Hi everyone, Joe for jaspyscasegreaks.com with break number seven. Jaspy's big hit express series four just dropped today. We're already sold out from seven through 17 already. Ladies and gentlemen, so thank you very much. I think we might be able to do all 30 cases tonight. So keep that momentum up, keep things going folks. Still a lot of big hits remaining as well. Big thanks to these folks right here for getting into the action. Ryan, you get the last spot mojo star next to your name. Brian, you get the rooftop symbol because you won that spot in the previous break. And big thanks to everyone else who got into the action right here. Appreciate it. I think we got everybody in here, Ryan. Let me just double check this list really quick. It's KS. Yeah, I think we're good. Just not a spot check these orders really quick. Maverick, Matt, Jason, Patrick, Kevin, Kevin and then Ryan. All right, perfect. So on track, so this is break seven. Thanks everybody for getting in. There are the teams right here. There are the remaining case numbers right here. Let's roll it, let's randomize it. Hard six, three into three, six the hard way for all three lists. One, two, three, four, five and six. Now if you go hit list in this, you will be part of a hit list promo where you can win a spot in the next break. That'll be in a separate dice roll. All right, so after six, we've got Mark down to Sim. Hard six for the teams. Nice, sixth and final time, there you go. Good luck, White Sox down to the Brooklyn Nets. All right, so I'll show you the list as is, like that. There's the first half and I'll alphabetize by your first names in just a little bit. There's the second half right there, sort by column A, so there's everybody right there. Thanks everyone for getting in. Trade at your own risk too. Remember as we started getting closer to break 30, obviously there's just gonna be some teams that just aren't gonna be, that have already been pulled. So just keep that in mind as well. All right, now, six times for the case numbers. Three, good luck cases. And six, after six times, we've got case 29 for break seven. All right, so I'm gonna pause the video, grab that case when we come back, we'll have the break, stick around. And we're back, no trades. So here's the official printout. If you look at our playlists on our channel or our YouTube channel ladies and gentlemen, you can see all the hits from a series, Big Hit Express series one, two and three. If you wanna go back in time. All right, there's case 29 here in break number seven. Good luck to all of that sticker. All right, a graded card right out of the gate. Bam, wow. Brett Favre, nine, five and 10, one of one. That is awesome. From 2015 National Treasures printing plate, centering a nine, edges, corners, surface a nine, five. How can the edges in the corner? Oh, I guess it's a thicker plate. Anyway, nine, five and 10, one of one, packers. That'll be for the heat, packers and Dodgers combo.  And all aboard the Big Hit Express. Woo-hoo. How many breaks will we do tonight? All 30 of these I hope. Next up is Christian Yellich. Nice, from Gypsy Queen, 15 out of 20. Brew Crew, that'll be for Rob B who has the Magic Niners and Brewers combo, nice one Rob. Next up, graded. There it is, Chad B is Trey Young hunting and there he is, Gemmin 10 from 2018 Revolution. Rookie Trey Young, very nice card. There you go Chad, bam. Not eligible for the Hitless Prom, I'm sorry. Here's the next one, congrats. I'm asking each child to receive, exactly. I mean, I wish it was that easy all the time. But every once in a while it works. Ooh, dual auto, both Celtics, Robert Parish and Kevin McHale, 17 out of 49. Nice, that was in 17, 18 immaculate basketball. Nice, Boston Celtics, that'll go to Daniel with the Celtics, Falcons, Rockies combo. Is Kevin Crouch gonna try a request? Kevin's gonna try Westbrook please, all right. Arthur just wants a bag. We got Donovan Mitchell, nice Donovan Mitchell from 2017 Panini Prison Basketball, Gemmin 10. Nice, Utah, Utah Jazz, that'll be for SKS. There you go. Dom's gonna request a Zion. There's another Zion out there, at least. We haven't seen the Celsius Zion yet. We've got a Marvin Bagley III, 2018 Rookie Marvin Bagley, Silver, Gemmin 10, that's strong. It's got a lot of upside. Sacramento Kings, that'll be for Patrick. Patrick Evans with that one, couple more to go. We got Baseball, yeah, ooh. I've heard of this guy. From 2001, Upper Deck legend's legendary lumber autographs, the kid, Ken Griffey Jr. Nine fives on the centering edges and surface, corners are a nine, and his autograph, a 10. Since then, yeah, what are they? Is it a game used bat? Yeah, game used bat card. I don't know where that comes from, but I guess his bat has the stitching of a baseball on it. They slice that out and popped it into this. Reds, that's really cool. Cincinnati Reds, that goes to Brian Peebles. The streak is broken, Brian, with the spot that he won from the previous break. Timberwolves, Vikings, Reds combo, nice. Is that a, Sean's saying that they heat printed that wood, and the last one is Lamar Jackson. That's pretty cool, and that scope pattern that is 18 out of 25 from a national VIP pack from 2019. Excellent, who's got the Ravens, the purple birds? That goes to Jeremy, with the Raptors Ravens combo. And there you have it, ladies and gentlemen. There you go, Brian, yeah, we got him. We got, first of many, I hope, Brian. All right, now, apologies to those that did not hit. It sucks, I know. It's never a good feeling, but we do have a hit list promo in each break. We take all the hit list names. We, oh, that was from the previous break. That was the Brian's winning spot right there. New list, new dice. Let's get everyone's names in here. Let's clear out all the blank lines. And then we're gonna roll the dice. Randomize X amount of times. And the name on top, after 11, name on top after 11, we'll get a free spot in the very next break. All right, good luck. One, two, three, four, five, six, seven. And 11 the final time. So after 11, congrats to, and thanks everyone for getting in. Congrats to Tommy. Wow, Tommy bought two spots, got a hit with one, the Brett Favre one of one, and then wins a spot in the next break. Sometimes that's how the cookie crumbles. Congrats, Tommy. Thanks, everyone. I'll see you next time, jaspyscasebreaks.com.


Hi, welcome to another question of the month video. This time I will deal with the questions that were asked by our YouTube channel community in April 2013 and as usual the answers will be presented using the active board behind me whose content you can download via the e-lecture library on the Virtual Linguistics Campus. Here is the first problem which consists of two parts. The first is about regressive assimilation and the second about assimilation in general. Well, the first question is relatively simple. It is true that in 10 coins and in in case we have the same phenomenon, regressive assimilation, where an alveolar nasal is influenced by the consonant that follows, in this case a velanasal and under the influence of this phoneme it is assimilated to a velanasal. So in both cases we have the same phenomenon. Well at the second question, which is about phonemic transcription, my advice is be careful. In an exercise where you have to convert orthographical text into phonemes, my advice is pretty clear. Don't transcribe assimilation effects. They are optional and only constitute sources for additional transcription errors. Assimilation is optional, so you don't have to use it in transcription. However, if you have to transcribe what you hear, that is audio data, and if you clearly hear that someone says 10 coins and not 10 coins, then you have to transcribe what you hear as long as you use a legitimate phoneme of the language. By the way, in this comment you do not have to feel sorry or you don't have to apologize when you want a problem to be solved. No, you are welcome. All questions will be answered as well as possible. Here is another problem. His teutonic vowel sounds betrayed him. Also the subject from Detroit really did not have a pronounced northern city shift. Well, this question, which was asked or this comment, which was made in the context of English in North America. Well, I don't think that we were betrayed. Our speaker, Dan, uses many features of the northern city shift. And since Michigan is really a big state with roughly these borders here, it is likely that there are different cases as compared with Dan, who comes from Detroit down in the south. So we would be more than glad to investigate the dialect spoken in northern Michigan. If you know of any Yupa who would be willing to provide audio recordings of their dialect, please refer them to us. Here is a morphological phenomenon. Salu, merci pour les leçons. Are you sure that about about Bukku Bukku? Well, here the similarity between Bukku Bukku and French Bukku is only accidental. Indonesian Bukku, which is clearly a long word from present-day English book, can be traced back to proto-Germanic Buk. It has no connection or relationship to French Bukku, which was derived from old French Biakko, literally beautiful hit. So the relationship about which this user speculated is entirely accidental. Well, another user still can't get the difference between sense and reference. In our videos, we tried our best to explain these differences. Well, if it's not clear, maybe this explanation helps. We can think of reference as a lexemes relationship to real-world things and of sense as a relationship of a lexeme with other lexemes. Well, and this may be may be different across languages. For example, two lexemes may refer to the same real-world object or concept, or the sense of one lexeme may combine two real-world references. One example of this may be found when we compare the English and French words for sheep and mutton. While English uses two different lexemes to describe the animal and its meat in the culinary sense, French uses one lexeme to refer to them both, mutton. Here we can see the difference between reference and sense, as well as an example of how languages divide up the real world in different ways. By the way, further details can be found in our e-lecture Words Semantics, where both reference and sense are compared. In the historical video, the old English period, we didn't mention Manx as another Celtic language. So why didn't we do that? Well, we know that Manx is, in fact, a Celtic language. If you want details, it's in the Gaudelic branch of the Celtic languages alongside Scottish Gaelic. And as our user correctly pointed out, it is spoken on