Kevin, you want to hit the volume a little bit? Jackie, say a little something so we can volume test you. Oh. So awkwardly right when you're drinking. That coffee is delicious. Fabulous. I think that's pretty good. Does that sound good to you guys? Great. All right. So hi, everybody. Thank you so much for joining us here for this conversation with a projected Jackie Sibley's jury who's right behind me. We also are going to be live streaming this event on New Play TV, which is a program of HowlRound and the Center for Theater Commons. So there might be some people watching online while we are here in the room. And it's possible we might get some questions over Twitter. So we've got some folks monitoring that front. My name is Ilana Brownstein. I'm the director of new work at Company One Theater here in Boston. And right above me is Jackie Sibley's jury, our playwright who is currently in New York. To my side here is Summer Williams, our director. And at the end of the row here is Ramona Ostrowski, the dramaturg. And Ramona Summer and I are all on staff. We're part of the collective at Company One Theater. Company One is 15 years old this year. We produce here in Boston. And our mission is to change the face of Boston Theater, to tell stories on stage that reflect the complex diversity of our own city and that have some social question at the core of the play. So obviously this play is pretty good at that. We can talk about that at length today. So what we're gonna do is we're gonna have a bit of a conversation, Jackie and I, as well as Summer and Ramona. And we're gonna talk a little bit about what Jackie was doing as she wrote the play, what some of her ideas were, and what she's doing now. And then we're gonna open it up for conversation with you and you'll be able to ask Jackie questions. You can ask us questions about Company One and about the production process. You can ask Summer and Ramona specifically about what it was like in the rehearsal room. And at some point the actors will come up and join us and we'll take a moment to acknowledge them when they arrive. So, hi Jackie, how's it going? And hello to our online friends, anybody who might be joining us on the live stream. For those of you who are joining us on live stream, if you're watching it as it's happening, you can tweet at us with the hashtag new play and we'll see it. You can also tweet at company underscore one or at artsemerson if you wanna talk to us directly. So, Jackie Sibley's jury is a playwright who got her MFA at Brown University and is currently not here though she would like to be. I will say there was a small dental emergency that required her to stay at home. But we are really lucky that we have Skype and there she is. So, let's see if I can make this the full screen. Hey, that's better. Hi, come on in and join us. So, Jackie, I wanted to ask you to start us off by giving us a sense of how you came to playwriting. What is it about this form that attracted you? Were you always a playwright? Did you come to it late? What was that for you? I didn't come to playwriting. It didn't feel fully. I started off as an actor as I think most people that work in theater do because it means like no one really has the opportunity to write a play in their elementary school but everyone gets to be in an elementary school. So, I acted a bunch in college and moved to New York and realized that I could not, that I was not really cut out for that kind of life. It's like, I feel like I looked at the first like advertisement for headshots and saw how expensive they were. It was like, nope, nope, nope. So, I just sort of lived in New York and just kicked around and helped friends with shows and did all kinds of odd jobs and started writing mostly for myself and then eventually realized that I really liked using characters to explore ideas and ended up applying to graduate school because I felt like I needed someone to tell me that I had learned how to be a playwright and given me some sort of, I don't know, playwright.  And so, I think I came to it slowly and organically but never. Okay, we're good. Yeah, but I think that Skype was like, you answered the question, stop talking about it. I'm gonna pause for one second because I think our actors are here. Actors, if you'd like to come in, give them a chance to say hi. Come on in, talk a little bit about how it is you came to write this play. We have a couple of things in our program notes about this but everybody who's sitting in this room pretty much just was handed their program as they walked out. So they may not know some of this stuff already. So if you can talk a little bit about what was the genesis for this story for you? I was trying to research a very different play where I thought sort of a play based around this actor who is the son of a German woman at an American GI and he always plays an American GI in all of these sort of like 80s prospering movies. I don't know why I thought that would make a good play but it's side of the story. So I was just trying to find more information about him and I just Googled black people plus Germany to see what would come up.  The Herrera on the Mokwa genocide and so I wasn't, I hadn't been familiar with it at all. I didn't know that Germany had committed a genocide before World War II. I didn't know that Germany had any African colonies.  I've taken history class. Like I know a little bit. Hold on, she'll come back, can we, here we go. About, at least like, so I started doing research about the genocide and then went to graduate school and sort of was like sitting on this stack of information and tried to write a play about the Herrera genocide as my graduate student pieces. And that play was really terrible. Yay, terrible things. Like that or it just, I had like a, like I'm reading of it in the middle of a semester and I was like, oh my God, what, oh no. How am I gonna graduate? It's a paper that tells me I'm allowed to be a playwright. Oh no. So I freaked out and then I got more interested in the ways that I felt as though the play was failing. But I thought that it was not actually successful. So I then sort of introduced this meta theatrical element of the big M word and that allowed a group of actors to struggle with similar things to what I felt I was struggling with and trying to capture this story. So your development process obviously began with the failed play and then moved on to the version that you submitted to the Ignition Festival. And can you talk a little bit about how you got from that first version of the play which has a very different ending from the one that those of you who are sitting in this room saw tonight. How did you track the path and what, and can you talk about what the differences were in the first draft versus now? I think that the, when I was in graduate school producing the first draft of the play that you saw that was at this festival in Chicago, in graduate school in the sort of workshop production thing that we did, which means just like there was designers and stuff, but we only produced it for like two or three shows. The play had like slightly different endings like every day of tech and like of the production. And I was having so much trouble figuring out how to end this crazy or like what happens after this moment of where the play breaks. And it tried a variety. I don't know why I'm so like so much a part of the practice process was just like failing miserably and publicly over and over again, but it was like different. We tried different things. We tried having a moment where the actors like sort of walked forward and said their names, their like actual names, but that ended up sort of feeling like a weird PSA for like some sort of disease from the behind the scenes. It just was like awful. And I realized that, so I started, I did some workshops of the play with the director, Eric Ting, who directed the first production of the play in Chicago and the second production of it in New York. And he and I had a really close collaboration. And I remember doing a workshop in Chicago in the middle of a blizzard that like about three people saw because of the blizzard and trying the very first version, iteration of the ending that was what you guys experienced and have been working with. And there was something about sort of giving a lot of opportunity and no language, like opportunity for the actors to have a reaction to the moment before the end of the play.   And I wanted to, sandwiches are delicious, but I wanted to, I think it's delicious. But I wanted to allow for a different kind of interaction with the ideas in the play, the audience. So for those who don't know the original ending, also it had some more, in some ways, some more catharsis, I think, for both the actors and the audience, that it sort of found some places where maybe the audience was able to walk out and feel like, oh that was rough, but okay, we're gonna soldier on. And I think now the ending, and for those who are watching on our live stream who maybe don't know the play, it ends in a very non-traditional way in which there isn't a curtain call per se. Certainly the actors appear later and we acknowledge them whenever they arrive in the lobby, but in the space it is a place where there are still questions and it feels in some ways unfinished. Can you talk about, so you and Eric worked to get to this version and I think this is the same version that was at Soho Rep last year. For you, as you were thinking about how the audience leaves the experience of this play, which has such drastic pendulum swings between comedy and some really dark places. What were some of the important things for you as you were thinking sort of as both a playwright and as an actor originally, to sort of get to this version of the play? I think for me a lot of it is based in my own experience of seeing plays and of being, or I think I can be a very deferential person and nervous person. And so when I personally am made uncomfortable in a situation, I want to make myself feel better and make the other person that made me uncomfortable feel better sort of immediately. And by like making a joke, laughing situation off, make pretend like being ironic about it. And I wanted to free the audience and the performers of that need to make everything okay. Cause it's like, it's just not okay. And I think that sort of allowing that was something that was really important to me. And now I've made myself a little bit uncomfortable so I don't remember what the question is. No, that's fine. That's actually, I think you answered the question. So take an opportunity to begin to open this up to our audience, our actors, our collaborators, Summer and Ramona and give them a chance to ask you some questions and maybe vice versa. If you have any questions for our audience, you're also welcome to ask them. So I'd like to start with, do either of you have anything you want to start with? Any questions that you are bubbling up? It's okay if you don't. We can also stop and listen for a little while. Very good. All right, so you can ask anything you'd like about what you saw. You can just talk about your feelings about the piece. You can direct questions directly to Jackie. It's up to you. I'm gonna turn this around maybe so that, maybe I'll do this. So that, Hi everybody. Skype is so weird. I'm sorry, now I feel the need to play with the weird, like we're, Hi. So we'll do that. Any questions? Yes, please. I have a question for Summer, the writer. Great. What, so we talked about how the ending was very kind of open ended and let you listen to his comfort. What direction do you give the actors for what to do with that? Great, and what I'm gonna do is I'm gonna restate the questions loudly so everybody can hear them and so Jackie can hear them. This is a question for Summer about the ending. What was the, as a director, how did you sort of navigate helping the actors find their way through that ending of the play? It's awkward because they're in the room. Don't say anything, guys. So one thing I, one thing I said was there's only so much of this that is directable, right? There's only, like we're trying to get to the center of something. I can only talk you around the center and you have to figure out how you're going to enter yourself.  