you were through here last, but we're stretched clear over to Patsy Hill. You don't say. Hey, hey, it takes a lot of riders to cover that much ground. Yeah, yeah, I guess it does. Oh, come on then, let's go. We're on our way back to the double seven right now. Or maybe, uh, maybe next round up, Gidd. Well, what's the matter with you, Britt? You said you were looking for work. I reckon I'm what changed Ponsett's mind, Gidd.  How about it, six-shooter? You boys know each other? We met up. Yeah. Well, take it easy, Gidd. I'll be saying... I'll hold up a minute, Britt. You go ahead, boys. I'll catch up with you. I want to talk to Ponsett. You're wasting your breath. I'm still bossing the double seven, Clint. I don't need no advice from you. Sure, Gidd. Better cup of coffee, Britt. Oh, thanks. I guess I could use one. Yes. Christy, I don't eat the best cook in the world. He can usually get his coffee down without a gagging it. All right, Christy. Still running the cafe, huh? Sure, sure. Count ain't changed much, Britt. Not on the surface, that is. Oh. Oh, come on in, Mr. Baskham. Come on in. Hello, Christy. You remember Britt Ponsett? Britt, well, for goodness sakes, when'd you get back to town? Just a little while ago, Christy. Ah, you sure look well. Fit as a fiddle, Mr. Ponsett. Fit as a fiddle. Now you both sit down at that table over there, and I'll bring you some of my special for today. Beef stew. I made it fresh this morning. No, thanks, Christy. We just came in for some coffee. Well, it's half to four o'clock. It's practically time for supper. Yeah, coffee will do the trick for now. Oh. Well, what about you, Mr. Ponsett?  No, no, no. I think I'll just stick the coffee to him. Oh, okay. No, hurry. Well, Britt. Mm-hmm. Is Clint right? Is it on account of him? You don't want to work for me? I never said that, yet. You sure acted it. Well, to tell you the truth, I was sort of surprised that you'd hire a man like Clint Sutton. Britt, I just didn't have no choice. Oh. Like I told you, the double seven's been growing. When a ranch gets big, well, I guess a man's bound to make enemies. You need somebody who's handy with a gun around. Mm-hmm. You've never had any enemies before, again. Yeah, well, time's a different now, Britt. What do you mean by that? Well, do you remember those sod busters down by the creek, Perry Waddell and Fred Gover? Sure. Well, there's been some new ones moving in the last year, so... Well, that isn't your land along the creek, is it? No. I never claimed it was. I always figured there was plenty of space around here, rooming up for me and them nesters, too. Well? Now, I ain't been like some of the other ranches, you know that, Britt. I ain't never tried to run the sod busters off or burn them out. Live and let live, that's what I always said. I try to practice my preaching, too. Here's your coffee, again. Right off the stove.  Oh, thanks, Christie. Here you go. No, no, hold on. Keep your hands away from your pockets, Britt. I guess I can afford a couple of cups of coffee. Well, thank you, Mr. Vaskill. I've got some bread in the oven, so if you want anything more, you just have it. Boy! You bet it's sorcerous for a spell. Let it cool off some. Wow! It's not the heat, it's the taste. Gee, boys, that stuff's... What's as bad as the coffee I make myself? Worse. I guess it's a good thing we didn't order none of Christie's, too. Yeah, yeah, it is. Now, anyway, Britt, about Clint Sutton. Now, there was a good reason for hiring him. They've been stealing my cattle. And what? Yeah, their nesters. No. Now, there ain't any doubt about it. My tellies are short. After the roundup, I'll know for certain how many they got away with. Well, now, kid, it doesn't stand a reason that men like Waddell and Garver had rustled your animals. They're in a rough spot as it is when they're living right next to the edge of your ranch. Well, they must know that you could shove them off of there and bring them back into it. I guess they know that, all right. Anyway, one of them tried to shoot me. They... Were you sure of that? No, I didn't see who it was. Not for certain. But there ain't been any strangers around halfway crick lately. So? Sutton's a stranger. I hired him after the shooting. I had to have somebody, Britt. My own boys ain't very fast with a gun. They ain't had much experience lately. I was just asking for trouble bringing Clint Sutton here. Britt, the trouble's already started, and I didn't start it. They