the Isle of Man. But the last native speaker died in the 1970s, so the language is officially considered extinct. This is why we did not list it among the living Celtic languages. Today, and many people know that, a small percentage of the population on the Isle of Man, however, does speak the language fluently. And considerable effort has been made to revive the language. An interesting comment was posted in conjunction with the e-lecture linguistics in the 21st century. Well, here the user mentions Postigio's net linguistics publication. In such a case, we can only say thank you for bringing new ideas up. In this case, Santiago Postigio's work. And we can only say it was not used in the development of the content, but we will take it into consideration for future productions involving this topic. In fact, this may happen more than once. Our viewers might think, why did they not include the work of, well, here are three big guns. Do you know? Lamp's stratificational theory. Have you come across Fillmore's early treatment of deep case resulting in case grammar or Lakoff's neural theory of language? Well, these three well-known linguists should indicate that we cannot include all possible approaches in our e-lectures. We have to simplify for deductic reasons. Well, and if you study with us, we still have the virtual sessions on the virtual linguistics campus. And last but not least, we have our in-class meetings and there such additional topics will be treated. Let's now turn our attention to some general phenomena. Well, the first concerns our MOOC application. Most of you know that we have applied for a massive open online course production competition with our proposal, teaching English as a foreign language part one pronunciation. Whether we receive financial support or not, I would like to express my gratitude to all of you. The way you have been supporting us by means of positive clicks and wonderful comments is fantastic. Here are two out of several dozens of wonderful comments. This user says it's really a great idea. People are wasting their time watching the Gangnam style while you guys are trying to educate people. Well, thank you. We are really trying very hard. And the second comment, excellent stuff, the material produced by the virtual linguistics campuses of a very high standard and MOOCs are wonderful. Put the two together and you have a winning formula. Well, whether we win or not, meanwhile, the MOOC application video teaching English as a foreign language has become the video with the highest percentage of approvals in our channel. Even though it looks unlikely that we will be chosen for financial support, I would like to thank you for your motivating and encouraging comments. Well, here is another interesting comment or question. Some of you have asked for literature references in our videos. Our policy here is quite straightforward. We do not list references in a video. You would have to pause. You would have to identify the reference and then eventually go to the library and copy everything. On the virtual linguistics campus, however, literature references are provided and in fact, we do it in three ways. On the one hand, we have specific references in the virtual sessions. Then we provide a list of class related references. And last but not least, we have the VLC library. So let's look at all of them. Here is the virtual session generative grammar and on its start side, you see the basic references that were used in the production of the content of this virtual session. For example, we took chapter one of the book by Andrew Carney. Well, and as you can see here, it's a book about syntax, a generative introduction and further details can be found in this pop-up window. The second possibility can be found on each class start side where you have a link bibliography and a click on this link gives you a list of all those books and articles that were used in the creation of the content of this particular class. Well, at last but not least, we have the library on the virtual linguistics campus, where the main and most fundamental books for the main branches of theoretical linguistics and of some branches of applied linguistics are listed and can be accessed via mouse click. And again, you find all the references in a special window. So unlike in a video where once recorded, the references are permanent, in all the cases on the virtual linguistics campus, we can easily update the references when necessary. So become a member of the virtual linguistics campus community, and then you have all the references you need. Let me now become a little bit more official. Within one year, we have had more than 500 comments. The vast majority of these comments are wonderful suggestions, well argued criticisms and highly motivating comments. Yet a very small minority of comments were either written in languages other than English, and that's not accessible to the majority of our viewers. Or they were offensive in one way or another. We at the virtual linguistics campus make a strong effort to read each and every comment and respond to those which we feel require an answer or explanation like I'm doing right now. We appreciate all praise, suggestions and constructive criticism. If possible, however, present any comments or questions in English. We would like to maintain as professional and academic and environment as possible, and therefore ask users to avoid inappropriate language. So inappropriate and disrespectful comments may be ignored and in some cases even deleted. Well, and finally, one user wants to know all the details about my personal accent. Well, as far as my German is concerned, I come from Hanover, where I spent the first 30 years of my life. So I have been using a phonologically relatively neutral dialect. But it became influenced by the fact that I stayed in North Rhine Westphalia for seven years. And now, having been in Marburg for the past 20 years. Well, I still use this relatively neutral German accent with some Rhineland features, but it is relatively neutral with no Hessian influences. My English is more or less British in character and was influenced by two local dialects. The first one is Southern. It is, well, if you want to call it some sort of Barkshire influence, where I spent two years at the University of Reading. And the second influence comes from the North, from Leeds, where I spent one year at the University of Leeds. So it's to some extent some sort of mixture. And you can hear some vowels are a little bit northern in quality. Okay, does that solve your problems? I hope so. Hence, as usual, in our questions of the month videos, let me finally thank all our subscribers and users. We are overwhelmed with comments like these, which are especially motivating. Where can I press the like it button at least 100 times? A great video and a great explanation you have solved all my doubts. Thanks again. So see you again in the next questions of the month video or in any of our e-lectures. We will continue trying hard to produce top class linguistic videos. So again, thanks to all of you.


Well, good morning. This is Admiral Rick Breckenridge coming to you from the Chinfo Studios here at the Pentagon. I'm the Director of Undersea Warfare, and we started a dialogue the last time we were together about our undersea forces. We specifically talked about our ballistic missile force, our SSBNs, or our boomers. And just the important work they're doing for our national security day in and day out in their alert patrols in the Atlantic and the Pacific. Today I want to talk to you about an interesting question. How many do we need? How many SSBNs? What's the minimum essential number we need as a nation to do national security right? To protect our country from a homeland attack, from an adversary, and also to reassure our allies that they are also protected underneath our umbrella. So, you know, you might recall the days in the 60s and 70s, we had 41 SSBNs, 41 dual-crewed SSBNs out on alert patrols conducting that strategic deterrent mission. That ended up transitioning to the Ohio class. Initially planned to be a 24 ship class, we actually built 18 SSBNs to replace the 41. In the early 2000s we reduced that force to 14 SSBNs. Blue and Gold Crew, 14 SSBNs, 60-40 split between the Pacific and the Atlantic. And so the question comes today as we get ready to recapitalize that SSBN class. Right now we're in the beginning of the design effort to develop a brand new SSBN that can conduct that important mission for our country. The question is how many? How low can we go? And it's a hot day here in DC. We were going to do this outside, but the temperatures outside are sort of in the hundreds. Well, the heat inside the Pentagon right now is probably just as bad. With sequestration and the fiscal crisis and the budgetary impacts on the DOD top line, there's a lot of folks looking at how low we can go with the SSBN force. And I'm here today to tell you that I've written a blog to address this question. And it really is simply a matter of geography. We in the United States of America are an island nation with a good buffer between us and our adversaries, the Atlantic and the Pacific Ocean. And for us to be able to conduct two ocean strategic deterrence requires a bare minimum number of SSBNs of a force of 12. And so there's two important points for you to know of how strategic deterrence works. The first is those SSBNs have to be invincible. They have to be survivable at sea. The adversary can't find them, hidden and unable to be detected. And second is they have to be within range of targets of that matter to the adversary that we can hold at risk to dissuade or deter them from ever considering attacking it's the homeland. Well, geography requires that 60-40 split of our SSBN force a few more in the Pacific than the Atlantic to be able to meet those two criteria for our nation's defense. And so 12 SSBNs of the Ohio replacement class will provide a guaranteed 10 minimum operational SSBNs that are ready to go out day in and day out and do those deterrent patrols. And although other numbers come down, we came down from 41 to 18 to 14, now we're going to go to 12, this is the floor. Even as the number of warheads continue to come down in our nation's arsenal, the number of SSBNs are going to remain at this constant because that's how much you need to do the geography, to do the math of strategic deterrence. So I ask you to go ahead and read my article and we'll continue to keep this dialogue going on our undersea force and how it's providing security for our country. Thanks very much.