There are things that are very specific that have to happen, right? One, three, and five can't notice for too soon, right? That's a very practical thing. Four has to reset the space in some way, shape, or form. And they're critical pieces that he needs to kind of make contact with and engage with so that we in the space can feel that moment, right? It's important for us to watch him start to break down the wall. It's important for us to see him pick up the chain, pick up the paper to take down the noose. It's important to watch him pack that stuff up in the chest. Outside of that, it's them and it's what happens in that space, their feelings in that moment with each other and with all of you. And what you, you being audience, do or say in that moment greatly influences what that moment is. So there are times when actor four played by, well, Mark. There are times when I've seen people extend their hands to him. I've seen people hug him. I've seen people speak to him in the moment when he's trying to speak. And that is something that he has to deal with in the moment, right? And be open enough to allow himself to feel that. So it's a tall order. There's nothing about this that is at all easy for them. Thank you for that question. Joe, one of our actors has a question. So we as a group spent a lot of time talking about and trying to create a space where we were comfortable enough to allow ourselves to say something that might be offensive or we were trying to create a space where it was okay for us to just jam our foot as far in our mouth as possible. And I was wondering about how your process of creating a space that was comfortable enough for you to say these things because I know that, I might not be the same thing as a playwright, but I know that as an actor you have to own these things that you're saying. Even if they don't exactly reflect your personal opinions, you have to find an ownership form in this space. And I'm wondering if you have to deal with that own sort of thing about like, I can't see this in the mirror.  Great, I'm gonna say that louder so that just to make sure that Jackie hears it. So Jackie, there's a question for you from one of the actors, Joe, who was saying that in the rehearsal space, they had to make a way for it to be okay for them to be offensive and to say the wrong thing so that they could come to terms with one another as actors through the text and through the process. And he was wondering for you as a writer, what was it like allowing yourself to have your name on a piece in which so much difficulty takes place between these people who seem very real, I think, to the audiences? That's a good question. I think that it's in that way, where like I get to feel incredibly optimistic and like positively hopeful about the people, the artists involved in making the play happen since so much of it is dependent on the direction, on the performers themselves. And I think that I didn't realize, as I was writing the play, I didn't totally fully realize that it was going to be produced. Like I was writing it, like I didn't, like I honestly didn't think about it at all. I think that what I've come to really appreciate and respect is that as much as the play sort of like mocks the process of like a devised collaborative theater company, it also like forces groups of individuals to create a collaborative and devised theater company and be successful at it, much more successful than the characters are, while also hewing very closely to who the characters are. So it's like a super ironic compliment, I guess, the theater. And I think that I realized that like, and I wasn't there for the rehearsal process that company went, obviously, you know that. But when I was involved in previously rehearsal processes, and it was, I was talking about this with Eric Ting, actually yesterday where we talked about how, even the audition process was really different for, especially for him, because he has directed a lot at a bunch of regional theaters where you like have actors come in and read a part of the play. That's a normal way to audition people, like come in and sing a song. And for us, we have people come in and we had an interview where we just sort of asked them, maybe assaulted them with personal questions to sort of, because I firmly believe that strangely, the only requirements for the performers in the piece are that there's three white actors, there's three black actors, that all of the actors are good at, that are smart people that can empathize with a character. Like I don't think that someone has to be five foot two or like have like medium olive skin. Like there's no specific requirements besides generosity, interest and empathy. So, I guess I get excited about the opportunity to let groups of people come together in that way. Thank you, yeah, that's really, that's very interesting and helpful. Thank you for the question, Jen. Other questions or thoughts about something you just saw? Yes, please. Hi, I'm Maggie. Jackie, can you hear her? Hey, I can come over there.  Hi. Hi, thank you, Jackie. Can you hear the performance of their performance? So my question is that although this deals with, and in the title, it's very much about the specific historical occurrence which you are kind of dealing with, but to me it felt like a very American play and it felt like a lot of times, especially because of kind of the conceit in which you wrote it, it dealt with a lot of American, inherently American issues. So I was wondering if that was something that you, I'm sure it's something you took into consideration, but exactly how that kind of came into the process as you kind of, as it kind of unfolded through the writing of it. Because you kind of started with the nugget of the idea, but then the kind of debunking also. Great, thank you. Keep doing what you do. Keep doing what you do. Keep doing what you do. Keep doing what you do. Keep doing what you do. Keep doing what you do. Keep doing what you do. Keep doing what you do. I definitely, once this other layer, I'm very aware of the fact that for someone that is really interested in finding out something about the Herrero, that this is an incredibly disappointing play. You actually learn more from the Wikipedia page, actually. And I also, as I was sort of swerving into this whatever the thing that you saw is, that I was hyper aware of the fact that in some ways I was just like using their story to tell a different story. Like I was, yeah, like it was like, it could be seen as incredibly offensive to sort of, to boil someone's, this like huge atrocity down to like an example of something and just sort of point at it and not investigate it. But I also think that because I'm not a historian, or like this sounds sort of like a cop-out and I don't mean it to be, but like because I'm not a historian, I did a bunch of research about the Herrero, but I just felt completely incapable of telling of creating a piece of theater that would somehow speak for these people. And so I did feel like I was equipped to tell a story about America and contemporary race dynamics. And so I sort of take solace in the fact that even though the play ultimately is not about Africa or about Namibia or about the Herrero specifically, that it is at least exposing people to that history. And I've been, I've got, had the chance to talk to you a couple of descendants of the Herrero who came to see various productions of the play, which was terrifying and incredibly exciting. And talking with one couple in particular and their children, they were just sort of excited that it was finding a way for American people to connect to this story and to learn about it and then therefore be more interested in it and be able to go out and sort of do some research about it and learn about it. And so that has been gratifying. Great, thank you. Other question? Yeah. Do you want to come down and ask? You can if you want to. Oh yeah, we'll do, we'll take another question in the meantime, but yeah. Yeah, I'll come down somewhere. I was going to kind of use a southern accent. Was that your choice or how does that fold in and kind of follow up on the last question? Great, so this is a question about the accents and about how they move through the play. Summer, do you want to take that? So that's Jackie, right, in terms of the drifting into the American South and the way she kind of sets us in this kind of netherworld all of a sudden between investigating the German and the Herrero situation and doing that by way of exploring what the black-white dynamic is of the American South. And then it's the, I think there's a really lovely kind of not identifiable finesse that happens in the moment between those two actors as they begin to slip deeper and deeper into it, which kind of feels generous and organic and tells the story really well, but that's Jackie's duty. Yeah, Jackie, do you want to say anything yourself about the shift in the accents that are indicated in the play? Oh, yeah, just that I'm sure I do want to say something. Yeah, I was just going to say, do you want to, I think one of the questions is that we've had a couple of our post shows has to do with where that happens and why. So I don't know if you want to talk about sort of your thoughts about that. Ah, thank you, Alana, thank you. You're welcome. Yeah, I think, I mean, it's, it happened, I think that it's like pinpointing exactly where it happens is something that is up to summer and the performers, but the scene that it happens in is sort of this sort of longer form improv that gets a little murky between the black man actor and the white man actor. And it seems like to me it happens there in a way because it's at a point in the play where the actors are committing more to the process. And that in terms of how they're investing in the characters, it's coming from something that their own imagination rather than something that they are trying to fulfill externally. And so it's something that comes from inside rather than like pointing and trying to become something else.  And I think for those who haven't had a chance to read the interview in the program that Ramona did with Jackie. Jackie, you say something in that interview about how you yourself felt a similar kind of recognition when you were looking at photographs of some of the Herrero who you saw documentary photographs of them hanging and that you made a connection yourself to the American South. So it's interesting to me that I think night to night our actors also have to navigate that exact thing that you were just talking about. Jesse, do you wanna come up and ask a question? So this is Jesse, he's one of our actors. Hi, how are you? Hi, it's good to see you. Nice to meet you too. Thank you so much for this piece. It was a ton of fun to do. I can speak for everybody else. We had a class and it was such a huge learning experience to an actor and all that.  I was wondering, I was actually, it wasn't anything to do with the play, but just my interest in you as a writer so I like to write a lot and I know that I'm constantly reading and I'm sure you are too. So I'm just wondering if you're reading anything right now that you would like to recommend, not necessarily like, oh, this is how you do a better writer but like, I don't know, a cool novel that you're up to or like anything like that. I'm always looking for this stuff to read. That's it, yeah, that's my question. Friends, friends away. Yeah, I'm sorry, you're very scary. I try to be scary. Yeah, no, this is so embarrassing. Like I just, I have like actually not been reading lately. Yeah. It's like, oh, sad balloon. I guess I've just been rereading some Carol Churchill plays. Awesome. She's awesome.  