Welcome back everyone. So this week we've been talking about business plans and how a company needs to plan what they're going to do and how they're going to do Whatever it is they decide to do So so far we've talked about creating a business plan and having for example a goal of what the business Strives for and the goal isn't necessarily just I want to make a product or I want to make a service Maybe the goal is I want to make the world a better place or I want to make you know Chun Chun a cleaner place or Reduce housing prices something like that, right? So goals can be many things and they don't necessarily have to be the product that the company is going to produce It could be just what they want to accomplish usually in the long run. Okay, so we've been talking about the business plan the goals and To figure out how a company is going to achieve whatever it is. They're going to achieve They really need to think about their customers. So we talked about who are the customers? What is? What are they willing to pay for a service? Are they willing to pay for a service? What do they need from this service? So whenever we're thinking about customers I made a kind of chart that basically has a line between customers and product Product or service so whatever it is that the company is providing right we have customers We have a product and I if you remember I drew kind of an arrow between them and it made this kind of cycle Okay, so what I want to talk about right now is What this cycle is and how companies can maintain? their business over time and basically what can happen is For a lot of businesses People change the tastes change so imagine Korea in the 1970s. It's a little bit different than Korea now, right? Let's say Western movies Western culture Chinese culture maybe Russian culture all of these things are affecting Korea a lot more because In the 1970s. We didn't have the Internet so Korea is bringing in a lot of ideas But Korea is also exporting a lot more ideas outside of the country. So this has made Korea a Little bit more aware in some ways about the internal culture and what kind of internal culture can be exported and also That somewhat shapes the the local culture as well, but then also a lot of different cultures have been imported as well So Korea is a really different place than it was in the 1970s, which is why Sometimes older generations really don't understand young people because the culture gap is just too much, right? So what I'm talking about here is if we think about our customers if we started a company in 1970s What kind of a product could survive for that long So let's think about this for a second if you started a kimbap company or maybe a guksu shop in the 1970s Your product probably hasn't had to change very much Probably haven't really needed to innovate especially if you're known as like a good kimbap a guksu place The product is you know kimbap guksu everyone still eats that right so that part of the culture hasn't really changed But you probably aren't selling a lot more kimbap or guksu than you were in 1970s maybe because people probably have more More income that they're willing to spend on food outside People cook at home a little bit less So maybe because of that you're making a little bit more money or selling more product But for the most part that's a business that doesn't really need to change because people are going to continue to buy Guksu and kimbap, okay, but what are some of the things that? would change so for example Let's imagine that you were producing pants You know like like Paji if you were producing Paji in the 1970s Do you think that the style of the 1970s Paji in Korea would be the same as now and No, maybe a couple people still like to dress in 1970s style But very few people do the style has changed quite a bit right the way that Koreans dress now is Very modern like much more modernized than Then actually a lot of places, okay, so in this case if our product was pants and It's the 1970s So we'll say pants in the 70s Do pants styles change over time? Well, no we could still produce the same pants that we've always produced we could continually produce 1970s pants That's no problem. What changes will the customers change and what the customers want Slash need We talked about this a little bit what the customers want or need Changes over time right so the fashion industry itself actually changes really quickly so Summer fashion winter fashion even fall fashion spring fashion those kind of things so if you're still producing pants from the 1970s Unless it was just for some reason a really popular style and it still is most likely you've had to change your style 1970s Korea I doubt had blue jeans for example probably didn't have blue jeans or Maybe blue jeans were really expensive So now pretty much anyone can get blue jeans for I think Manwon and emarch right so The style has changed quite a bit The way we buy emarchs now stocks these types of pants as well So the customers have changed there once the needs change over time with their style so Changes in style Right and even in the you know the 2000s 2010s the style from 2000s are very different from the styles in the 90s 90s is