Ah, dude, owning, owning. Okay, guys, oh, okay, today, today is the last and final Nax raid for the end of classic right before Burning Crusade comes out, the Burning Crusade pre-patch. It's a little bit bittersweet. I'm very excited for Burning Crusade, I am. Dude, the last raid. Last raid, dude. It is the last last last raid. Final Nax. The end of high school, dude. Yeah, dude, it's the last year of high school. Chat, you know they did a story about me in my high school about me playing WoW and they exaggerated everything because I played so much WoW and I was good at ballad and all this stuff and people knew me, they knew that I played WoW.  I wish I could go find it. It was something about how could one man have over a thousand days of played time and he like, he mapped it like a 24,000 hours playing the game. It wasn't even true, he just lied. I'm like, no, I didn't play the game. The game, it's impossible to play the game this much. We are going all pump, no dump, old school, pushing it to the limit tonight. Oh, okay. We got our consumes, we got our world buffs booned. We're ready to go. I will probably boon and unboon and re-boon. I'm gonna cheese it a little bit. I'm gonna log out in between some of the trash at some points. This is the last raid. I wanna see how long we can keep it rolling. I don't have War Chiefs, that's the only one that I don't have. People said you can't get War Chiefs in 2.0, but some people said they were getting it but it was just too hard to get it and it was a problem, so whatever. Is our might person doing improved might? No, I thought I'd been trying to save the last one. Oh, I was out of this, I was talking. Wow, I was muted, talking to Jaffer a little bit. Uh-huh. This is the damage meters that tonight, overall damage, by the way. I only had one hand out of my keyboard. The Wind Buries. Oh my gosh. There, the Wind Buries. The Wind Buries, insane, man. Yeah, actually full base, basically. I mean, virtually, right? Not really, that was circle, you know what I mean? So, Paladins were known to not do very good damage prior to running Crusade and they don't do that much consistent damage. They're not very good at PVE. But in PVE, or sorry, PVP, excuse me, oh my gosh. The damage they do in POP is actually insane. Like big burst damage, all that stuff. Now that Burning Crusade is coming out, you get Crusader Strike. They change up your talents a whole lot to where they fix some of your mana issues, some of your raid benefits, like improve Seal of the Crusader, is like a really big deal. Everybody in your raid can have a chance to, there's a 3% higher chance that they get a critical strike. So, all melee, all casters, it's a massive damage buff. Probably one of the biggest damage buffs there is. 2% more damage to everybody in your group with Sanctity Ore, which is nice because before it only did holy damage which didn't help anybody else. Yeah, but we know he's crimped, right? It's not surprising. He runs around in stone with his shirt on. Dude, imagine if I had a War Chiefs. I still, I'm still missing one bot, technically. Turn back while there's still time. Hellstone. Oh, last stand, 69.  We're just melting everything. Oh, I forgot to unboon for this one. All right, let me know where we're going. Wait, watch out, cocked. Are you dropping? I'm on the road. Oh, frick, I got seven. I was gonna unboon. Still seven though. Yeah, that was no world buffs. Still, they're pretty good. I'll do world buffs for the next one and I'm gonna start logging out in between to like maximize the amount of time I have with world buffs.   Like I hit so hard right now.  I'm like one shot at these. Why have we been long enough? Now you face the harvester of souls. Big damage. Are you seal twisting barely? There was like only a couple opportunities to seal twist. Big, big damage there. Big dips. Big dips, man. No one will ever let them come. Okay, you guys ready to unboon? I'm gonna unboon and then re-boon. Will S-Fan be top melee damage on four horsemen? I'm so glad I did. I'm so happy I didn't unboon. Both your corner, your spots. I guess I'm gonna make it one shot. Yeah, I was gonna get a mark because I knew I was gonna take 5,000 damage there. Frick, hey, saved. I didn't unboon. Saved, I didn't unboon. Top melee. Oh, Shirok's back in. No, no, no. And believers. Believers, top melee, good. Very good, number six overall. Very good. Very good, believers. Yes, top melee damage on four horsemen. Let's clear this. Yeah, you were loud last week. That's so weird. Yeah. I'm not touching my mic settings like that at all. Okay, so you have a different mic. Okay, so maybe that's why. But I've had that mic. That's the mic I use. I can help you with it later if you want. It's so weird because I literally was like at a discord call before this and he sounded fine. Wait, why is that a weird thing to say? Charged improvement. That is our HR improvement. GZOTK won. That's what you did, what? Oh yeah, HR would be nice for a TK. Good idea. Yeah, let me run it. Maybe for Dick, yeah. Yeah, no, we'll have to interview Deputy first. Oh, he'd be a great kid. Yes, fans. Or Phil, Phil, Phil, Phil. Oh, jeez. Damage, dude, I swear. The burst, when you get a bat when you're prog and it just, get top damage. Yeah, the damage. Yes or no? Okay, here we go, chatting. Five, four, three. Yes, run, it makes the blood pump faster.  It's a big damage loss. Bro, why is he making so much noise? He's really loud. He's a hard boy. What's the noise? Here again, intervene. I hear nothing. It's so loud. I can't even focus. It's so annoying. Why does Blizzard break everything? Blizzard, stop screaming at me. Bitch, nice. Here we go. Go to Kevin's time. Nice, and we got Nazis, everything's not this. Nice, believers, dude. Keep boonin', boonin', boonin', boonin', keep boonin', boonin', boonin', boonin', keep rollin', rollin', rollin', rollin'. Dude, top damage so far. Dips. Get those people on the line. Nice, nice, dude. Dude. We'll only take everyone's step closer. Just absolutely ripping, dude. Never there's gonna be... All right, let's go hand guards. Oh, baby. We should watch this. We should watch this. Come gather round and listen to my tale friends.  They say he's a hero of Stormwind. Well, I've been, my name is El. I need, I need the ego boost. I need the ego boost. It's just so good. It's actually so good. Can't hear you? I'm deaf and I'm jamming. Nice. Actually so good. Yeah, Whooping and Jay the Bard made this. It's so good, dude. Making a mistake. It's actually good. It's actually good. What, am I, hold on, am I biased and I think this is good because it's about me? Am I wrong? I think this is so good. I think this is actually so good. I think you made a mistake with your title. You accidentally put ret and massive DPS in the same sentence. You made a mistake with your mouth.  Hello?  That is how he talks to all sexual members. There's no sex cult. Okay, I actually need to log in. You know, if you got that today, should be aware. Yeah, just be aware. I ain't real. Wait, is this the ginger? Yeah, that definitely wasn't me because I ain't, hell, I ain't been on duty. You didn't run over a ginger. Nah, I wish I did. He was in a wheelchair out front. Yeah, he said an hour ago he was on strawberry and a cop ran him over. Oh, hell, he was lying. Because I've been sitting here for the name of three hours. So, yeah, he's, listen. You've been here every time I've looked. Yeah, here. Anybody ever complains about me?  Okay, I believe it. Yeah, that's typically how it goes. All right, good luck. Absolutely, thank you. Hey, cow, dude. What the frick? Dude, I was in a conversation, dude. I don't even know how I was able to hold that conversation. What the frick? He was at that moment. Absolutely owning. I'm gonna miss this. Dude, I wish this lasted for a whole month.  Okay, let's see. End of dreams? End of dreams, believers. No way. Believers. End of dreams, drops. That's like one of the last things that I needed out of it. Oh my gosh. Dude, I think I just hit for like 12k. How much was that? Okay, four. This fan has next threat. I'm just putting a sword on board so I don't die. Oh, absolutely. Okay, watch the ads. Ripping. Ripping the damage, dude. This is nuts. 1.4k damage on flute. Clarity shift, watch. Positives are on circle. Positives are on circle. Outstorned. Pay attention. Keep me alive. Resist. Positives are on circle. Positives are on boom. Okay, yes. Go, go, go. Big damage. Keep it up. Keep it up. Yes. No. I lost. Oh, executes. Oh, that was so... That was amazing. Oh, that was amazing. That was amazing. What did I... So now, like, I think we stay in combat a while after. What... Did I hit... Did I hit 3k? I saw I was at 2.8k DPS. I got two dodges at the end. I... dude.  That was so scary. That was so... That was so scary. That was so scary. I did not get top three. I got screwed. I got screwed because I had to... I did two run backs. So my other trinket is going to be up. Look at my mana, by the way, because there's so much raid damage that goes out on this fight. My mana is super high, and it basically is like, I'm not going to use my other trinket yet. Okay, don't go to that first ice block. Do not go to that first ice block. Okay, we lost two ice blocks. Can we battle us? I got to re-incarnate, just be ready. Yeah, heal us. Pay attention, heal me so I don't die. Hit the re-incarnate, and then heal. Hello? You? You all don't need to focus on one person getting red. Ooh, non-saffron. Look at that, dude. Woo! Wow.  What a way to finish. Number one damage on Saffron. What a way to finish. Doubters getting... Dumpstered. These are the rest of the adds we have to deal with. Don't get hit. Hello? Watch your spacing. Look, Lila, get interrupts. CC or Ruhas, don't kill them. I can't believe I said watch your spacing. Please don't. Oh, my God.  Who killed the Ruhas? Can we get a battle res on Ruhas? Yeah, I have the boss right now. CC people. The adds are coming. Get interrupts. What's your spacing on the... I got this one, I got this one. Kill those... No! No! Can we get a battle res? No! You can't bubble, you can't bubble. Go kick these up. Could approve, yeah. I'm still second. I died when he was at 30%. 1%. I don't know, like... Dude, I still... I die at 30% and still get top 5 damage. Owning, dude. That was insane. That was nuts. Dude, the final nags. Not a bad raid. Not a bad night. Guys... Guys, for real, it is completely insane. It is completely insane to think about, what has happened in the last almost 2 years now. What is it, 21 months? 22 months? Since the beginning of Classic Launch. Everything that went into it before that. I know some of you guys are new to Classic, or new to WoW. Some of you guys have been around for a long time and played on Private Servers for years and played WoW for years, not playing on Private Servers, waiting for Classic. To see everything that people have wanted, and they've basically been begging for, for years and years and years, not only finally happened, but to go through the entire first cycle of an official Classic legacy server, whatever, is really, really cool. Like, it's finally over. And it's kind of bittersweet, right? I know a lot of us are excited about Burning Crusade and everything else that's coming, and Tonight was fun and all that, but it's kind of crazy to have gone through all that. And for real, this raid, the whole guild, right? Not everybody is here, but we've made friends throughout the entire guild and everything else, and it's just been so cool. And I couldn't have imagined everything turning out better than it has with everybody that I personally have gotten a chance to play with, and the other officers, the other leaders, and just from top to bottom. So it has been a really, really, really special time, and I'm really, really glad that we all got to share that together. So just all memes, and I know it's like, oh, silly fun times, and S-Fan and this and that, but I genuinely mean that. It has been an incredible, incredible experience, and I cannot wait for Burning Crusade and how it's going to shake out from here forward with all things considered. So thank you guys for joining Crusade and playing with me and making friends with each other and listening to the officers, and obviously the officers, thank you guys, the leaders, thank you guys for stepping up and if you guys know, if you guys have been in the guild for a long time and we got some guys who were even new throughout the course of the guild, you guys know I was pulling my hair out for like six months, so it was bad for a while, and to be really the only streamer guild that has not only weathered the storm, but to just blow every expectation out of the water, I genuinely think this is the best guild to be in.  I care about people.  I care about people and having a good time and I could not have imagined this thing being better than it has and it takes everybody to be a part of that. So genuinely, like, thank you guys so much. It means a lot to me. I love you, brother. Yeah, and I just want to say too, there is going to be some changes. Like, the sad thing about this game is that Crusade, or not Crusade, it's our classic, goes from like a 40-man raid into a TBC 25-man content and as much as we want to make that, like, not very painful, the reality is we're taking a 40-man group into a 25-man group, but I don't really want people to feel dismayed or feel like they don't really have a place, because I feel like we're going to have a lot of pug groups in the guild and a lot of opportunity and who knows where phase one's going to go. So when we do eventually kind of, like, release the 25-man roster if you're not on it, or I would say just give it time, unless you actually, you know, you have a calling and you want to go another guild, which is fine, I understand.  So I think we'll have a lot of carapugs and a lot of groups and I don't want people to feel like that's kind of it, right? Like, I don't know. I have no beef or anything with anyone. Like, as long as people like, you know, if they decide they, you know, maybe don't want to be in the guild or anything anymore, as long as you do it the right way, I don't have no beef with anybody. I've got no issues. I don't think a whole lot of people want to leave. I know sometimes just the way things shake out. I'll be honest. I don't even know if I'll be in this raid. Um, like, exactly. Like, we literally just don't know yet how everything is going to shake out. Uh, no, it's good. Your Clovers, can you scoot back? Okay, everybody just smiled, cheese, very good. Having the right kind of people in a guild, not just running it, but as a part of the guild, is the reason why things function the way they do.  So it really is like a group team effort. It's a really, really big deal. So I think everybody in the guild should be proud of that.