But I recently was looking at, or I've been reading four projects more than pleasure, but there's this graphic novel that's written by this dude, his name I am not going to remember, but it's called Safe Area Garage Day and it's about this area during the Bosnian genocide. I'm just like, I'm just like reading about genocide. My, yeah, but I'd never read a graphic novel before and it completely blew my mind in this book. Wonderful. Safe Area what? Right, that's, it's like a Bosnian word. It's like, G-O-R-A-Z with a thingy on it. E, so it's like Rajday. Okay, gotcha. All right, I'm gonna check that out, thank you so much. So, this is embarrassing.  Jackie, this might be a nice time for me to ask you what are the projects you're working on right now? I know that this play took up so much of your artistic and psychic space for so long. So what, where are you going next? What's the next thing on your horizon? Well, I've been working on a play that yet another play that is broken, but I don't know why, but I've been calling really, really, really, really, really is about photography and memory and grief. And so I guess, yeah, for that I've been reading like a bunch of like photography theory books, like Camera Lucida by Roland Barth, and Regarding the Pain of Others, and also on photography by Susan Sontag, and other stuff. So I've been working on that, but then I've also been working on a play sort of about beauty bloggers and girls on the internet. So I've been watching a lot of YouTube videos, which is exactly what I didn't want to admit to you guys. Lots and lots of YouTube videos. And I'm gonna be doing a reading of that at the end of the month at New York Theater Workshop. So I've been sort of working on that. But then I guess the biggest thing is that my husband is, I'm pointing, because I am in an apartment and he is in an apartment. But he is an anthropologist. He's getting his PhD, and he's doing field work in an area sort of south of Morocco that's called Western Sahara. And we're both gonna move there for like a while. Just trying to sound artsy and nomadic. I don't know, it's gonna go to Morocco. Just drop out, man, for a little while. And so I have some books on women who traveled to Morocco, which is part of the reason that I'm rereading to Carl Churchill, because in Top Girls, there is one of the characters, this Isabella Byrd, who's like an 18th, 19th century British aristocrat who traveled to Morocco by herself.  So I'm gonna be researching a play there next month through the end of the summer. So I'm pretty excited about that. I think we have time for maybe one or two more questions or comments. Yes, right here. Fabulous, I love this. I'll come say hello. Hi, my name is Andrea. Okay, so first of all, thank you so much for the work. It was moving and stupendous and difficult and thought provoking, all consistent. So I'm really grateful, thank you. So some of the things that I noticed that I'm just finding myself sitting and mulling over and also as a writer, I know that if I had the opportunity to hear what somebody was left with, that I might appreciate it because I thought I was just kind of sticking up. Great, okay. So one of the things that I loved was when one of the characters took on the persona of the grandmother in relation to the image that the other actors saw and talked about that you can't walk in somebody else's shoes. And it was very acute to me, carefully watching how that character transformed into a perpetrator of sorts. And then I felt like that was kind of dropped. And then we watched all of the characters become either perpetrators or victims of sorts. And I was just, I was struck with two things. One of them is that in my deepest heart, I hope and I believe in all of my work is predicated on this notion that there are a small percentage of humans, the species that we are, that actually are able to look at and be accountable and say no. And I found it really interesting that you left that out. And so that as we watched the actors workshop and improvise themselves into a place where they were in fact walking in what they imagined someone else's shoes to be, that that option wasn't a part of the palette at all. And I just wondered what you were thinking I'd have done about that. That's a great question. Thank you so much for this opportunity to ask you. Oh, thank you for asking. That's a really, yeah, that's an incredibly interesting and generous question. I wanna give it as thoughtful an answer as the question was that was not, the grammar was really bad. I don't know what I mean. Where I think that it's interesting or like in reading about genocide or like thinking about genocide, a big part of it, and it feels ridiculous to me to pretend that I'm some sort of expert on genocide, but we're just gonna roll with that for a second. But that it seems like it's not about like one evil person making a decision to be evil. It's obviously like a communal, everyone in a society is implicated in the extermination of a section of that society. That's just, so it's to me there is no, there is no no if you're a part of something that is like a part of a system of oppression in that way. But I also think like in a very, very different way, like so much about the art of performance and the art of theater is about never saying no to anything. Like so that's like, I mean, not down, I love improv but I'm making it something else, but that like the people say it super ironically and with like kind of an eye roll of like, you play yes and so your collaborator comes into a room and they're asking you to do something that you think is wrong and stupid, but you don't say that, you say yes and try to add to instead of, and I didn't know that's, I think that as scary as complicity is in a system of oppression, I think that investment and sort of like openness is beautiful in theater. Like I think that there's something interesting about complicity and this yes andness of live performance and of the audience, like of suspending or disbelief and all of this stuff. There's a lot of, I think it's like an, I don't know, I'm not trying to draw some sort of relationship or a one-to-one, but I think that they sort of, those things sit together. And so it just felt right to not have anyone say no or stop until play breaks. Yeah, Jackie, just so you know, we've definitely had some conversations after performances where audience members have spoken about their own complicated feelings in those final moments when Mark is walking around the space and sort of trying to speak those final lines and not speaking them. That audience members have reported feeling torn as to whether they are being asked in that moment to still suspend their disbelief and be in a play or whether that moment is a real human moment that is happening sort of in real life at that exact second. And I think one of the things that I appreciate most about your writing and about the structure that you create and about the world that Summer and Ramona and the actors have created in that room is that those things are inseparable in many ways. That the complex quality of am I an audience member in a play or am I a human being having a relationship to another human being sitting in front of me and how much of this is real and how much of this is about the event. That those things are not, you can't decouple them in a way. And I think, so I just, I wanna say thank you to you for creating a space that is asking us artists and producers, collaborators, audience members to investigate how that feels. Because I don't think we often have a chance to do that. So I wanna say thank you about that. And I am sorry to report that we are at time for this event, but Jackie thank you so very much for your time and your generosity in being part of this conversation with us even while you are in the midst of great dental pain. And thank you to our audience for being here and our actors, do you wanna say something? Is that? No, we're just gonna come down. Oh great, and if you wanna hang out on the computer for a minute Jackie the actors are gonna come say hi for a second. But audiences thank you so much for being with us and we hope you come back and join us again. Thank you. Thank you live screen. And if anybody wants to come up and ask Summer or Ramona any questions, please feel free. Ask today, but I'm so excited, this is so weird. I had to say it out loud. I've said it several times, I'm not ashamed to say thank you. Am I still on the big screen or am I only on the little screen? You're on the big screen. Hold on, I'm gonna take you away, I'll take you away. No, no, no, you guys wanna see her, but I'm gonna take her off the big screen. There we go, okay, hold on, hold on, there we go. Okay, now you're off the big screen. Thank you.


Khloe Kardashian recently sparked rumours she'd gone under the knife after debuting an almost unrecognizable version of herself in an Instagram selfie. Although it very well may be some serious photoshop, we can't deny the reality star has had quite the transformation. This shocking selfie isn't the first time Khloe's been accused of having work done. Over the years she's worked hard to get a brand new bot and had serious glow up altogether, leaving fans curious if she's gotten plastic surgery. Khloe Kardashian is a media personality, reality TV star, socialite and more who's also mom to daughter True. Her baby daddy Tristan Thompson she's had and is still having her fair share of drama with because it's never clear whether they're over or not. I heard they're quarantining together and not to mention he was also quickly caught leaving flirty comments on the viral selfie she posted a few days ago. Despite having a baby, Khloe has come out in even better shape than before, rocking abs and doing intense workouts on the daily. She credits this mega weight loss for her transformation stating that since she's slimmed down she got a whole new look even in her face. While I kind of believe that it's also hard to imagine the 35 year old had no help from cosmetic work. In this latest selfie Khloe not only looks like she has a new nose, it looks like a whole new face. There are even memes circling the internet about how most of us can't even get paper towels during quarantine but Khloe can have her plastic surgeon on call. One thing's for sure, surgery or not Khloe can no longer be called the fat Kardashian sister and those rude jokes should be far behind her. What's going on guys and girls my name is Kara and this series we've titled Before and After. We're gonna be taking a look at Khloe Kardashian and her mega transformation over the last little while including what plastic surgery she's had done, if any, for inspiring weight loss and more. We already had a before and after for her on this channel but considering she's changed a lot since then especially after that recent selfie it was time for an update. I've also done other celebrity transformation videos in the likes of some are Walker and Adele and we'll link to some at the end. If you like this channel make sure you're subscribed and ring that bell to be notified when we post so you never miss out. As always if there's anyone else who want me to document let me know in the comments down below and be sure to follow me on Instagram because I love connecting with you guys. Now let's get into this video. Khloe is definitely a celebrity who's gone through quite the physical metamorphosis over the years and not to say she wasn't beautiful before but she really had an impressive glow up. In the early days Khloe often found herself being called the fat sister which she's opened up about. In a past interview she said, it's so funny because I didn't think I was that sister.  Like I just didn't really think of myself as being fat. And she really wasn't. There are just people out there looking for something to criticize. I died in 2003. I was 19. When it set in I was like you spiral and for me my spiral was food. So with Khloe's ups and downs over the years be it family problems, divorce and other publicized drama she did admit to having a struggle with food. She never thought of herself as fat but realized she was unhealthy and wanted to start making healthier choices.  