very different from the 80s Not only in Korea pretty much pretty much everywhere right so pants in the 70s actually have to change over time So maybe pants in the 80s And it's 80s and then also pants 90s and 2000s 2000 let's say 10s and then 2017 I'm trying to think in the last several years There's kind of been some small fashion changes But pretty much everyone is still more or less dressing the same way that they did In let's say the last five years or so it hasn't changed a lot But from 2017 to 1970s it's changed a lot from maybe 2015 or 2010 even to 2017 fashion hasn't changed too much in most cases So the point is The customers have changed over time What if I was selling Let's say a hundred thousand dollars worth of pants per year So a hundred thousand dollars worth of pants per year in the 1970s if I still produced the same pants Sorry, let me erase this if I still produced the same pants Every year Since the 1970s. Do you think that I would still be making a hundred thousand dollars per year? Let's say it was popular in the 70s Was it that pot was that same style popular in the 80s? No So I would probably make let's say maybe I made sixty thousand dollars in the 1980s well 90s kind of I don't know. There's a lot of different styles, but maybe grunge style or something So maybe I only made twelve thousand dollars right remember what we talked about with Costs and revenue if I only made this amount of money then most likely I am Not making a profit. I'm making a deficit actually So if I'm in deficit to produce my product the business can't stay up unless I have another income coming in Okay, so at this stage basically we see that less people are buying our pants Well, why is that? Because the customers have changed style has changed fashion has changed and if we are not Considering our customers and what our customers want what our customers need then We're going to see a drop in revenue Okay, if we see a drop in revenue under the point where we can produce a product Then we're in a deficit and if we don't fix it we will go out of business so What I really want to point out here is You know even though we might have a kind of rise because maybe in the 19 or the early 2000s Somebody liked 70s style again. Sometimes they come back in style for a little bit So we see a little bit of a bump and we think our pants are going to be popular again Well, maybe not maybe this is just a recurring fad, but we'll never be back to where we were in the 1970s So we can either try to hope for these bumps that will occur every few years or We can listen to our customers figure out what they want and what they need Constantly basically just an ever ever ever going process about what the customers actually want and Then revise our business model based on that. So in the 1980s. Well, what are people buying now? What do what pants are cool? What pants are in style? Well, if we modify our pant style just a little bit then maybe We have a little bit of a dip whenever people stop buying our pants. We notice that there's a dip, right? We identify what pants people would buy so then we modify it and then we get basically back on track Okay, and then we can monitor The pant style that we're currently selling until it starts to go down a little bit and then we can change it again And go back on track. So in this case, we've actually Continued to make quite a bit of money just by listening to our customers over and over again The reason I'm talking about this is because most businesses Can I say most businesses a lot of businesses? Don't really listen to their customers. They think that they know what their customers want better than what their customers better than their customers know So basically what this means is if the company is Trying to drive or tell the customers what they want They better have a different business model that lets them actually control the customer's way of thinking Okay, and a lot of companies don't have that so most people are going to buy pants and they want the pants that they want I don't necessarily care about the company that's making the pants so much I just want the pants that I want right so Whenever you're making your business think about who your customers are and Don't just make a business plan once so we talked about the business plan We talked about the business plan and then we had our goal and the goal basically doesn't change right? So we have our goal the goal doesn't change our customers Our customers don't really change but they might So for example The people who are in their 20s in the 1970s Maybe we want to keep that group as customers. Maybe we don't want to focus on 20 year olds We want to focus on people who are teens in their 70s and then grow with them That might be another customer group right so our customers Might change might not change the group depending on how we group it But then our product should change over time. There's very few products. They're gonna stay as Relevant as Kimbap right food Toilet paper like things that people need Will stay relevant but pants for example if you are not in style people will not buy your pants Okay, so whenever you're thinking about business and this is especially