For the first week of me playing wrath, I was doing my twos game and everything. I was playing with the level 70 Yeah, drink it that I got when I boosted my character That's and with that you couldn't drink it's out. And so I thought in wrath you can never drink it sounds Like blanket seat in wrath. You can't drink it silence. What I just drink it. Oh, no, you did not me. No, you didn't How did I get out of I just spelled it? Oh my god.  We can keep we can keep By the way, we're gamers. I remember more days. They were good Do rough plus easy rough plus Okay, so we can either go mage or rogue Yeah, it depends if they go you I Might get sapped. I think the rug is back here somewhere When he rebuffs his cross barrier if you can get it again We can we can send this mage with blind on the priest Okay, we can actually we can go on him. I can blind pray spelling mage. Go go Am I just killing I just pull Listen Ziko was playing with TVC barrier the first week is like everything's one showing him. We still barely got like 2.2 The next week we're playing in kids. He's not dying. I'm like what happened and then chat snitch He was playing with rank sits aka TVC barrier That's it say exactly what you just said again About the trinket say everything you just said say exactly same again. Yeah, drink it that I got My character In the rough you can't drink it sounds No, you don't I just spelled it Like I just heard that and then PS start talking and then in back in my brain.  I didn't DR.  That's all I have to say Okay, let's be more respectful now. I guess That wasn't respectful Nice you got trinket Burning panel God I'm gonna charge me How's them? I'm in hand. I'm trying to water later. They charge as well. That's one button pull mana Maybe I can get it resist resist Got it. If you fear we can get his bubble Maybe I get a hint. No, I can't worry stuff for me Can you dispel the war? Yeah, don't you know? I Love it got the ball Yeah, run I'm gonna poke here dessert before all dogs I've had thing. Oh, I got hard one second. You can get anything on panorak if they're yeah He missed kick.   I can buff to gain common. Oh, right Sure, right No Yeah, he's he's I'm gonna get fear.  Yeah, we'll it kidding me. He's done. I can burn No, guys me guys me. He's gonna burn. What's a? MCMC. Oh, he's Can you get it? No, I can Okay, don't don't lie me on the top. This is why I'm just gonna hit me. It's all fine I can't get any pro. Oh, you're dead. You're dead. You're dead. You might do that Don't lie me. Okay.  Yeah I'll go out in here dodge. I Yeah, I have not landed the single this is insane.  I just do it just do it Actually, please assume he stopped MC. Yeah No, thank you, bro. Yeah, please gonna drink it gets himself. I'm drinking still drinking Yeah Still thinking he's handling He has dance in 15. Yeah, just send damage did pretty soon. Yeah. I am got clothes. We've got clothes. He has dance kept rogue Can you stop priests? He's drinking? Yeah, I can He's gonna dance now. I miss he does fit. I dodged everyone No, you're fine. Maybe not maybe not Cheap show me Okay, it was defensive dance We're fine.  See what's happening nice Just kill him. I'm all in. Yeah He has no clue He does not Trinket I'll let him waste his damage. Yeah Nice. Just kill him now. I'll kill him. I can't kill him.


We are the caretakers of each other's health, each other's well-being, whether we like it or not, whether we believe it or not. It doesn't matter whether we believe it, it doesn't matter whether we like it. It's not my job to tell someone what to do with that. But what I will say is that while you are free to do and say, for the most part, you know, there are some restrictions, mostly what you want, you are not free from the consequences of what you say and do. And our niche construction for other people, you're influencing other people who will be influencing you one way or another. But you know, what you make of that, that's for you to figure out.


We might be entering a point here where it's the last week or so where Chet Holmgren's not the favorite. The game he had last night, hitting the game tying three pointer off of movement against the Warriors on the road. I felt like it was like a cherry on top of what was his best game of the entire season. 30 plus points, continues to dominate on defense. You can say in a vacuum that Wemby is more talented than Chet, but he has a far worse situation with San Antonio. Chet is on a winning team. OKC is for real, and Chet Holmgren is the best rookie on one of the best young teams in the league. So plus 250 for Chet. This could be the last week where he's not the favorite. And if you really want to go with a guy who's a little bit off the radar at the moment in terms of the gambling odds, Brandon Miller at plus 4,000 right now, 29 points last night. His usage is ticking up. If you're betting against Chet and against Wemby, I think Miller's scoring could be a good bet. Plus he's been really good defensively to individually.