Looking at photos of her body before it seems Khloe's weight actually fluctuated quite a bit. It wasn't until recent years and most noticeably after having her baby that she got into the best shape of her life. Khloe said about her weight transformation. Never would I ever consider myself fat but I would consider myself unhealthy mentally, physically and not knowing my true value. Mind, body and soul. For me my transformation journey started from within. I needed to heal myself from the inside out. Once I started putting myself first everything started falling into place. In the end Khloe is the one having the last laugh with all of her haters. Not only did she have a show revenge body she also released a book Strong Looks Better Naked. She's always keeping up with her dedicated workout schedule but I'll talk more about that a little later on. Aside from losing 40 pounds or more before Khloe had a different look all together. She had dark hair and not the blonde hair she's had for quite some time now. In the early days it seems her face was much rounder too. She had a wider nose and smaller lips. Not to mention when you compare photos of her face from before to recent ones, Khloe looks as if her eyebrows and eye area are more lifted and awake if you will. Now that this recent photo of Khloe has gone viral thanks to how different she looks we can only wonder what cosmetic work did the reality star have done? Let's take a look at Khloe's face. Since her split with Tristan rumors have constantly swirled that she turned to plastic surgery to get back her revenge look with one gossip site even claiming she's blown $1 million on plastic surgery. And with that new photo the rumors are only continuing. First of all it was said more than once that Khloe has gotten a nose job. In the early days the bridge of her nose appeared much wider and just looks a lot less sleek than it does recently. She's credited these changes to her weight loss saying her nose slimmed down too but in some instances it's more believable than others. After posting a photo to Instagram in 2018 Khloe's nose looked a lot slimmer than usual and fans always had no time asking if she got a rhinoplasty. But we adamantly deny she got a nose job though and as said one day I think I'll get one because I think about it every day but I'm scared so for now it's all about contour. And while that could be true pictures tell a bit of a different story. Looking at photos of Khloe's nose before and after side by side it looks like there are significant changes depending on what angle you look at it. Contour can help but it certainly can't make your nose point upwards. In some pics not only is Khloe's nose slimmer and sleeker it also appears to have the tip lifted before it was more flat. But I'll let you guys be the judge. I also notice Khloe's eye area looks a lot different than before. Her eyebrows and eye areas generally more lifted giving her more of a cat eye look at times and bringing her eyebrows higher up off her eyelid area. Although there are surgical eye lifts she could have had done fillers in the area are much more common these days and promise similar results. We know that it's a possibility Khloe's had some fillers there because she's admitted to getting some before but they messed up her face and she had to have them dissolved apparently. I don't know if it's Botox or filler like I don't everyone says well which one I did one of them my whole face went numb and I could not make I had to dissolve everything. This suggests that Khloe doesn't like fillers and doesn't get them in her face anymore but one source told the tabloid about Khloe. Not a month goes by that she doesn't go to her clinic for mega doses of Botox collagen and laser resurfacing and she pays several thousand a session in order to get the best quality work. But who knows if that's true I personally think that since Khloe lost a lot of weight she would have more sagging skin and wrinkles if she didn't get any fillers or work done especially since she's in her mid-30s. However she claims to swear by great laser treatments. Khloe said, let me set the record straight once and for all I haven't had any fillers or done any plastic surgery yet LOL. But I do believe in a great laser treatment I do lasers all the time. Lasers for skin unevenness, skin tightening stretch marks scars acne. And whether or not Khloe gets fillers in her face we do know she's admitted to getting her lips done in the past. Looking at pics from then and now it's clear that these days her pout isn't much fuller. At times looking a little frozen probably shortly after she's gotten them injected. But plenty of celebs and non-celebs alike get lip injections these days so it doesn't seem like that big of a deal to me. Although Khloe has truly adopted an all new look over the last few years this latest jaw dropping change in her Instagram selfie is likely more because of Photoshop and Facetune rather than plastic surgery and fans spotted some dead giveaways that proved it. Apparently half of Khloe's necklace chain is missing in her selfie and fans caught it pretty quickly. One commenter said, First of all Khloe Kardashian gave herself an entire new face. She took touching up to an entire new level. Second of all she forgot to Photoshop her necklace chain too. Girl you ain't fooling anybody. I guess while Khloe airbrushed her jawline or neck she erased some necklace too. Who knows but whatever she did it had everyone speculating that's for sure. While it's hard to deny Khloe hasn't gotten a nose job or Botox and fillers to change the look of her face this time we might just be able to write it off as Photoshop. Now for Khloe's body. It's no surprise that her weight loss changed her look the most and while people have accused her of getting cosmetic help it's mostly the result of hard work and dedication. Just the other day Khloe posted one of her quarantine workouts sharing a clip on Instagram of herself pulling a cart with the strength of her tiny waist running along her streets to make the task even more difficult. Her two-year-old daughter true rode in the wagon and Khloe looked incredible in her workout outfit. If they are wanting to build they have to make sure they're consuming the right amount of food and you should always eat about 30 minutes after your workouts. If you want to build specifically you should be eating tons of protein. It's no doubt that Khloe has made lifestyle changes to get the dream body she has these days and it wasn't easy. Although she was on a stricter diet while initially trying weights she has reached her goal of around 100 pounds and now focuses mostly on committed exercise rather than diet. When she gave birth Khloe was 203 pounds so she shed a ton of weight and looks amazing. Before she had a baby fans were already accusing her of getting lipo too to which Khloe responded, I find it disgusting but maybe a compliment that I'm being accused of getting lipo done.  Although there's always a possibility Khloe got help with lipo to get her toned and flat stomach it sounds like her rock hard abs are the result of training. Though the number on the scale fluctuates a little Khloe says she's maintained her 60 pound weight loss during the pandemic by regular exercise. In the past her personal trainers said she did strength sessions, boxing circuits and medicine ball workouts in the gym and while she's still probably putting in the time daily at her home gym Khloe also uses her daughter true like a weight such as when she carries her during her walks or the wagon exercise. Khloe's also been jumping rope for 30 minutes a day and using her treadmill. Khloe's waist is much tinier than ever before but she credits this to a waist trainer as well which we've seen her using more than once. Finally the only other area on Khloe's body she may have had some work done is her butt. After giving birth to her daughter Khloe's photo surfaced of Khloe showing off what fans said was a fake butt. Although she's always had curves by the looks of that butt it's hard to believe it's all natural. What do you guys think? Personally judging by the shape and comparing pics from then and now it looks like Khloe's had a Brazilian butt lift where they transfer fat from other areas of the body to the booty. This is also the same procedure we know her sisters like Kim and Kylie are clearly fans of so I wouldn't be surprised. All right guys and girls that wraps up this video here on Before and After. I think we can all agree that Khloe Kardashian is one of the Kardashian-Jenner sisters who's changed the most over the years from her face changes to weight loss and even her hair color. And in regards to the Instagram picture that everyone's talking about we can all agree that Khloe looks drastically different. Whether it's from plastic surgery, heavy face tuner both it's not the first time a Kardashian-Jenner sister has been thrown under the bus for this and it likely won't be the last. Anyway you spin it it's Khloe's face and her Instagram and she can do whatever makes her happy. But I wanna hear from you guys. What do you guys think about Khloe's transformation? Was there anything I missed? You let me know you know where as well as who else I should do a Before and After on. If you wanna talk more you can hit me up on Instagram. Be sure to hit subscribe and I'll see you all in the next one. Bye.


Hi everybody, Joe for Jaspy's casebreaks.com. It's time for some upper deck allure hockey. We got a single pack break right here and this is the last filler that'll sell out that hip parade dual case break. We're giving away 10 spots but that'll be at the end of the video in a different dice roll. We actually have three different dice rolls happening today on this one. First of all, we're gonna give away five spots within this pack break itself. Then we'll do the pack break, randomized names and teams with a second dice roll. The third and final dice roll will be the 10 spots that we're giving away. The hip parade break itself will be in the next video. First, let's gather all these names here. Thanks everyone for buying your spots. We're only selling 26 spots outright and then giving away the remaining five to you. So let's roll it, first dice roll, roll it, randomize it, lucky seven times, top five after seven, we'll get extra spots. One, two, three, four, five, six, six and one more, seventh and final time. So we've got Chris, Kevin, Daniel, Steve and Daniel. Top five after seven, some extra spots. So two for the price of one, which is not bad, right? We'll put a little rooftop next to your name so you know you won that. So now this, that does give you slightly better odds to try to maybe win those hip parade spots. So now let's do the pack break itself. Second dice roll, let's roll it, randomize it, three and a four, another seven times. Names and teams, seven times. One, two, three, seven and seven and final time. All right, so here's the first bit of the list right here, half-ish of the list, there's the next bit. No trade windows in these. So let's just sort by team, print and rip. And the third and final dice roll will re-randomize that list and see who gets those hip parade spots.  Okay, so nothing too crazy there, but let's flip back over here pretty quick. Full point of this is obviously who's gonna win those spots, let's gather everybody's names. New dice, third and final dice roll, top 10 after seven again, wow, one and a six, seven times. Wish that happened to me when I was in Vegas, two, three, four, five, six and once more, seventh and final time, top 10 after seven. So from 11 down to 31, sad times. David very close, no cigar, but I appreciate you getting in, appreciate everybody getting in, thank you. But ultimately sad times, happier times, much happier times for the top 10, you're in the next break, Daniel, you're in, again, you're in, Steve Locke, you're in, Daniel, Oliver, Kevin, Kevin, Martin, Jeremy and Daniel. Congrats to the top 10, I'll see you in the next video for that hip parade break, bye bye.