did. Of course, if I had known you were coming into town, I wouldn't have taken Clint on. Well, if what you wanted was a gun, I'm not the man for you. I reckon Clint is. Well, that's the way you feel, Britt. That's the way I feel. Maybe you'll change your mind after things quiet down. Or maybe there won't be a serious mix-up with them sad busters know that I mean business. I wouldn't count on that yet. Well, thanks for the coffee. Well, I was getting on toward evening now, and I was beginning to feel some hunger pains down the pit of my stomach. I sure didn't like the idea of saffron cristillates stew, though. I figured I'd be better off to buy some cold grub at the general store so I had them across the street. Just as I started to go in the front door, I saw somebody staring at me from behind a wagon over to the blacksmith's shop. The sun was directly behind him, so I couldn't tell who it was exactly, not until it came around into the shade. Britt, is that you, Britt? Huh? Yeah, yeah. Don't you recognize me? Perry Waddell? Oh. Oh, sure, Perry. The sun was in his eyes. I couldn't see it. You... you busy, Britt? No. No, I'm not spacing. Well, I'd like to talk to you if you've got a minute's spare. Best to go in a wagon here this morning. I'm waiting at Sam and Todd's, see if you can put it together. Mm-hmm. Well, how things been going with you, Perry? Not so good, Britt. Not so good. Yeah, I was just talking to get a basket. What's the time of the trouble, anyway? Same old story I reckon. Big ranch, small farms, it just ain't room for them both. Oh, there's always plenty of room before. Perry, good tells me that some of his cattle are missing. Oh, that's just his excuse to get rid of us. Uh-huh. And I ain't no thief, Britt. Oh, of course not. Of course not, Perry. But I understand that they've been some new families moving in, is that right? Any farmer who steals and gives, he's heard you, he'd be plumb local. He'd just be asking for good to burn him out. Yeah, that's true and honest. I suppose good told you somebody took a shot at him, too, and said it was one of us. He mentioned something about it, yeah. He just needed a reason for bringing that Clint Sutton in here. Clint's a killer, pure and simple. Think bad enough that good wants our land. He's got to hire a gunfighter to take it away from us. Well, get never objected to your farms before, Perry. There was always plenty of other land waiting for him. Now, he's pushed his ranks clear to Apache Hill. He can't go no farther in that direction, so he's got to spread east. And we're in his way. That just somehow doesn't sound like good. He sure seems sincere when I talk to him. Now, I'm almost certain he believes somebody's been wrestling his cattle. Britt, I swear to you that I never smudged a later hand on any of his dogs. Well, that's not a my concern, Perry. I'm leaving town anyway. Well, you can't leave. You've got to stay here. I what?  Oh, and I'll hold on. We couldn't pay you much, but we'd all chip in and give you what we can. I told good I'm not a hired gun. I've got to tell you the same thing. Britt, Britt, my farms, all I've got in this world. I spent 21 years trying to build it up into something that'd mean a decent living for my wife and kids. Nobody's going to take it away from me now. Well, I understand that. Well, look at that. Looks like somebody's in a rush, huh? It's Ruth Lovett. He's homesteading the place right next to mine. Ruth! Ruth, what's your hurry? I've got to see you, Perry. Sure? Yeah, but it's real important. Well, I was just going under the star anyways. I'll see you later. No need for you to rush off. Ruth, this here is Britt Ponson. You can speak your mind in front of him. That's right. That's right. Real pleased to meet you, Mr. Ponson. Howdy. What's all the fuss about, Ruth? They're going to burn us out tonight, Perry. You sure? Yeah, one of the kids's own men told me. Well, I was just talking to him just a little while ago, Ruth. He never had any intention then. Maybe he's changed his mind since then, Mr. Ponson. Maybe he didn't feel like advertising what he's up to now. Perry, we've got to get together. All us farmers. Oh, sure, Ruth. We'll hold them off. Hold them off while we wouldn't have a chance against a man like Clint Sutton. Well, we've got to do something. We've got to fight back. We'll fight back all right, but on their own ground. What do you mean? Well, they'll be riding toward our farms tonight, getting all his boys. There won't be a soul over at the double seven. Yeah? We'll show Git Baskham. He ain't going to have everything his way.  