true for it programs that are very old programs that are not maintained or they don't work with smartphones People don't use them anymore right so even for or can I say especially for technology people are very democratic about their way They use technology so if somebody is offering something better. It's very easy to switch usually For most products some products like email people are reluctant to switch But most products people are willing to switch as long as they see that this other product is much better So especially for it we constantly have to think about our customers and What kind of things our customers want and need and what are the times? That people tend to change what they want so imagine that this was pants again. Well, let's say that the 1980s started So 1980s started and we see a drop in pants. Well, let's say the 1990s Started we see a drop Right, so every every ten years or so people change their style for the type of pants They were interested in that means that next time we can predict that in the 2000s If we don't change our pant style before that then it's gonna drop again, right? So maybe we can kind of figure out what style is interesting before it drops and then hopefully Increase our profits. Okay, I just wanted to talk about customers and especially putting the customers first a Lot of companies don't build in a way To take in opinions from their customers and constantly be improving their product So whenever you're planning your business, you really need to ask yourself How can I include my customers voice in this if it's just about how much money they spend? It's not good enough, right? You really need a way to reach out and contact your customers and with it That's never been easier than than than now Okay, so that's all I want to talk about today. Thank you very much


I would like to spend this khutbah looking at a couple of different things, the qualities of the quintessential believer's character, Akhlaq al-Mu'mineen, and also what that translates into when we look at love of Allah in His Messenger, sallallahu alayhi wa la alihi wa sallam. Allah says in the Quran, وَإِنَّكَ لَعَلَى خُلُكِنْ عَظِيمِ, speaking directly to the Prophet Muhammad, sallallahu alayhi wa alihi wa sallam. And here Allah, He says, Now, the particle A'la in Arabic, usually the word that precedes A'la is something that is tangible or concrete. This is standard Arabic. But in rhetoric, when an intangible, something that is not concrete, something that is abstract, follows A'la, the meaning of that is tamakkun. It is mastery. Verily, verily, you have mastered magnificent character. This is what Allah is saying to His Habib, sallallahu alayhi wa sallam. This khuluk of the Prophet, sallallahu alayhi wa sallam, He has mastered ethics, إِنَّ مَا بُعِذْتُوا لِوْتَمِّمَا مَكَارِمَا الْأَخْلَاقْ He said, sallallahu alayhi wa alihi wa sallam, I was only sent to perfect character or noble ethics. He said, sallallahu alayhi wa alihi wa sallam, الْبِرْلُوا حُسْنُوا الخُلُكْ That righteousness is good character. He said, sallallahu alayhi wa alihi wa sallam, إِنَّ مِنْ أَحَبْ بِكُمْ إِلَيَّا وَأَقْرَبِكُمْ مِنِّي مَجْلِسًا يَوْمَ الْقِيَامَةِ أَحَاسِنُكُمْ أَقْلَاقًا That indeed the most beloved of you to me and the closest of you to me on the يوم القيامة are those of you who are best in character. He said, sallallahu alayhi wa alihi wa sallam, أَكْمَلُوا المُؤْمِنِينْ إِمَانًا أَحْسَنُهمْ خُنُقًا That the most perfect believers are those the most perfect believers with respect to faith, faith, إيمان are those who are best with respect to character. He said, sallallahu alayhi wa alihi wa sallam, مَا شَيْءٌ أَثْقَلُوا مِنْ مِزَانِ الْمُؤْمِنِ يَوْمَ الْقِيَامَةِ مِنْ خُلُقٍ حَسَنْ أَوْقَمَا قَالَا عَلَيْهِ السَّلَاتُ وَالْسَلَامِ There is nothing weightier on the scale of a mu'min. On the يوم القيامة there is nothing heavier, weightier than good character. This is what he said, sallallahu alayhi wa sallam. However, when we talk about good character, we are not talking about good character in lieu of performance of righteous action. We do not imagine an absolute bifurcation between إيمان and عمل that these two things are not mutually exclusive. In other words, somebody who says, I don't need to fast and pray and give zakah because I have good character. Such a person is living in a state of gurur, delusion, because righteous action is a function of good character. The ibadat of the Prophet sallallahu alayhi wa sallam was a by-product of his good character. To give you one example, Abu Huraira radiallat al-A'nhu wa al-Adha he relates a hadith in which he says كان رسول الله صلى الله عليه وسلم يُسَلِّ حَتَّ تَلِمَ قَدَمَا that the Prophet sallallahu alayhi wa sallam he used to pray until his feet would swell.  