Thank you very much for the introduction, for the invitation. Just briefly, I'd like to acknowledge some of the co-authors on this talk, some of my collaborators on this project. So Laura Condon is a graduate student. Laura and John are graduate students in my group. And Stefan and Ian are postdocs who used to be in my group, who've moved on to real jobs. Ian's staff at the USBOR and Stefan is at Bonn University. So the motivation for my talk today, and sort of for a lot of my work, is trying to understand dynamics of the... It's no matter how much you check your slides ahead of time, there's always errors on it. So the idea is to... And this is a... This is really weird. I wonder if this is a memory problem, because we just checked the slides during the break, and of course the slide gremlins never sleep. So the idea is that we have the coupled hydrologic cycle, which is not anything really new to anybody in this room. And this is important for a lot of different reasons. Climate change impacts, biogeochemical cycles, nutrient cycles. And what we tend to do is take all of these couple processes, and we model them in disconnected fashion. We have, for example, the groundwater vitisone model, or land surface models. And we have fluxes, surface water modeling. We have fluxes that are abstracted, and these things break down by disciplinary boundaries, often by time scales, a lot of the same things that we've talked about. Now my particular interests are understanding interactions between the land and energy budget. And if we write these in a really simplified way, this is not how we solve them, but how we typically write them, at the change in terrestrial hydrology and the energy balance, water and energy balance. What we immediately notice is that latent heat flux is one of the key variables that's shared between these two systems, and this is one of the key interactions. This is, of course, not at all new. The atmospheric community has published extensively about this starting in the mid-80s. And if we look at some examples from the atmospheric community on how these interactions can be important, this is some work from Ned Patton, who's just down the road, or just across foothills. And this is some work that he did in 2005, which I really like as an illustration. So what Ned did was he had a very finely resolved atmospheric model. This is 30 kilometers by 2 kilometers at high spatial resolution. This is actually a 3D model, and he's averaging into the page. And he has very simple experiments where he has a uniform soil, so uniform soil moisture across the 30 kilometer transect, and then alternating wet-dry patterns here. That very systematic, very simple setup. And this is water vapor mixing ratio in the atmosphere. And what we immediately see is that under uniform conditions, sure, there is some variability because of the turbulent nature of the atmosphere. But generally, if we interpret the PBL height or the height of the planetary or atmospheric boundary layer from this, we get a pretty uniform atmospheric boundary layer height. Whereas in the wet-dry patches, we see the dry patches heat up more quickly. And we have upwelling here. This is temperature differential, gives you a vertical velocity differential, which is just a convection cell in the atmospheric boundary layer.  And driven by soil moisture conditions, is driven by this connection through evapotranspiration, latent heat flux in the water energy balances. So the idea is if we try to couple these systems, where do things kind of intersect? And what is the point of interaction? And that really falls into two categories, into land service models and groundwater models. And unfortunately, neither really up for the task of interactions as traditionally formulated. So land service models really simplify subsurface hydrology. They're originally developed as a bottom boundary layer for global circulation models, general circulation models, global climate models. They're really vertically oriented. They're these resistor type models. And they really have about a two meter subsurface. And while there are versions that are evolving with the groundwater box or another storage component, they're really not built in any way that there's topographic, either surface or subsurface lateral communication. And they're built in such a way that contaminant transport's not possible. So a lot of these biogeochemical cycling are really contaminant transport type questions, which are very familiar to the hydrogeology crowd. And they're really not formulated in such a way that makes this possible. Now, I would actually argue that groundwater models are worse. We tend to calculate evaporation completely operationally. It's an imposed flux. There's no feedbacks. It's often even very hard to design feedbacks because of the ways that we abstract the land surface. And the groundwater community has been incredibly slow to bridge scales and bridge high performance computing. And there are very few HPC or parallel groundwater models out there. And so really this divide has been somewhat of a struggling point. I would say on top of that that groundwater is often underappreciated in the whole scheme of things. We have a range of paths and scales in groundwater, and water may move really quickly. I'm going to move really quickly here as well. Groundwater may move relatively slowly in a physical sense, but pressure propagates several orders of magnitude faster. This is pretty well known, and this contributes to a wide range of scales. There's a lot of classical work. Jim Kirchner, this is a figure from one of his slides. Bill Alley, Roy Haggerty, this is a figure from one of his slides. And it's pretty well known that topography and land surface processes have a really strong influence. And so when we think about models that are typically used to describe these systems and calibrated models that are typically used to describe these systems, a lot of them miss fundamental types of behavior, particularly in scaling. This is a plot of spectral power and wavelength, which is just one of our frequency. And this is some data, chloride data. This is from Jim's Nature article in 2000. This is the rainfall chloride spectra, which basically has no coherent signal. And then this is the outflow chloride spectra of these same watersheds. And what we see is a really clear fractal signature where we have a one-to-one relationship and log spectral power, log wavelength. And if we look at our common, this is the Invection Dispersion Equation, which is the most commonly applied transport equation in groundwater. And we look at the exponential hyperrexone type model. Even though these are best fits, best fits of calibrated models, they clearly don't get the fundamental behavior. And if we look at a shorter time, this is some of Roy Haggerty's work. This is residence time distribution in the channel, log scale. And then this is time in seconds. This is the power, power, law, tail in Roy's data. And again, the exponential hyperrexone model misses the fundamental behavior. So the question is, if we use integrated models, can we get similar behavior? And this is some of my not so recent work anymore. But what we see in integrated models set up under similar experiments, and I don't have a lot of time to talk about the details of this work, but I'm going to talk about some research letters. We see the same in terms of residence, this is mass fraction and time, this is log time in years, log mass fractions is essentially like a PDF of residence times within a system. This is the same power, law type behavior that Roy sees. And then if we take the spectral transform of this, we see the same power spectra that Jim sees in his data. And so this gives us hope that we can use integrated models to get some of these reflections. So there is some, I'd say a growing body, and I expect you to read and memorize every single one of these citations, of course. But there's a growing body of work that seeks to pull these systems together. And I've kind of broken them out in like hydrology atmosphere, hydrology land surface, and integrated hydrology. And in this body of work, my group uses and develops a code called Parflow. And I think that there's a really exciting dynamic groups doing integrated hydrologic modeling work. And I think we're a really interesting time, and we can think about hydrogeosphere, or catheter, open geosys, or the Penn State model, or the integrated hydrologic model. We happen to use and develop Parflow within the group. But there's a lot of really, I think really terrific models that are out there. And what we do, and which is what most of these codes do, is we solve saturated three-dimensional Richard's equation everywhere in the subsurface. So we don't delineate between groundwater, veto zone. We solve 3D Richard's equation, compressible Richard's equation, everywhere. And where we get groundwater, due to geology, due to topography, we get groundwater where we have veto zones, we have veto zones. And then coupled to that, we solve overland flow and surface runoff using a combination of either continuity and manning in either the kinematic or diffusive formats. So we have a fully integrated system where we're solving the PDEs for surface water flow and subsurface flow in a completely globally implicit fashion. So we solve both these equations simultaneously at every time step. Then we include with that land surface processes using the NCAR model CLM. We're using it in common land model format, but it's pretty similar to the community land model, of the earth system modeling framework. And this has a number of canopy vegetation processes, snow processes, land energy budget, radiation balance. All of these things are within CLM, but we strip out the hydrology and replace it with power flow. And this is fully coupled. It's fully mass conservative. And then one of the pieces I'm going to talk about a little bit more with power flow is that it's completely parallel. I think every time I turn my head, the volume is up and down here. I'll try to change the microphone orientation a little bit. So we can think about this cartoon as a way to understand this modeling system. And so we have topography, we have atmospheric forcing, we drive this model with observed meteorology, pressure, temperature, solar, precipitation, and then we populate the land surface with vegetation and land cover. And what happens is the model evolves and develops naturally. We have areas with a very deep veto zone. We might have areas with a very shallow veto zone where vegetation may be free out of fiddic or groundwater dependent. And then anywhere where we have ponded water, either through access saturation or access infiltration, we get automatic topographic routing. We have groundwater. We can look at flow divides. We can do contaminant transport in the system where we can use Lagrangian techniques to trace out flow lines. We might see that say the flow divide doesn't necessarily match the topographic divide, which is more common in groundwater systems. And these are really a nice platform for testing these sorts of hypotheses about connections within the hydrologic cycle. So the idea that we have, or at least the conceptual model that we have, is that we should see some of these interactions in really specific ways. So first if we look at another cartoon of our system, we think about on the hill slope, we have water table, we have overland flow. In terms of groundwater's impact on the land energy budget, we have areas where groundwater is very shallow. And we categorize this kind of as like a riparian or river zone, convergent zones where land surface processes are not going to be so moisture limited. Because groundwater is always so close to the land surface that we essentially have no water limitations on land energy processes. We can then jump up to the top of the hill slope where we hypothesize that the water table depth is so deep water is so far from the land surface that land surface processes