Oh, Ruth. I sure don't see what you'll accomplish by that, Ruth. I get it'll take twice before he tries to shove somebody else around. That's what we'll accomplish. Maybe so. But it won't save your farm. What else can we do? Well, you might try talking to Git. See if you can find out what's eating. Talk, talk to waste of time. Oh, I don't know, Ruth. Maybe he'll listen to reason. Has he ever listened to us before? Well... Listen, what about Clint Sutton? Who's going to reason where that gunner is? I kind of forgot about Clint. Britt? Not now, Perry. Britt talking to Git is your idea. Yeah, I know it is. I know, but I... No... No, God, Perry. All right, I'll see if I can hit him off.  Okay, Mr. Ponson. You don't know how much this means, that's Britt. Yeah, yeah, I see. God. Maybe someday I'll learn to keep my dog gone. Ideas for myself. We'll return to James Stewart as the six-shooter in just a moment.  You've heard the radio broadcasts, seen the television pictures. You know the facts. You know what a single H-bomb dropped in any metropolitan area could do. And today's long-range bombers have made intercontinental war possible. Enemy planes based on the other side of the world could reach the United States in a matter of hours. Radar can help detect them. But there are dangerous gaps through which low-flying planes can penetrate without detection. To fill out our detection system, civilian personnel is needed, particularly along the east and west coasts and in the northern states. Sky-watching is not a game. It's a necessary precaution. The Ground Observer Corps is now operating on a 24-hour-a-day basis and needs at least 200,000 volunteers to contribute a few hours of their spare time to this vital work. Will you volunteer? Get in touch with your local Civilian Defense Center at once. Now, act two of the six-shooter, starring James Stewart as Britt Ponsett. Get Baskham's ranch house with about a three-hour ride from town. So around about eight o'clock, I figure, I was halfway there. The moon was just beginning to silver up the top of Apache Hill. I hadn't been too sure of the trail, but now the things were lightening up some. I gave Scarlet a nudge. Come on, let's go. It was a real sandy country. A purple sage every now and then, once in a while, a pine tree or two. We must cover about four miles, and then we came to a little creek. From there on the trail started to wind into a kind of a jagged ravine with a couple of tall yellow rocks at the mouth sort of sticking up straight in the air like a couple of fingers. We were just getting past those rocks when I heard what sounded like about a half a dozen horses coming toward me. Whoa, whoa, whoa. I pulled up and waited. Oh, hot again. What are you doing out here, Britt? Oh, I just thought I might come out and take a look at the double seven. Some other time. You, uh, in a hurry to go somewhere? That's right. We're in a hurry.  Come on, kid. We ain't got all night. Right. Uh, will you mind telling me where you're heading again? Look, I offered you a job this afternoon. You turned me down. I don't see where anything I do from here on in is your concern. No, no, no, sure isn't. But I was just noticing, and it looks to me like you've got the whole crew with you. What if I have? Well, it must be something kind of important to take you all the way out here, away from the ranch this time of night.  Is that important enough for you, Ponsett? Plants! Now, they might as well know it. You can't do nothing to stop us. What happened, Ged?  Clint found five of my steers over in a canyon behind one of them farms. Well, maybe your steers got lost. Maybe they just strayed over that way. And hobbled themselves? Well, even so, it seems to me like this is a matter for the law. There ain't no sheriff in halfway, Crick. You know that, Crick? Well, there's a sheriff at Bixby Falls. Somebody go over and get him. You get him if you want him, Ponsett. We've got other things to do. No. Go on, Ged. No, I wouldn't let Clint hurry me if I was you, Ged. What difference does it make? It might make a lot of difference. Seeing as how those farmers were talking about paying you back if you go after them. How'd you like to know what they could do? Well, they sort of had an idea that they could burn down the double seven. What? Well, they sure must want to get themselves killed. Uh-huh. It doesn't look to me like there'd be anybody there to kill them, Sutton. Look, he's lying. He's just trying to stall us. Uh, do you think I'm lying, Ged? Turn around, boys. We're going back to the ranch.  