what is going on what's up everybody it's Wednesday and that means tomorrow's Thursday and that means the day after that is Friday and that's the day I'd fly to Bali so this just so happens to be the first clip of the Bali vlog we've got washing on we've cleaned the car this morning you know you know what I like to do before I go away on a holiday I like to get everything in order I like to get the house cleaned I like the car cleaned I like food in the freezer for when I get back all my clothes clean up on hangers everything done and that's that's how I like to start the holiday in the best mindset possible because that means you can go completely stress-free you don't have to worry about anything when you get back except for going to work because the last thing you want to do is get back to an until fucking messy house no food in the fridge you got to go to the supermarket first thing it's like that's the last thing you want especially because of the fact that we're driving up to Darwin and back so Alice brings to Darwin is 1500 kilometers the plan as it stands at the moment is leaving Alice brings at four in the morning tomorrow getting to Catherine which is 1200 k's away to stay for the night then on Friday morning we leave Catherine go to Darwin get there about lunchtime have the whole day in Darwin to chill out do some cool things and then we fly out at 11 20 at night so we need to be at the airport about 9 o'clock so that is the plan guys and I can't fucking wait so first things first I got to I could find my passport I should just message my sister and made sure that it was there although she's not at home so she can't check for me so right now I don't actually know exactly where my passport is but I'm sure I'm sure we'll be fine so if not you'll hear about it but all going to plan guys all going to plan I am just gonna chill out for the rest of the day I've got one last training session with Dylan tonight we're gonna make it a leg session it's the perfect way to end the time that we've spent together it's the perfect way to end this training you know block that we've done and it's the perfect way to start your fucking holiday knowing that you just smashed some leaks the night before so that's the plan I'm gonna keep packing my bag this is all we got so far we've got we've got basically a whole selection of singlets and t-shirts we've got shorts we've got shoes we've got my outfit for tomorrow and we've got some hats and basically guys this is all going to be magically transformed into a nice neat and tidy suitcase full of stuff to go to Bali as well as that we've got the essentials over here the electronic essentials we've got the computer charges everywhere we've got DJI fucking charger I've been charging up the batteries for the drone I've got that I've got my camera camera bag we've got the fucking GoPro mate we're all set we are all set so with that being said come outside now and as per usual it's an absolute stunner of a day which I shall show you right now so that is that guys we're nearly out of here it's been a long time coming I've been looking forward to this for about four months those of you who don't go traveling a lot well you probably live in a more exciting place than I do you see you live up here it's all relative guys you might earn a little bit more here but you've got to fucking spend it on traveling to keep saying and that's what I'm doing so anyways as far as I said I'll see you guys right nearly in the morning four o'clock or they're about knowing me it's probably knowing me it's probably gonna be about 4 30 not four which will stress my sister out to the max but who cares because honestly I'm in holiday mode right now I don't want to be stressed I've already said to them once we get on that plane there is no stress allowed and that's the rule peace all right everybody what is going on it's about four o'clock in the afternoon we're progressing our procrastination has happened but I have gone to the gym and trained which is good so we got that leg session out of the way and I'm feeling fantastic for that what I thought I'd show you guys before I pack it up is what food I'm gonna take with me so the drive from Alice to Darwin it's 15 hours it's 1500 kilometers and so this is the shit that I've got to take with me I'm planning on continuing the diet until at least I get to Bali so with that in mind we've got a Mars protein bar which I've never tried before what are the macros we're looking at 19 grams of protein 22 carb and 4.6 grams of fat if that's not good then there's something wrong although I do have a sneaky suspicion it's gonna taste just like any other protein bar but do I have some news for you this one has definitely been somewhat of a staple throughout my little mini cut that I've been doing so honestly these would have to be the closest thing to a Twix bar that you're ever gonna get out of a protein bar and the macros are for two little chocolate bars we've got 22 grams of protein 7 grams of fat and 6 grams of carbs so as far as the macros go this one shits all over that and I think it's gonna shit all over it as far as taste as well so if you see these guys in Australian supermarkets try and get them on special but if not definitely give it a go I have to recommend them as well as that we've got two core meals hopefully I'm gonna be able to find a microwave on the way two old school meals which is Portuguese chicken breast sweet potato mash and green beans macros on these we're looking at about 1420 kilojoules which is probably about 350 calories 44 grams of protein 6 grams of fat and 24 grams of carbs so I'll be having two of those so we got the drinks we've got the diet coats most likely energy drinks will be happening as well and last but not least we've got these which has also been somewhat of a staple recently so usually I would be going for your your Chabbani Greek yogurt which as you guys know is extremely high in protein but it's also quite high in sugar it's really low in fat but it's high in sugar so this one is slightly better macros we've got 15.2 grams of protein no fat and 7.4 grams of carbs as as opposed to and it's flavored the Chabbani yogurt is similar macros but it's not flavored so you've got to add something in there to flavor it which is going to add calories add carbs etc so these have been fantastic so that is pretty much it I'm just continuing I'm just basically taking a days worth of normal food with me but anyways guys in other news let me show you my my bedroom that is in a slightly more respectable state now we've got the drone which unfortunately guys did not make it through the last transit in one piece and yes that is a piece of the drone you can see right there so unfortunately I have to either carry on me or if I want it to go on the plane I've got to put heat to take around it so I'll probably do that we've got the suitcase all done all done on dusters and here's Dylan's bed which he will be sleeping on for the next four nights so Dylan if you're seeing this mate enjoy enjoy the house to yourself I trust you so it's all good that's that's pretty much it and all I've got to say is I'm fucking stoked I cannot wait to be jumping in my car at five in the morning and going as fast as I can north to Darwin I love Alice Springs but like I've mentioned before to keep your sanity you really need to go traveling and that's what we're gonna do I know I said before I'll be seeing you guys on the road in the morning but now I really will so everything's done I'm feeling good I've got my passport we're good to go I'll see you in the morning


20 minutes left. I thought I'd open it up to questions. We'll start back here. Hi, Lisa Adkins with the Bluegrass Community Foundation in Lexington, Kentucky. I know I'm not the only community foundation with McClatchy newspapers in the room that aren't in California. And so the question is, we've already co-funded a report for America Reporter. We've just opened up a fiscal sponsorship fund with the Herald leader. But I can't imagine in our stripped-down newsroom that our general manager of our newspaper is now going to be doing fundraising full time. And so what's the infrastructure in McClatchy to help the papers that are in Lexington, Kentucky, or in the Chattahoochee Valley in Georgia? And I would just very strongly echo that it's one thing for community foundations to understand this. And I think especially those of us that have been coming to this conference year after year really do, but I will echo that donors do not. And Lexington is a university city. It's midsize. It has highly educated, sophisticated people. And they do not understand this issue at all. As I have made pitches to fund holders and philanthropists, they just don't get why they should be supporting a for-profit newspaper. And then I'll just say in the McClatchy case, the bankruptcy makes it more complicated. So to my guess, primary question is, are there people like you in McClatchy that are working with these smaller markets? And who do we connect with? Thank you. First, thank you for your support of local journalism in Lexington. I know Peter is just wearing one hat as the GM. And yet in McClatchy, we tend to wear a lot of hats. And as such, yes, I've been asked to take a look at how we might support this effort more broadly. We have only been talking about this type of relationship with community foundations from a more strategic standpoint, I would say for the last maybe eight months. And it's very new for us. And one of my concerns is that, and this is a personal concern, so forgive me, is that are we going to be able to do this? Are we good enough at this? Do we have the bandwidth? Nico asked if we had the resources that we needed or what keeps us up at night or where our biggest challenges are. And like Frazier, I wake up in the morning and I'm like, oh my gosh, all those things, right? And so I'm not directly answering your question because our resources are not as they should be for this effort at this point in time. I think as a company, we're going to have to determine as we emerge from bankruptcy what our commitment not to the local journalism or even to this effort is because I think as you know, there are people in the community who want to help. There are plenty of people that we still have to reach and educate and bring along if we can. But what our structure looks like with respect to this effort. And I think that's every day we see more promising signs with respect to the conversations that have occurred here and elsewhere. We haven't yet made firm plans with respect to how we can best structure ourselves to meet the opportunity. However, I would love to continue the conversation. I'm in touch with Peter on a regular basis. We talk every week, so let me know. I want to ask this as a follow-up to Sharon. You know, your role at the New York Times, Vice President Philanthropy, is that important attempt to try and institutionalize this inside the company? And are you aware of other companies that are considering or have created a similar institutional role focused on philanthropy? Yeah, so mine is a newly created position and it is to institutionalize, have someone full-time focused on it. I do think that makes a big difference every time that we have added. I think you can probably launch one initiative with existing resources, which is what we did. But once you get into more, or if you want to replicate, you're going to need a full-time person, which is what the Seattle Times did. And then I've seen, like, once we added another director on my team, then we're able to launch a whole other thing, right? But I don't think that one thing is going to be constrained. Like, that one editor is going to be constrained from launching the thing that's been started. If it's just one. Was that the question? Okay. I'm Annie with the Lundfest Institute, and we're the fundraising arm for the Philadelphia Inquirer, among many other things. And so we have a team of people fundraising for the Inquirer. A newspaper wouldn't think twice about adding somebody into the advertising sales team if they were clear that it would generate revenue, needed revenue for the news outlet. Why the business side of newspapers think any differently about philanthropy and fundraising is beyond me. It's you need people, you need to spend money to make money, and you need to make that commitment. And I think if community foundations are really committed to their local news outlets and want to support them, a great way to start that is to give these newspapers capacity-building grants so they have a three-year runway and enough money to hire the staff and the resources they need to start a fundraising program. Just to make you sense. Any comment from the panel? I'll just say Annie is a great resource, like she has a long background with United Way and Lundfest Institute is a learning resource for journalism and philanthropy. I'm Taylor Batten. I'm the managing editor at the Charlotte Observer, and we're starting these conversations in Charlotte. And I'm interested in what the most common and specific objection you all hear from funders, and how do you address it? Well, now that I work at The New York Times, I will say the thing that is, I think, the unspoken question is why is The New York Times that it's like five million digital subscribers in this space. And for us, our explanation is simply that ten years ago The New York Times was actually not that confident in its ability to remain an independent publication, and it's spent ten years building up a digital business that's based on selling subscriptions and selling advertising to the audiences among those subscribers. Now, that actually is a very specific type of journalism that will drive digital subscriptions and create audiences that digital advertisers want