are decoupled. They're not able to access groundwater, they're not influenced by groundwater, so they're not really getting any benefit. And essentially these things act like two coupled disconnected or uncoupled systems. And there may be some flux of water from the land surface, some recharge flux down to the subsurface or not. But that's the extent of the coupling. So then we hypothesize that there should be this critical zone where we have this really tight interaction between land surface processes water table depth. And if we look at thinking about this sort of another way because we can think about this as a coherent 3D system or we can think about this as a series of columns we can think about this as columns that should break into water table depth where we have a really close groundwater land surface. We have a very far groundwater land surface which we disconnect. And then we have this critical zone where we have small changes in groundwater depth that give us big changes in land energy flux. So we can test this with a couple of models. And this is some work that appeared in water sources research in 2008 that Stefan and I did and there we were modeling basically a research watershed in Oklahoma called the Lulawashita, which has been the subject of a lot of study both by us and other groups. And the Southern Great Plains in the U.S. are really historically ripe area for land atmosphere interactions. And here we have at the end of a, this is a dynamic run we're forcing it with one hour observing meteorology. We spin the model up we compare to observations. We don't actually calibrate in this. We compare to observations and it compares very favorably. So then we start to look at understanding dynamics within the system. And one of the things that we did was we looked at annual average latent heat flux plotted here versus annual average water table depth. So every dot on this plot is a spatial location where we can have an annual average latent heat flux energy component to evapotranspiration or and an annual average water table depth. We immediately break this out by land cover, right? Shrubs crops and trees. And what we see is that we see some differences due to different vegetation types, which we'd expect. And then we see some differences. This is log scale from shallow and deep groundwater. The first observation we might make is that these differences are about the same order. Different vegetation types gives us about 15 watts per meter squared. Different between shallow and deep groundwater gives us about 25 watts per meter squared. Pretty similar in terms of impact. What we also see is that we have a very flat region here which we hypothesize is our shallow groundwater where we have changes in water table depth here that give us zero change in latent heat flux because we can't add more water to the system. This system is operating on atmospheric demand. So if there's more water available, there's still no more atmospheric demand for that water and so this won't change our land energy flux. We also see in deep ground waters, we see again a region where changes in water table depth give us no change in latent heat flux. We hypothesize that this is our disconnected region where it doesn't matter if the water table is 10 or 100 meters, 10, 20, 40 meters, it's still disconnected from the land surface and so changes in water table depth don't impact changes in land surface energy processes. Then we find this region where we see this really tight slope between latent heat flux and water table depth and we hypothesize that this is our critical zone. We see really small changes in water table depth give us huge changes in latent heat flux. So we can do this again except for climate change impact studies and this is some work that appeared in Nature Geoscience a few years ago and what we see there, these are now latent heat flux differences between different perturbed climate scenarios. We have a hot scenario, two-degree increase in all cases. We have a hot wet scenario where we also perturb precipitation and we have a hot dry scenario where we perturb precipitation down by 20% and increase temperature. So this is hot wet, hot and hot dry compared to our baseline which is water year 99 which is pretty climatological. What we see is that we get these three regions except now it's a temperature controlled region where it's shallow water table depths all the cases basically within riparian areas or within the river channels still have similar access to groundwater. So they're not water limited and their changes in energy fluxes or their changes in ET are all controlled by the increase in temperature. We have cases where all three are disconnected again deep water table now they break out by precipitation or hot wet is an increase in precipitation and hot dry is a decrease in precipitation and the hot case is the same precipitation as the control so it dives to zero and then we find a really important groundwater controlled region within our critical zone. So we see this impacting not only sort of understanding current but also understanding changes or perturbations in the hydrologic system. So as if that weren't enough we've now twice coupled power flow with two different regional climate models we did this first in 2007 with the ARPS or advanced regional prediction system. We've done this again this came out actually not in 2010 but in 2011 and month of weather review with WARF which is the weather research and forecasting and it's been talked about in earlier talks. So now we have a complete interaction between power flow the NOAA land surface model within WARF and the atmosphere within WARF so we have a full accounting for all of these interactions and the reason that we want to do that and this is some work from AWR in 2007 is that we've seen these interactions be important for particular systems at particular times. This is more work in the La Washita this is actually an atmospheric fully coupled atmospheric groundwater simulation where we're actually at the beginning of the second day this is a transect x direction in kilometers is just a transect through the middle of our domain the two river valleys highlighted here we have water table depth plotted here in meters across this transect we have soil moisture here plotted in meter plotted in percent across the transect we have soil temperature plotted here and then we have boundary layer depth in the atmosphere plotted here so what we see is that areas that are shallower groundwater have increased soil moisture that makes sense we're in these river valleys what happens at this particular point in time in the simulation is that these river valleys heat up more slowly than the hill tops so we have a differential of about 4 kelvin between the river valleys and the hill tops this creates this is vertical this is atmospheric wind here this creates differentials in the direction this is zero of our vertical wind gradient we have downward in the river valleys upward on the hill tops this is exactly what Patton showed we have a convection cell and this convection cell alters our evolution of the planetary boundary layer this is driven by groundwater these moisture differences which drive temperature differences which drive vertical velocity differences which drive the evolution of our atmospheric system were ultimately driven by groundwater storage so we can look at another example to sort of dive into this this is with pf4 and here we have a really simple this was our test case which we used for a lot of different things within the paper where we injected moisture into the atmosphere so we could control the amount of moisture we injected in the atmosphere we could check and make it rain look at the distribution of moisture within the coupled system and we can use this as a mass balance test now in this particular system we have a gradual slope we have open boundary conditions in the atmosphere we have no flow except for surface we have par flow here and warf here and so if we look at the rainfall pattern this is definitely Hawaiian type rain this is 2.4 meters we made it rain like crazy to stress the model we really wanted to really really stress the model we see we have area very heavy rainfall where we've injected moisture and a bullseye and no rainfall elsewhere in the domain as we look at the evolution of some moisture within this system we have at early times saturation fall is rainfall as if it would in plain warp this is just no different than any other land surface model but at later times we rain hard enough that we actually generate saturation excess that saturation excess is routed down slope and eventually flows out of the domain now what this does is if we look at contours of latent heat flux our area of original rainfall at the end of our simulation we rain for a certain amount of time then we turn off the rainfall is not actually our area of maximum latent heat flux our area of maximum latent heat flux is where water was routed not where the rainfall originally happened so this is a nice very synthetic idealized case that demonstrates how these interactions can be important sort of in two ways okay so getting to sort of the high performance computing part of this now this is some work out of a large European effort called the TR32 or Transregio 32 which is centered at Bonn University but has collaborators all over Germany and this is some photosynthetic this is some remote sensing data that's basically a tower remote sensing product and they're using photosynthetic activity which they're sensing remotely as a surrogate for ET and so if we look at these patterns really what's interesting to me is that we see this range of ET values and as we zoom in we see that these have a large variance across a number of different scales so this got Stefan and I very excited and we said well can we start to model this directly and one of the first things that we did was we were interested in deploying power flow at sort of petaflop scales so we have access to Eugene which is a one petaflop almost 300,000 core supercomputer at the Forson Center in Munich and we built a fully coupled 3D non-linear test problem and we looked at scaled parallel efficiency and what scaled parallel efficiency is is a measure of your scalability of your code so called weak scaling where you're simultaneously increasing the problem size and the number of processors such that your problem size should grow with the number of processors and if your wall clock time is the same on out you should have 100% scale parallel efficiency so what we see is we run out to an 8 billion cell problem at 1,384 processors we see roughly 60% scale parallel efficiency which is excellent this is leadership class this is as well as many code scale and this demonstrates to us that we have an efficient code that we can scale out towards the petaflop scale the sorts of things that we can do with this is we can look at effective heterogeneity this is a one meter by two and a half centimeter resolution simulation at 32.15 square kilometers so we built a synthetic 5.6 by 5.6 square kilometer watershed at one meter by two and a half centimeter resolution we forced it with observed meteorology we had imposed strongly anisotropic subsurface heterogeneity and what we see is the same range of variance that is seen in these high resolution photosynthetic remote sensing type exercises the idea was that my talks used to finish here this used to be right so we can do this and blah blah blah but one of the things that we really started thinking about a lot and it's been workshops on this and if we're running an 8 billion cell high resolution watershed simulation we do the math this is continental scale at still relatively high resolution it's a kilometer resolution and so why aren't we doing this well we decided to do this and this is not a unique idea there's been synthesis workshop that concluded this was important Eric's paper recently came out this is a great charge for high resolution high resolution