Get them nesters with me. I said turn around. Now, let's go. Now, I watched them for a minute or two. Moving along through the ravine, heading back to the double seven. I could hear Clint arguing with Ged. Ged didn't seem to pay much attention to him. Then a swung scar around toward Halfway Crick. Must have been about 30 minutes later when we came down to a narrow stretch of trail that twisted down the side of the cliff. Easy, easy boy. Easy. The moon was sliding under a thick, milk white cloud and rocks and the trees started fading into nightshadows. For a minute or so everything got real still. Even the crickets. Huh. Somebody else was taking the same trail. It sounded like he was following me. I got a kind of a crickly feeling across the back of my neck. I started wondering maybe Clint Sutton. I twisted around to see if I could get a look. I had to squint my eyes. Finally I made out the shape of a horse about 40 feet back. He was just standing there and nibbling on a couple of tufts of grass. Wasn't anybody in the saddle. Right then the cloud over the moon started skidding away and the trees began coming back to size. I was just about to give a scar a touch of the spur when I saw him. Crouching low behind a clump of pines. I saw something else too, a little glint of metal. Whoever it was had a gun. I jerked out of the saddle, hit the ground, looked around for cover. The vein was closed. It was too darn close. Well, it couldn't be Sutton. I knew Clint's style of gunplay. He might miss one shot and he wouldn't miss twice. Then I spotted a little gully a few feet to my left and I called toward it, keeping as low as I could. I was almost there before he had a chance to fire again. When he did, I started rolling and I tumbled down into the draw. I took out my gun. I was hoping he'd think he'd hit me, that his bullet had sent me over the side. I couldn't hear him move. I pressed flat and I pulled up behind a couple of big tumbleweeds. I sort of cut down my chance of him spotting me. He was coming now. He was going to be at the edge of the gully in a couple more steps. I shoved my gun up and sort of gauged where I thought he'd show. Then a leg came into sight. I'm more than six feet away. Then his body swung up into view. And just before he fired, he went down on his knees fast. I swung out of the way and his bullet cut through one of the tumbleweeds. I gave it a shove and the wind sort of caught it. He fired again. He wasn't firing at me now. He's firing at the weed. He had to rise up in the sight to get aim. The bullet slapped him on the shoulder and for a minute he sort of hung in midair and teetered on the edge of the draw. And then he pitched for me and toppled down beside me. I turned him over and got a look at his face. What? Well, what the thunder are you trying to do, Roof? You should have been able to recognize me. It wasn't as darned as all that. I recognized you, Ponson. What? You shouldn't have meddled in this. It would have burned us out. It hadn't been for you stopping him. Well, you wanted him to burn you out. It's going to happen anyway, isn't it? Sooner or later. Well, not if you didn't force them to it. Their grandchildren don't need no force. What are you talking about? I don't understand you, Roof. It was your farm he was going to burn. You're talking like you hoped it would happen. I think I care about that farm. I had me a farm once down in Texas. Good soil, brown, soft, rich, plenty of water, too. A man could grow anything on that land. Well, what happened to it? Well, there was a ranch. Bigger than Gid's outfit, even. But it wasn't big enough. Not big enough to suit the fellow owner that he kept stretching out, crawling down from the hills, moving his fences closer and closer until one day they was right up against my property. They offered to buy me out. They offered me good money, but it was my farm. I didn't want to sell no matter what he was willing to pay me. Yeah, come on. I'll pull out your shirt, too. Try to see if I can get that bleeding to stop. Yeah. You think you'll be able to ride? I don't know. Give me a couple of minutes. Oh, sure, sure. Well, go on now. You were telling me about your farm down in Texas. Ain't much more to tell. I wouldn't sell