to reach. There is journalism that drives social impact that improves the world that is needed for the future of the globe and America that doesn't fit that. So one example initiative I'm developing is around rural America, and how could we elevate the issues of rural America to the national decision makers and influencers who read The New York Times. There are not subscribers in rural America who, enough of them, who want to subscribe to The New York Times to make it worth it for us to use our money to do that. There are not advertisers who want to reach people in rural America through The New York Times to make that worthwhile. So I think the ability to explain that, why we're in this space, is actually a really common spoken and unspoken question. I'd say there are the people who hate the comments section, and they will not give money until we change the platform, and that is very common, and there's nothing to be done about that. They are not a happy group. There are people who don't like our coverage, and who feel as though our coverage is too X or too Y. I mean, it's usually about the LDS church. We're either too pro-church. We cover it too much, or we're too anti-church. We do too much. So there are people who come down on the side of our coverage. Now, there are also subscribers, so I'm like, well, clearly you read it. Do you want it to continue? That's probably, from a local point of view, that's what we hear the most objection around. We also, I think, some of these relationships with donors are really more transactional in nature than donation nature. There are people who use their philanthropy to advertise their business. So they use it out of their marketing, or they come at it from a much more... Their donations are much more tied to the success of their business, corporate-wise. And so we don't necessarily fit well into that kind of giving. And we have been turned down by somebody I thought would support us because I don't think we offered a good underwriting opportunity. So we're going to come back to them with more of a... something that appeals more to the more transactional nature of their philanthropy. I would say, though, that getting rejected or being turned down is a way of life if you're raising money. And it is just a step in developing the relationship. I mean, some people really will never give to the Tribune, and I understand that. And if they say it clearly, I won't bug them again. But a no is really just a... It's not really a no. Not yet. It's a not yet. It's a what else can I do? And it's not as though we're go dogs go, and we come back with a different hat the next week, and then do you like this hat? Do you like this hat? But because I do think that there's a tendency... You don't want your need to...  What you want to do is most important, and a donor should be able to meet you where that need is. Otherwise, they're probably not the right kind of donor. But for general operating, et cetera, they're just asking them to support democracy. And that's an ask that people have a hard time saying no to. They may say no to at a big level, but they could give you a little bit. I also think it's really important to research heavily the people that you ask money for. So I've taken a number of meetings here, and I'm not asking for things that I don't think are in the likelihood or the interest area of anybody I'm talking to. I know what they've given to. I know how much they've given. I'm asking for the right amount for the right purpose. And you're helping them do their job that way. You know, you're making it easier for them. So I would just really encourage you, research, research, research. And if there's a person in town... And accept rejection. I would just say, like, there might be someone who can be your influencer, right, in Charlotte, who is that person, or who are those few people who know everyone and know which potholes you should avoid when you walk into that conversation. That's been really helpful for us.  And, you know, Frazier, you raised something which I'm curious about all of you, you know. Is there any concern about philanthropy cannibalizing existing advertising? I know in the Seattle Times case, some of those labs had big corporate sponsors. And I just wondered about that dynamic. Over time, what we found was that working with corporate sponsors allowed us and our whole company, including advertising, to build a first-party relationship with a large company, whether it's Alaska Airlines or Starbucks. Because typically, the advertising department at a paper the size of the Seattle Times can only access their advertising budgets through buyers, right? So they don't ever have a chance. Certain parties, through agencies or other, yeah. Yeah, so they actually don't have a chance to pitch a bigger project. But, you know, sometimes we would go together to a meeting about here's a way that you can improve, like, support your community through Project Homeless and then, by the way, like, then advertising would talk about this is another way that you could get your message out there. Tom? Yes, it's on. I'm Tom Rosenstiel. I spent 16 years at the Pew Research Center. And at Pew, there was a political side, the Pew Charitable Trust, we had a lot of lobbying and saving fish and sharks and islands and things like that. And then we had the Pew Research Center, which did pure research. We were all told to go out and fundraise. And our message at the Pew Research Center is, better information makes a better society. Over the nine years we were charged with that, we raised maybe $10 million. And on the political side, they raised $450 million. Our experience was that people, high-end donors, want to solve problems that they've identified that they care about. And whether it's Gates or Buffett or whatever, if journalism is a means to that end, but these are people that, they are not journalists. And only a small percentage of people really resonated to the idea of journalism saves democracy. So we ended up having to put a zone around, okay, this is your area, you're interested in this. The ground rules for us to do the research there is going to be X, Y, and Z. You know, you can't put your hand on the scale, et cetera, et cetera. But it took us a long time to realize that our religion about better society with more facts was a relatively small cult among the people that we were dealing with. Tom also has a great white paper on fundraising and journalism at the American Press Institute. I highly recommend taking a look at it. Great piece. It's the American Press Institute, and they have a white paper, and it's about philanthropy, the intersection of philanthropy and journalism. I don't remember the name, but... It's very good. Hi, I'm Susan Edelman. I'm from a community foundation in Northeast Florida, and I'm interested in if you set up a fund or attract donors to help a newspaper that is not a McClatchy newspaper, but is a very large behemoth. What keeps them from supplanting... Fine, we'll have an education lab, and then the reporter that was barely covering education, they just cut that person. What kind of guidelines, what kind of running room do you have in that kind of aspect? When we first set up education lab, part of the agreement said that we would not cut our existing education resources. You can demand that. I just want to say one other thing about who drives the... Who makes the decision? I don't go off and ask for funding for things that the editor of our paper doesn't tell us she needs. I just can't come in and say, let's cover the X, because I have a donor who wants it. That's a conversation we have with the leadership, but I'm not going rogue, and then she can come to me and say we really need to increase our coverage for education. Can you maybe talk about a way to do that with funders? I think that as much as important is to be clear with the grant makers, it's also important to be led by the mission of the organization and make sure that you are doing what is important for your community, not what a donor potentially drives. Retemberg with Detroit. I agree with Tom. We're finding, differentiating ourselves around environment and Great Lakes education, arts and culture generically for a public television station to suggest journalism is a little... It's hard for the funder to understand that. The other thing is, and this is the good news, but also the challenge, every single place we're going, we're being asked about diversity. I love your plan. Bring your staff. Showing up pale male and stale, maybe not your best move at this point, but the very people you're asking for funding for are looking to solve a larger problem, and they've got dozens of people saying I am the emerging voice in Detroit. Incorporating those partnerships, you have to be incredibly comfortable with this issue and committed to it from the very top of the organization. I'm with Community Foundation, Tampa Bay and pointers in our area, and we're so proud of that. Can you tell me just what size endowment is necessary to feel comfortable that there's going to be a flow of capital, and I'm sure that's a range, depending on the costs. And then the other question is, how involved does the Community Foundation staff get in the fundraising? I'll jump in on that one just quickly. There are... Your endowment probably looks a heck of a lot different than, say, an endowment for a single reporter, right? And if you work for a Community Foundation, you know what your returns are on a sum of money, right? And if it costs 60,000 to 70,000, depending on the community to support a reporter, you can do the math on what a fellow shipper or an endowment, excuse me, would look like for that, right? If it's two reporters, you know, you can... We could figure out what that would be. 2.5 million would get you two reporters on an annual basis in any community. The lab models are funded over years, right? And so that's not an endowment. That's a for, you know, one year it costs $300,000 to operate a four-person lab, that's included. To answer your question about Community Foundations, many Community Foundations are probably about as well-resourced as a newsroom, right? In that, you know, you do a lot and you handle a lot of volume and you have a lot of relationships to maintain. And so we have made no asks of any Community Foundation yet to help us with that fundraising. Have they connected with us with people we should be talking to? But we haven't engaged them in doing that work with us. We've said, so far, we're going to do this. And we're going to see if we can do this because we think it's important that we help people understand that we need a deeper and more authentic relationship with our community moving forward. And that's on us. Yep. So, hi. Vince Daly, Executive Director of Media Impact Funders. I'm going to talk about the principles of Community Foundations, but I also just want to mention that we're going to be gathering our Journalism Funders meeting, which is an annual thing that we do in the fall. It's the first week of October in Philadelphia, where I think we can certainly draw on our friends at the Lenfist Institute to carry forward where they have a major sort of hybrid, commercial, and economic impact. My question is relating to the different aspects of Community Foundations, both the discretionary grantmaking of the sort of professional program staff versus the contributions through the donor-advised funds. Is there a much greater opportunity to draw on those donor-advised funds? We've seen that there's a lot of resources flowing already. We've seen a near-look at journalism grantmaking. We're looking at $1 billion in grants. Over $100 million of that is from Community Foundations. We think that's probably not program staff-driven discretionary dollars. It's probably more daffs. And so what can you offer in terms of guidance of how to work with those donors as well? Before we answer that, we'll do more questions in a rapid round. They will answer all of them. Is there a microphone back here? Yeah, just give the question quick. We're going to do... Don't want to be the keep us from lunch guy. When it comes to funders and you look at them on an advocacy or ideological spectrum, is there a point where they get too far out to be considered and how do you kind of know where that place is? Does that make any sense? I'm with the AP. A not-for-profit, but not a non-profit. I'm wondering about internal messaging with staff about what you all are doing. Concerns that arise about certain areas being more funded than others. Anything that has to do with those kinds of internal communications. So the three questions are one, donor-advised funds and the challenges and opportunities working with them. Two, are there any political leanings too far one way or the other that would affect? Is there anyone who will not take money from philanthropically? Third, what about inside the news room and concerns about some people getting more money than others? Well, we won't take money from funders like if you're running for president and you have a philanthropy. Sometimes we'll probably not be talking to you at this point. So that would be one example. Also, a funder is so dominant in that sphere we probably wouldn't talk to them.  So taking funding from them to cover that would be an issue for us. I'll just talk briefly about talking to employees. I think when we became a non-profit oh, happy days are here again. Money will flow. We'll all get raises in a big news room. This is a slog. It's difficult work. And I think we have tempered we certainly are optimistic we will remain optimistic but we've had to temper some kind of initial euphoria. No anonymous donors. Okay. Thank you very much all of you for your time and let's give our panel a big round of applause for their leadership.