and land surface modeling is a grand challenge and Eric has the nice this is a figure from the Amazon this is basically complex topography and we see all of the different scales of river networks so the idea is that why shouldn't we do this so this is what we did this summer we built a one kilometer resolution 6.3 million square kilometer power flow model of most of the continental US so we have the entire Mississippi we have the entire Colorado watersheds and really this is it's actually not all that big a problem it's only 158 million unknowns and really well I mean we're regularly running 8 billion so this is orders of magnitude smaller than you know what we could run and this has come online relatively due to a couple new data sets one the Hydro Sheds data set is a fantastic resource for this but the big question for us is always what to populate with the subsurface and Tom Gleason at UBC he's just taking a faculty position published a hydraulic conductivity data set in physical research letters and was kind enough to share this data with us so we could use this to populate our subsurface and so we're solving a fully integrated 3D Richards equation shallow water equations land surface processes all in one shot so this is our soil map this is Tom Gleason's hydraulic conductivity map and if we look at preliminary results these are return flow tests we'll talk more about this this is the whole domain at one kilometer resolution we don't see really any detail at on this particular screen because it doesn't have a resolution to show but if we start to zoom in and we zoom in on the south plat this is the watershed that we sit in right now what we notice is that we see river networks we see the same range of scale of behavior that we see in these high resolution topographic examples that Eric and colleagues had in their WRR paper so this will be the second moment of truth of the video's work we can look at a runoff test over the whole domain so this is a runoff test over the whole domain but we're actually just looking at the south plat so we rain on it then we rain on again we see the domain starts completely dry we impose no explicit river networks everything evolves due to topography so we see the river networks are maintained we see that we get a pretty wide range of behaviors you'd expect and we can zoom in on the junction between the north south plat and Missouri so that's all happening right here this is just the same simulation this is a movie all done with visit by the way which is which is again zoomed in we solve the whole thing at once but we're just sort of zooming in for the movies we see we get pulses of water that move through the channels the channels are behaving properly the entire model is behaving properly and topographically seems pretty reasonable so then we did a couple of return flow tests the return flow tests we essentially set the water table at a uniform depth from the land surface so it's out of equilibrium and then we let the water table converge this is a return flow test we did two one with homogeneous subsurface everywhere and then one with Tom Gleason's heterogeneous subsurface and this is at the end of 2000 hours of return flow tests and we see that we're defining the topographic convergence again hard to see if we don't zoom in but if we start to zoom in we see that we're picking up the groundwater contributions or the base flow contributions to these different networks and we see real cross scale type behavior now if we look at with Gleason's heterogeneous subsurface so we now have in orders of magnitude of parameter variability in subsurface and we zoom in on the same snapshot we see that we have effects of subsurface properties and of topography and if we even zoom in further we start changing scales what we see is that we're getting cross scale behavior we have high perm areas that respond quickly due to topography lower perm areas that respond more slowly and that we're getting some very interesting type of behavior this is just sort of a we're running it now with distributed forcing from the HRL we're spinning it up so now we're forcing it with observed meteorology we have preliminary this is ground temperature and latent heat flux and so far so good things look pretty reasonable so in conclusion I think it's an incredibly exciting time and we have this a lot of real interest in these large scale simulations a lot of interest in coupling models a lot of interest in a lot of action in terms of groups that are developing really nice integrated models and I think it's very exciting and I think that we see these same feedbacks that are historically talked about in the land atmosphere literature also being driven by groundwater and we can tackle these grand challenge problems using in hydrology using integrated models in high performance computing and so you know kind of a parting thought as we increase resolution and think about these big questions we have these big challenges and I think that we really need these innovative solutions so thank you very much for your attention happy to entertain any questions


One week out That is all seven days.  So anyways, it's like 11 o'clock now That was at about seven So I finally dragged myself out of the house. I had some breakfast. I had some Nutri grain and almond milk and I've got some amino energy here. So it's more caffeine pre-workout and I'm gonna go and smash some back So I want to wear something sleeveless today because We get in it we get in lean man One week out for my first show So if I wasn't lean now or lean ash, you know, I'd be in trouble wouldn't I but I only signed up for this show because I thought I'm definitely on track and I May as well get the monkey off my back Have a great time where no one knows me and and then and also like I'll be able to compete in the NZ IFBB the Federation that I follow them the most out of any bodybuilding federation.  So it should all go to plan So Yeah, right now Belts here somewhere a bit of heaven No straps Me The motherfucker today has made it even better. So feeling pretty good right now. I Went to the supermarket away home Got some groceries I'll show you guys. I'm as I'll show you now basically lots of salads Different salad like mixers Got eggs in there We've got chicken breast mushrooms cottage cheese We've also got exfoliator exfoliating body wash Which I've been told to use specifically before I get my tan. So From today, we're gonna be doing that It's not much some Honey roasted mix nuts. They're not as bad as normal honey roasted nuts. They're just they've just got a little bit of flavor on there But yeah, so I'll have those for some fats and This there's only four four grams of carbs per serve 13 grams of fat and usual protein, which is a nuts. So, yeah but That's it So we've got as you can see here. We've got bulk bulk pumpkin cooked that up last night. We've got chicken breast here Boring old chicken and we have about 1.4. No, sorry 2.4 kgs So I'm gonna cook up probably one of those packets and have that throughout today And then half tomorrow and then we'll cook up the next one when I need it. But yeah, I'm pretty much set guys. So That's it one week out. We've got everything sorted got my sups here that I'm using at the moment protein powder Only like two scoops a day maximum just to bump up the protein make something nice to eat Aminos from selicor and Amino energy. I'm using as a pre-workout. So it's got the caffeine in there. So For all my subscribers, you already know that for anyone that's new. Hopefully I'm getting new new viewers That is what's going on one week out from NZ IFBB Wellington Wellington champs and whatever happens I'm just gonna Give my hundred percent this week You know Things are happening Things are happening. I know they are I've never had a tan and you know, I haven't had a full carb up day for weeks and weeks, so Whatever I look like now. I know that on the day of the show I can look That much better. So that gives me a little bit of confidence But yeah Thanks for watching and Right now I'm gonna cook up something for lunch, and then I'm gonna head back out in that car because There is absolutely no point and it's sitting in the driveway, which has been doing for the last few weeks I am starving All I've had today is that Nutri grain And it's about 1.30 in the afternoon so


Talking to Richard School or a man you may know better from motorcycles a few years ago, but in the target. What's the appeal mate? Speed it's a great week away. I've really stuck it up for many many years This because it's a wonderful week out of life and to go and do this sort of stuff Cars wasting petrol tell us about your choice of weapon fairly unpopular now rotaries Well, where the wankers in the rotary, but to be fair. It's actually Growing on me. I really love it. I enjoy the rotary very much when we get it working right Which hasn't been this week, but pretty cool characteristics of these cars have been generally that they lacked talk And you had to have them up in the revs to have sufficient horsepower, but there was plenty there when you got there Kind of sort of the turbo in this character gives it heaps of torque and it really drives off the corner as well We've actually been off the out of the rally for a day and a half now Just a lot of issues going on I've been with a guy in Dunedin called Mike Lynn And he's actually built a lot more torque into the engine through the dyno work that he did yesterday Really looking forward to getting out there with that today You


Hi everyone, in this tutorial, I'm gonna be showing you how to draw a circle in Pygame. In order to do that, I'm gonna import PygameModule and now I'm gonna initialize this PygameModule. Now we need to create the screen of our game. I'm gonna say pygame.display.setMode and I want to create a screen that's gonna have 800 by 600 pixels. Then every game needs to have an infinite loop. I'm gonna create one infinite loop but before that I'm gonna create a variable running which is gonna be set to be true. Now I'm gonna create an infinite loop. I'm gonna say while running, so while this variable is true, we're gonna listen for some events. We're gonna listen for events if someone wants to quit our game. So I'm gonna say for event in pygame.event.get if event.type is equal to pygame.quit. So if someone wants to quit our game, then we're gonna get out from this infinite loop and now our running variable is gonna be false. Okay, I'm gonna fill our display with a color. For example, I'm gonna say that our color is gonna be white. So in this RGB system, we're gonna have 255 for all three colors and now I wanna draw a circle. So I'm gonna say pygame.draw.circle. We're calling this circle function from this draw module and we're gonna provide four arguments. First argument is gonna be where we want to draw this circle. We want to draw our circle on this display. We want to draw it on the screen. So I'm gonna say this first argument is gonna be variable screen. Next variable is gonna be the color of our circle. This color is gonna be RGB again. So I want to have a blue circle. So blue color is gonna have, for example, 200 pixels and red and green is gonna have value zero. Then I want to set coordinates of the center of the circle. Our center of the circle is gonna have coordinates 400 pixels on x-axis and 300 pixels on y-axis and the fourth argument is gonna be the radius of our circle. I'm gonna set it to 100 pixels. Next thing that we need to do is to refresh our display because we have some changes on our display so we want to include new changes to our display. So I'm gonna use flip function. This flip function is gonna update our display and finally I want to quit from this pygame. But before I run it, I notice that I have here a typo. I need to have another parenthesis and let's run this code now. And as you can see here we have our circle created using pygame. That's all in this tutorial, don't forget to subscribe to our channel. See you in the next tutorial. Happy coding.