it. And Nancy, she was my wife. She told me I was wrong. I'd have to give in, but I didn't listen to her. I should have listened and burned this out. I see. I wasn't there when it happened. I was in town. Nancy, she tried to stop him. They killed her. Oh, I'm sure I love it. They killed her and left her there in the house while it burned it. Couldn't even give her a decent burial there was. Now, take it easy, Rose. It don't matter what becomes of me, Ponce, it's not anymore. After Nancy... Well, afterwards I'd come up here to New Mexico. Maybe I could start over. Maybe things would be different, but there wasn't no different. There's always a ranch and a fella like Gibb Baskin to shove you around. I watched him. I watched him spread not clear to Apache hills and then he couldn't go no further in that direction. I know he'd be coming my way. Well, I wasn't just going to sit around and wait for him like I've done before. So you stole Gibb's cattle. Is that what you're saying? I didn't have nothing to lose. I was going to be burned out anyways. I even took a shot at him, but it ain't much good what they've done. I guess it kind of showed that tonight. Well, it wasn't Gibb. It burned you out down in Texas, Rose. Luke was a rancher just like Gibb. Rolled the same ponset with her grabbing, burning the children. I figured if I stirred up enough trouble to force Gibb out in the open, maybe then some of the other farmers would come along with me and we'd burn him up.  I'd be paying Gibb back for what he'd done to Nancy. But Ruf, I'm trying to... I can still see how it was that night. Smoking ashes everywhere. First, I couldn't believe it that they killed her. I started to holler and holler and still my throat was so sore the sound just wouldn't come out no more. But she didn't answer me.  And she'd run away. And I saw her. Over behind a pile of smoking timbers, her clothes was all burned out. That's what he'd done. That's what Gibb had done. That wasn't Gibb. Ask him now. Get a hold of yourself. I've got to make it up for Nancy. I've got to burn the double 70. You're coming to town with me. Town? Come on now. Can you stand up? I guess so. Who are you? You come along. Here, let me give you a hand. What about Luke Harper? Luke Harper? You ain't been listening to me. I told you I've got to get even with Harper for killing my wife. That's what I was going to do tonight. Burn down his ranch. Now, I told you... I know. I know, yes. You told me. But you just better forget about that for now. I couldn't forget. Not ever. Come on, Luke. Come on. You and me are going to town. Huh? Here, I'll help you on your horse. Come on. Thanks, mister. Thanks a lot. You've been very kind to me. Funny. There's something wrong in my shoulder. Somebody... Somebody shot me. Did Luke Harper do that, mister? Maybe he did, Roof. In a way, maybe he did. I took Roof as far as Perry Waddell's house and Perry went in to get the duck. It looked like Roof was going to be all right, at least it looked like he'd get over that wound in the shoulder. But whether he'd really ever get well again, I guess even the doctor could have told that. The next morning, Gid Baskham rode into town, found out what had happened. He said he was willing to forget about the stolen cattle and the other trouble Roof had caused him. And he said he'd get rid of Clint Sutton, too. He didn't come right out and admit it, but I've got a hunch he was kind of sorry that he'd hired Sutton in the first place. It just goes show you there's differences in ranchers like anything else. The six-shooter is a transcribed NBC radio network production in association with review productions. It is written by Frank Burtz and is based on a character created by him. Mr. Stewart may currently be seen in the Universal International Picture, the Glenn Miller story. Others in the cast were Lamont Johnson, Gerald Moore, Bob Griffin, Polly Bear, and Howard McNeer. Special music for this program was by Basil Adlin and the entire production is under the direction of Jack Johnstone. All characters and incidents were fictitious and any resemblance to actual characters or incidents is purely coincidental. Oh, by the way, you'll be interested in knowing that the six-shooter has been chosen for broadcast to our men overseas through the facilities of the Armed Forces Radio Service. This is Hal Giffney speaking. Gearing Time brings you highlights from the Senate Committee hearings tonight on the NBC Radio Network.