Assalamu alaikum warahmatullahi wa rahmatullahi. I'm Sarah Qassir from Lebanon. In Lebanon, we define whether from the south or somewhere else. I'm from the south of Lebanon's surd district. I'm currently a director, actor, and storyteller. I work in the field of media. I study different fields, where I majored in radio and television and also theater. And I'm currently continuing my master's studies in actor management. Since I was young, I had two titles. The first one is the Petty Fogger, and another one was the Sheikha. The former was because I was truly a writer. I was raised among three boys, so I had boyish tendencies. This creates adventures, courage, and self-confidence. This was obvious when I grew old with my field of studies. Sheikha was formed because I read a lot of religious books. You may be astonished, but by the age of nine years when I wore my hijab, I was reading the books of Sayyid al-Khu'i as a religious reference. I was also reading books for Sheikha al-Kummi, the child between heritage and raising. There are sophisticated religious books I read back then, ones I couldn't fully understand. But I was able to start these readings. So anyone who had a question at home, I was able to find an answer because I had this reading ability. When we were young, we didn't have this religious atmosphere at home. I mean, it was there, but it mostly was innate. When we were young, we didn't have this religious atmosphere at home. It wasn't a lot. It was mostly innate, but it wasn't strong. By time, my father's brother was murdered, my uncle. He created the state of piety at home. It's a blessing for martyrs coming from before and after martyrdom. So mom wore the hijab, and dad became more committed to religion. And this created a certain state at home. This also affected me, where I became part of the scouts at my village. The latter was an Islamic institution. It had great part in helping me realize Ahlul Bayt, or the relationship with Al-Hujjah, even in arts. They were the reason why I headed towards this field. Ever since I was young, at 10 and 11 years old, I formed a small artistic group. This group, which consisted of six young girls, of course, they were from my age, I used to write the poem, tune it, and train them on its performance. And train them on its performance. And train them on its performance. And we became the official singing group for the village and surrounding the villages of the entire district, where we participated in Islamic occasions with the singing group. Then I started participating in theater. I performed plays in the village and its surroundings. So here you see that the relationship with Ahlul Bayt was both religious and artistic. So both were related. And there was always an artistic expression for Ahlul Bayt. Whether by writing, symphony, theater, or even when I stand on stage to give a speech, it was a relation of that sort. It was always of that sort. As I said, I started an artistic journey when I was young. And this evolved until I reached a changing point where all youth stop at, what do I want to major at college? Here, I honestly had this dilemma of choosing between what I wanted or what my social environment and parents wanted. And excuse them. I wouldn't say that they made a mistake from their stand. I want to clarify that when you're living in an environment, especially in Lebanon, theater, doesn't take into consideration the hijab. There's a huge suffering for women with hijab to study theater. So that's why I studied theater with a hijab. I wore it even before studying and I remained the only women who studied theater while wearing a hijab in Lebanon. I don't know anyone who dared to take this step or pursue this adventure. A lot may register for one year, get exhausted, and then bail out. I thank God I was able to finish my four years of studying and continue my master's degree so this was divine grace. I reached a point where I wanted to choose my major. I finished high school with a degree of science so I can choose medicine or engineering, which is something my parents wanted since they are specialized in these fields. Their studies are in sciences. At the time, I figured out that my personality doesn't support office work or hospital. My personality is creative and artistic. They asked me, what do you want to major in? I answered in theater. There was great refusal for that since they thought that it's a useful profession. Also, it creates big problems for a girl with hijab. So I told my mother the sentence. I said, mom, I feel that in our Islamic community, there isn't anyone who has studied theater. I'm aiming to do an Islamic theater, something truly respectable and not in the public way. So her reply was the following. She replied, are you bearing the weight of the Islamic umma over your shoulders? I remember she told me that.  I feel like I can succeed in it. Eventually, they accepted reality and accepted my point of view. I finished my major and studied media with it so that I would be able to take hold of the major from both ends, theoretically and cinematically. So it was, I continued until now and I currently have several movies. One of them was about the hijab. It received an award from, it received an award from a Sahwa festival in Iran back in 2013. It took the first prize. I also have several plays. One of them about Sayyid al-Zahra, Aleyhi Salam, Ashura and teaching prayers. The suffering as a girl with the hijab I'll tell you from the start. When you go inside a community where there isn't anyone with a hijab, I mean that the entire campus, with its four floors, I was the only one wearing the hijab in all majors. Also now in master's degree, there isn't anyone. The community didn't have anyone wearing hijab. It feels as if it's a weird place to be at. Especially here in Lebanon, there's this aerial sectarian separation from example, where example this sect enters this campus of university and that sect goes to that campus. Where I went, there weren't a lot of Muslims. I mean there weren't a lot of Muslims. So this was the first suffering. The second suffering was the origin of the artistic community. Unfortunately, unfortunately, since art community isn't pious or religion, they see art as a complete liberation.  It's good artistically speaking, but bad when it comes to morals. They have no problem saying full words, doing certain actions or to do implications of any sort. They have no problem saying full words. I wouldn't say Islamic, but morally and humanely unacceptable. They consider it liberation and creativity. We as women with hijab, as religious people with a message and a purpose, art isn't for the sake of art. It has a purpose. When you say art is for the sake of art, you can't say anything. You should place boundaries on it. You can't say anything. You should place boundaries on limits. This is the second suffering. The third suffering is the material studied. I mean that there are certain elements at university that use such as choreography, which is body expression. I was asked to wear tight clothes from head to toe, like scuba divers. Of course, I couldn't wear like that. And the professor refused to accept me in class. I then talked to him and we reached an agreement to solve the issue, like, of course, wearing baggy clothes, but we solved it in a hard way. What hurts the most that Muslims, whom have decided due to their thinking and their thoughts, approved to be Muslims by name. But they don't believe in anything you believe in. They're the people that fight you the most and hurt you the most, because they believe that they're fighting the negative phase of Islam. But as for me, I see that you're the negative phase of Islam. So he would come and attack you in the middle of class, saying you're closed-minded, conservative, ignorant, and how could you not accept sleeping on the ground? There were exercises where we sleep on the ground. There aren't people who reject wearing tight clothes. There aren't people holding onto this.  A person, when this person insults you like that, this Muslim that should aid you the most, you'd see that the injustice of the closest is the worst. That's what applies to this. As for the image of the women in Hijab, this is an issue of importance to me. I consider myself and others as well that I'm doing something that sheikhs and clerics are incapable of doing. Of course, which is the following? Working in an unreligious environment, and un-Islamic, if it was religious, as I mentioned that it is in the, of course, as I mentioned that in the artistic field, it's rare to find a religious and pious atmosphere. Now, of course, especially that my work isn't in a small environment, but in Lebanon and abroad. I do a lot of traveling and participating in global festivals, but not in an Islamic environment. So I go to these places, but imagine that the first impression I hear is that they don't believe that there's a girl wearing a hijab coming from Lebanon and studying theater, and their biggest shock is that when they try to shake my hand, and I do like this. So imagine the shock for them. Now, at first, they'd be astonished and dazzled, and they'd confront me where I can take advantage of that. And they'd come confront me, and of course, that's where I take advantage of and show them my intellect and my Islamic background. And at the same time, that nothing stands, and at the same time, I prove to them that nothing stands in the way of the hijab. Hijab is not an obstacle, but we have to put ourselves in the right place with the hijab. And another thing I'd like to say, take a look. All the people who say that we, who wear hijab, that we can't do anything, look at what we have done. That we cannot innovate, look what we've done. We can't work in art, look what we've done. On the contrary, we live our lives normally, and we are not an outcast nor ignorant because there's a bad stereotype. And that stereotype says that we can't do all these things. I consider myself, thank God, a messenger without a tongue. Be messengers of us without your tongues, I'm being that. And my mere existence, I will tell you this incident. I was invited to a festival of storytelling at an Arab nation that I won't mention for the sake of the relations. I stayed at the airport for nine hours, pregnant in my eighth month for nine hours, just for one reason. He saw me passing through the security gate. He couldn't understand that there's this person coming from Lebanon, an actor and then storyteller here to participate in the festival. He couldn't understand that this hijab this baggy and long veil is coming from Lebanon. He couldn't believe that. He saw me and left me to go. I reached there at 3 a.m., imagine. Until 9 a.m., they were calling to make sure I arrived until they went to the airport and found me. I had to calling them, I tried calling them, but their lines were closed. So imagine just because of the idea that there isn't an artist, that's religion. So imagine that just for the idea that there isn't an artist, that's religious found in our Arab world. This is really a huge problem. I blame us for this because we didn't dare to break the boundaries to enter this field. We never took the decision to do that, to break the boundaries. I won't hide this from you. My relationship with the Ashura Council since I was young, I don't know if it's right or wrong. It was audio and visual. I remember I'd go to councils when I was around nine or 10 years old with my parents. I wouldn't just listen to the content. I wouldn't just sit there and listen to the content. I'd stare at the place and see the banners and decorations, the voice, the performance of the reader. Is he giving me a correct image? I mean, I remember I would really go to these councils. I'd stare more than I would cry. I would feel bad and think I don't have spirituality. But I then thought that, no, I mean, this is not bad because I might getting more attached to Ahl al-Bayt but in a different way. Of course, I discovered that by time I was able to ignore certain artistic visuals and focus more on the council to cry and give what I should be giving with all my heart. Of course. The image that stick to my mind the most and makes me spiritual and internally attached to the occasion. You'd say that this human, if I wanted to talk in a realistic way, you'd say that this person was martyred and that's it. That she was martyred, suffered and so, and that's it. But her suffering ended with the martyrdom. But this great human and person, I don't know how to describe her more, she suffered before and after she was martyred until the last breath she stayed suffering. So this image doesn't leave my mind, especially when she's honored and special amongst her siblings. So I imagine myself that if I want to talk in something closer to the people, that I suddenly lost all my brothers and my family. I'm responsible for everyone and all of a sudden that I was once protected, now I'm a protector. It's very hard and she's really the mother of the sufferings and always when I want to work on Ashura theater, I'd always love to play the role of Sada Zainab. I've played her role more than once, whether vocally or in performance.  