Hi everyone, Joe for jazby's casebreaks.com coming at you with 2021 panini select baseball six box pick your team number 10 Second half of the case right remember I marked all of these PYT 10 so we know that they're from the same case Here's the print out Here's the list. Thanks for picking your teams everybody. No fillers or anything like that Sean with last spot mojo owes And thanks everyone for making this break happen. I appreciate it Remember at the end of the break if you bought at least two teams You'll get an entry and you'll have a shot at To the top two we'll get a shot at sealed boxes of Select and in the background we got on the Dodgers Baseball Network we got Houston at the Dodger. I think the first time Houston's been here since with Fans so there's quite a bit of booing at the beginning of the game. It's already been an inflatable trash can throw onto the field score scoreless in the top of the third All right Here's the first box, Jorge Ona leads things off and we got Eugenio Suarez 12 out at 25 for the Reds next over And we got a Keegan Aiken Jersey and autograph for Baltimore last spot mojo strikes again 70% of the time last spot mojo hits a hundred percent of time 188 out of 299 for Sean. Oh, it's how to bays up to bed. He's here in it. It's Justin Turner 90 out of 149 and a Jesus Lizardo to 149 for the A's And it'll be Sean M with the A's and Kevin H with the Dodgers We got a Braxton Garrett big rookie Jersey for the fish Patrick for the Marlins It's Trey Turner Silver should be making his debut with the Dodgers later this This week. It was a Cabrera Hayes premiere level Dean Kramer Tri-color Sean Oh has the Pirates Premier level and we got a Daniel Johnson Tri-color relic for the tribe. That'll be for Bennett This is for you 75 out of 99 And we got a Shogo Akiyama five out of 35 autograph We're on to Cincinnati Nick Stover with the Red Legs Good to see Nick at the Nick Stover at the National Have to hang out for a little bit Next box and pick your team 10 Don't think we have any more absolute or absolute. I don't think we have any more select baseball available At least not at the moment But we may get some more later on who knows keep an eye on the website. You ask these case breaks calm All right next box. Good luck. It's Albert a braille silver All-cart ship of course Pavin Smith Premier silver for Nick Stover in the Diamondbacks That's one of the more highly-tied of prospects in that Diamondbacks organization. There's Miguel Rojas To 199 and Luis Camposano Rojas going to Patrick Davis and the Marlins We got Jose Berrios Or Berrios 35 out of 35 Still still twins addition in this set obviously Peter with the twins And we got Andres Jimenez 195 out of 199 This is Cleveland addition That's for the tribe Bennett Cleveland. This is for you Guardians next year There is Alejandro Kirk 104 out of 199 For the bluebirds That's going to be for Sean M Corey seager phenoms Back off the IL And Walker Bueller pitching right now Ball bounces away from him Still three and two to Michael Brantley It's Joey Bart piece of his jersey Gilo, what's up? Sean M with the Giants Joe Adele just got called up recently And we got a William Contreras 79 out of 199 Rookie jersey and autograph for Atlanta Sean O with the Braves with the Bravo's It's a good hit Michael Brantley Mookie bets right here. It looks like Looks like the pictures have faded a little bit And we got a Christian Javier Rookie jersey for the Astros It's a pretty good player there for Peter and the Stroze Next box That's not Michael Brantley. He makes a 1-0 Dodgers or 1-0 Houston Top of the third two outs One on Carlos Correa is 0-1 Right now Still throwing things on the field I think Carlos Correa is a free agent too Corey Seeger, Carlos Correa free agent The door was supposed to be a free agent, but then he was traded and then extended So it could have been a big free agent class For the short stop and it's just Correa and Corey Seeger It'll be interesting to see what the Dodgers do with Corey Seeger Now that they have Trey Turner I guess if they can't come to terms with Corey Seeger, they may let him walk All right next box And we've got a Kyle Tucker lime green to 99 for the Astros Peter Salvador Perez silver Jake Woodard tricolor And we've got an Abraham Toro It's going to go to Peter Dodgers get out of the inning Justin Turner red To 199 Casey Myers piece of his jersey Is Rudy Gay what the jazz needed? Logan's asking Rudy Gay on the jazz? I mean, I think I think that helps. I think the jazz have a great team already If Utah can Can stay can stay healthy And just put it all together. It's a dangerous team The big relic right there Jersey nautograph tricolor Kevin Newman It's for Sean. Oh and the pirates We've got a tie-dye Trevor story Nine out of 20. I thought he'd be traded I like the Mike Conley resize. Oh, yeah Conley re-signed as well and a nice Nico Horner selective autograph Carlos and the Cubs Good-looking card like that parallel. All right, and the Trevor story tie-dye goes to Christopher And the Rockies halfway through this half case break. I think the jazz pretty much have You know have the team Ready to go. They just they just need to put it all together I think that's what it is the pieces are there But they just need to put it all together um, I like the uh I think you guys just added Hassan white side to your team as well And I think I think that could be some important important, uh front court depth And if Mike Conley remember Mike Conley was injured for a lot of that playoffs last year Mike Conley Donovan Mitchell can stay healthy and strong Right. Yeah, exactly. And then And then take your draft pick from this year Hopefully that first that player can Contribute some some solid minutes Sub six man of the year Jordan Clarkson in the mix. It's just a matter of just health and execution And just getting it done But it's hard to say like what like big monster piece could could be Could the jazz really use considering their depth chart and their cap space and all that fun stuff I mean think about all the big player movement here was Demarda Rosen gonna help no Alex Caruso in free agency Lonzo in free agency probably not Probably not needed installing Jeffries 218 out of 299 jersey not a graph Did you really need like mellow getting 10 minutes a game 15 minutes a game? This is a catch-and-shoot guy. You don't really need that either Francisco lindor to 149 So in a way the jazz was they're kind of Not really much. They could really do there's Dylan Carlson tricolor and chris paddock selective cracked ice Autograph Padres Dean were the friars There's Randy ars arania 20 out of 99. I'm trying to think of the other Players or trades or free ages that were out there. It's joey bart tricolor jersey My rivals the Giants Sean M We've got another Abraham Toro piece of his jersey going to the Stroh's Peter It's Joe Adele. He just got called up recently Giancarlo Stan 130 to 199 Kyle Hendricks and JT Real Muto All right two boxes to go Good luck everybody Nice looks like that hockey is getting closer too. Let's knock that out Steve Burt saying it's down to six now Eric Houston saying now he's in on two down to four There's Trevor Rodgers And Keegan-Agan lime green to 99 Sean with the Orioles Yeah, I knew Darvish is Dylan Carlson big piece of his jersey Cardinals Next over with the redbirds Alex Kearlaw rookie silver And William Contreras jersey not a graph 137 out of 299 Yeah, Trevor Rodgers, Miami Marlins pitcher is pretty solid. I think The first couple months He was a NL rookie of the month For at least May and June. I want to say I don't think they've announced the july awards get right Tariq schoolball 30 out of 35 And we got a nick nighter speaking of the marlins Patrick Davis with the fish We've got a Jake Fraley for Seattle Alan Murdoch with the M's Five out of 49 And the hockey sold out nice Thanks, everybody. We'll add that to the schedule a little bit later Hitch Walker viewer. All right. Good luck everybody Final box here in select baseball. Pick your team 10 Hassan Kim Max Scherzer he might make his debut with the Dodgers tomorrow might make a start And there is Jamai Jones tie-dye To 20 16 out of 20 on that one That's for Sean and the Orioles and Tariq schoolball Piece of his jersey going to Bennett and the Tigers It's Gavin Luxe blue And Ian Anderson to 99 Tri-color and relic for the brave Sean Oat 46 out of 99 So we'll see what happens with Gavin Luxe 20 49 With a crowded middle infield And we got a Tanner hawk 164 out of 199 Jersey and autograph a little bit of I don't know what's there Chalk paint rosin something like that That'll be for Boston. Nick Stover and the Red Sox Take a closer look at that when you get this card, Nick Let's see what that looks like We got Anthony Santander to 199 The last bit here. There's a Nick Madrigal Jersey and Otto rookie Jersey not oh Poor Nick Madrigal Madrigal got injured Out for the season And then was traded he went to the Cubs They're not going to see him until next year, but Yeah to the cubs. I guess he doesn't have to really move Stays in the same city This takes a different way to work now All right, there you go, uh, tuesday august 3rd That was 2021 panacea like baseball six box picker team 10 I'm joe for jazby's case breaks.com. Oh, I got a randomizer to do. I'm giving away boxes Two boxes back there. We're going to ship to you sealed to whoever wins them So if you bought at least two teams Let's sort by column a by your first names if you bought at least two teams That gets you an entry just like alan Bennett bought two. That's an entry Carlos bought two. That's an entry. Christopher w bought two. That's an entry Kevin bought two. That's an entry. Nick Stober bought six. That's three entries Basically by an even number of teams half of those become entries in this particular break Patrick got two. That's an entry. Peter got two. That's an entry Sean m got four. That's two entries Sean o Got five Four count for the purpose of the promo. That's two entries Let's gather all those names. There's some new dice There's a blank list right there Let's randomize it Three and a four lucky seven times top two after seven get sealed boxes of 2021 panacea like baseball You can rip it if you want to you can sell it if you want to it's yours. We'll send it to you sealed after seven one two three four five six And seven in final time top two After seven nick stober and chris w Congrats to the both of you. We're gonna get sealed boxes going your way Once again, i'm joe for jazby's case breaks.com and i'll see you next time for the next break. Bye. Bye