But even though once I place the black abaya, cover my face and say that I'm playing the role of Sada Zainab, I feel sacred and I feel a certain aura. I stay for a couple of days after I take my performance clothes off, I remain feeling this piety that say the Zainab has. So I love playing her role on stage. My choice exactly for the profession of theater, which includes combined directing and acting in Lebanon was an insistence of heading towards directing. Honestly, I would say that as a woman with a hijab, I have little chances of acting and that's due to the big opportunities that others have because I'm veiled. Lebanese drama isn't satisfied to have a woman with a hijab on the screen with the latter's conditions. They'd screen them but with different conditions. So it's rare to take roles. Thus I focused more on directing. As you know, artistic work is better to be saved in one's memory and the subconscious in education and behavior than merely talking because of course in our media rule, a picture speaks a thousand words. So how if you're showing an image with music and feeling and awareness? You're entering the mind of the recipient and all of his sensory organs. Here I can give a great importance to artistic work or movies or acting that serve the idea of ahl al-bayt. Now look, eventually, whether I like it or not, if I love to do something, I do it for that service, especially when it comes for the preparation of al-Mahdi's arrival. Since he's the one alive and he's priority in our work. We're all trying to prepare for the arrival of our Imam. I feel that I have this motive. Here I started thinking and I see that the companies that support such works are the ones who started all this without them, I couldn't have thought of such works. So I started 10 to 12 years ago to do an Islamic theater that's conservative, that we have an Islamic theater that you could watch which relates to thought, originality, and intellect and piety. Then we evolved more and tackled certain notions such as the hijab, general moralities, such as honesty and good behavior, something like that. Lately I've done something concerning the attachment of youth and children to what's up. And they're distancing from Islamic spirituality. It's not wrong to technologically connect but we shouldn't be far from Islamic spirituality. The work that's very dear to me and I aim to improve in it is the TV drama. I have done that which talks about the two kids talking to each other. The work that's very dear to me and I aim to improve in it is a TV drama that I've done that which talks about two kids talking to each other and relating it to Ashura through a storytelling. Now, there was a program then involves a storyteller and the drama, two things that I love working on. There are also prayer related theater breaks. I also try to insert comedy even inside Ashura because through a smile you can attract and inform better. Because seriously, through a smile you can really attract and inform better. There are religious acts like prayers and so, you can insert, inform the viewer by comedy and laughter but it'll shock him and makes him think, am I like that? Like someone is praying, he's praying but I show him that he's doing everything with prayers. I show him how he's eating, talking on his phone, moving and giving signals during his prayers. I mean, you'd laugh at him first but then you'd be shocked that you're like that because when I'm thinking of them, I'd be like that. The role is the sister of Imam Rida, Sayyida Hakim. She's a wise character. She managed things in the absence of Imam Rida and also in the absence of Imam Al Jawad. Since the latter took authority when he was five or seven years and yes, he was young. So she was the patron, the responsible, the mother and the sister in all of these aspects. It shows the importance of the women's role in life. It's important and this makes Islam and this makes Islam special in all places, in all religions. It gave the women importance but in the right way, not in the Western way of liberation, rebellion and equality with man. She's not like that. She's not like that at all but here the role of women is shown correct. It was fun to take this role. It was an honor to take the role of the sister of Imam Rida. Now they've covered our faces because when we shot the movie, we had no facial cover. It could be an honor or it could be a precautionary that she's the sister of Imam Rida. It's normal and of course it happens. She's the daughter of Ali Al-Hadi, my caliph, my advisor, and the next step. I don't know what to say. She's the mother of Allah's will. She doesn't have the honor of being an Arab or to have the blackest hands except in Taqwa. May Allah bless her and bless her, mother. I will bless her, mother Jataeem. May Allah bless her walt of Miha. The storyteller is something that I really adore. And thank God I was able to prove myself in this domain as well. And I became a female storyteller. I wouldn't say I'm the only one but in professionalism in Lebanon I could be in this domain. The main source is the public stories. Those that are told by elderly people. This matter is a preservation of public heritage. I always choose useful stories to tell. I choose stories that describe conviction, value of love, value of brotherhood. There is course in our public sphere and it's related to our Islamic ideology and our values because it's not separated from the public thought because Islam isn't isolated from it. In another place, there's the Ashura storyteller. If we could take the style of presentation, if we could take the style of presentation to tell the Ashura notion and its story, of course we'd be succeeding greatly, especially with kids because kids wouldn't understand everything at the council from phrases and jargons they may not like the way of the narration. If you sat a kid on your lap and you told him a story, he'd ask you to say it again and again and again because they love to hear stories. So we did a special and a good step in Lebanon. What we did is that we trained around 150 females, another trained 150 males in all of Lebanon from north to south, wherever there's a person who wants to recite Ashura at council. There are people who practice Ashura storytelling and narration performance. You'd see them, they'd gather these children from four to 17 years of age all under 18. They are being exposed to this method of presentation to Ashura. Here we'd be affecting these children and placing certain seeds in them. In addition to that, this idea can be implemented on elderly. I've tried it with around 50 adults from our age and even more. I've done an Ashura storytelling. They interacted and cried as if they're hearing a council and they were very comfortable with the notion of Ashura storytelling. Also, here we'd be serving the notion of Ahl al-Bayt in an artistic way, far from banal and boredom. It triggers imagination. It has educational purposes and not only religious. In the issue of storytelling as well, there are stories from the Quran. There are certain stories in the Quran I used them in storytelling. In the issue of storytelling as well, there are stories from the Quran. There's a program that I actually went on of where I added all the Quranic stories. I used them in storytelling once upon a time in this method. I narrate the stories of Prophet Adam, Noah, Abraham, Moses, Jesus, and all the stories of Ismael, Abel, Goliath and all the stories in the Quran that seem unclear. Ones that you need to do extra readings to understand it. You'd find someone standing next to you narrating it. This thing was a deep but in the Arab world. No one has done such a thing before and I made use of it at home. Even with my own children, I do storytelling. Like I'd narrate Quranic stories and Ashura. Even when my kid does a certain misbehavior. And of course, if I sat him down and said, Sajid, dear, this is wrong and so he may get convinced, but he'll still do something wrong. So I go towards acting or narration. I tell him the story of a kid that did this and that and show him the negative side of his actions. I didn't talk about Sajid or say Sajid did that. I talked about Sajid or Jamil or Ahmed, someone else. In this way, he visualized the story and he'd laugh because he knows that it's about him. But if he thought of doing something wrong, he'd come and say that, mom, if Sajid did that, what would happen to him? He'd relate the action to the story. So the narration is an educational matter, whether to the values of Ahl al-Bayt, indoor behavior, at least you've created a space of communication with your kids, which is of course something I talk about always. We're not communicating with our kids anymore, meaning that if my kids, for example, is talking to me and I'm using WhatsApp or Facebook, emailing, et cetera, my head is down and I'm not looking in his eyes, imagine what we've reached. Imagine this stage, you could be cooking. You can be cooking in the kitchen and you tell your kids in the other room to do this and that you didn't do this. You didn't do the eye contact. We're losing this thing. Of course over here, he'd hear your voice and see your body and facial language. He'd interact and communicate with you. We're afraid of having isolated children and to be isolated adults as well will be like that. The play of Sayyid al-Zahra, alaihi salam, is the dearest to me because it's artistically complete and it touches the soul, it touches the soul for real. It already starts by talking about Sayyid al-Zahra, alaihi salam. You're conversing her in this play and you're showing a great person. We started the idea by a play in front of around 600 people. They were all mukallifat in the age of maturity and they want to wear the hijab. So we thought of giving them a lecture that your role model is Sayyid al-Zahra and so on. We thought it would be advisory and this is something kids don't like. So we thought of doing something more artistic, something artistically. We asked from one of the poets, in addition, we got an old poem written around 13 years ago. Its owner is now deceased. He's a school teacher. We got this poem with the script and we combined them and we wrote all of its sequence since Gabriel descended on the Prophet Muhammad, peace be upon him, and told them that you leave Sayyid al-Khadija 40 days and you isolate yourself in Heirah agroto and he fasted for 40 days and broke it with an apple and returned to Sayyid al-Khadija until the creation of semen of Sayyid al-Zahra, alaihi salam. Until Sayyid al-Khadija got pregnant and suffered in pregnancy because no one was next to her. It was all embodied on stage and then Sayyid al-Zahra was born and how we are attached to Sayyid al-Zahra in our everyday life. So it was a perfect 20 minutes long piece of work and when I finished the act and descended the stage there were people crying and they said that it's the first time that we feel we are close to Sayyid al-Zahra. That phrase alone was satisfactory. It was fulfilling because they feel that you were able to present this matter in such simplicity and spirit and you were able to affect these people. Probably people are tired of listening and they want to see and feel. Our problem is that we move away from sensation. No, let us talk in sensation. Even the religious cleric when he takes the platform let him touch us in our hearts because if not, you'd feel that the idea would fade away. Something else will take its place. We should work on both mind and heart, intellect and sensation and art does that. This might answer the notion of why did you choose theater? Sorry and not only media. The latter is beautiful but for me I find it solid, solider than theater and acting. There is sensation in that. There is a feeling in that. There's a lot that you can do.