And it has been revealed to you that Allah has forgiven your future and past sins. And of course the sin of a Prophet is different than our sin. The Erlamas say, the theologians say the sin of a Prophet is leaving an act of great virtue for an act of lesser virtue but he's still virtuous like عبَسَ وَتَوَ اللَّهَ He's still virtuous. So with respect to deliberate disobedience there is no question. But look at the response of the Prophet sallallahu alayhi wa sallam. Do you do this? Why do you do this? Allah has forgiven you. Shall I not be a grateful servant? His prolonged prayer was a reflection of his character virtue of shukr. So if you really love somebody you will demonstrate that love. This is Habibullah sallallahu alayhi alayhi wa sallam He is the and he loves Allah and when you love someone you will naturally show your love towards that person. Imam al-Hassan, he asked his brother Imam al-Hussain to ask their father Sayyidina Ali about the character of the Prophet sallallahu alayhi wa sallam. Sayyidina Ali, he relates a long hadith and will give you some highlights. The full hadith is in the shema'il of Imam al-Tirmidhi. What exactly is this? Khuluq azeem that Allah s.a.m. mentioned in the Quran. Sayyidina Ali, he said he said The Prophet sallallahu alayhi wa sallam was always cheerful he was jovial he was affable he was easy going imperturbable you couldn't get him angry very easily. This is the opposite of someone that you're afraid to be around. You have to walk on eggshells as they say around certain people because you might say something and it will set them off. This is the opposite of the Prophet sallallahu alayhi wa sallam the Prophet sallallahu alayhi wa sallam was mild mild mannered he was gentle he was not harsh or coarse Allah s.a.m. says in the Quran It is part of the incredible mercy of Allah s.a.m. that you have lean you have gentleness if you were harsh or hard-hearted you would have seen people flee from your presence the Prophet sallallahu alayhi wa sallam's character was one of gentleness but he was principal he did not compromise when it came to Tauhi and when it came to theology and when it came to Islamic morality Abrahamic morality attacked right now especially in universities he did not he wasn't to use the language of the youth he wasn't a sell-out but he had beautiful character and he had long suffering he was for bearing Ibn al-A'as fought against him for over 20 years over 20 years he is trying to actively kill the Prophet sallallahu alayhi wa sallam the Prophet sallallahu alayhi wa sallam he showed him beautiful character I was in a masjid one time in a youth halakha and the Christian brother was in the masjid and the Christian brother was asking some questions they weren't disrespectful they were just questions academic questions and another brother walks into the masjid and he says he listens for two minutes to the Christian and he says to us you know these kufar Allah SWT sealed their hearts he's made them blind he's deaf in their ears I said who are you talking about this brother you just met you're calling him a kathar already you know anything about him to say someone's a kathar means you're consigning this person to the flames of hell yes his belief is kufar he worships Isa alayhi sallam kufar this is clear but you don't know this person's end don't give up on him the prophet sallallahu alayhi sallam did not give up on people Amr ibn al-as became Muslim eventually and the prophet sallallahu alayhi sallam showed him so much ihsan so much love so much love that Amr ibn al-as he thought that he was the most beloved person to the prophet sallallahu alayhi sallam the prophet sallallahu alayhi sallam made you feel like you were the most important person so Amr ibn al-as he was feeling some juraah so he came to the prophet sallallahu alayhi sallam and he said to him Ya Rasulullah O messenger of God who do you love the most amongst the people expecting the prophet sallallahu alayhi sallam to say oh it's you isn't it obvious look how I treat you and the prophet sallallahu alayhi sallam he said Aisha he said his wife our mother Aisha may Allah subhanahu wa ta'ala be pleased with her no one knows a husband like a wife that's what I tell the brothers in counseling no one knows you like your wife right and look to how she describes the prophet sallallahu alayhi sallam we'll get to some of these hadith inshallah ta'ala so then Amr ibn al-as he said from the men don't worry about the women who do you love the most from the men and the prophet said abu ha her father not abu bakr the father of her Aisha summa man umar and then Amr ibn al-as he said he named a few other men but I wasn't one of them I shouldn't have asked him but this is the prophetic ethos that make you feel sallallahu alayhi wa ta'ala and people had longing for him the sahaba loved him with an incredible love because he is the most praised sallallahu alayhi sallam said sallallahu alayhi sallam sallallahu alayhi sallam sallallahu alayhi sallam he said the prophet sallallahu alayhi sallam was more beloved to us than anything when you say she that means creation because this comes from something that's willed into being Allah s.w.t is not a she Allah s.w.t is not willed into being Allah s.w.t is the one who willed into being so Sayyidina Ali said the prophet sallallahu alayhi wa ta'ala he was the most beloved thing to us even more so than cold water over extreme thirst what is the analogy here for the Arab for the desert Arab what does cold water represent it represents life itself that they love the prophet sallallahu alayhi wa ta'ala more than life itself this is the love of Sahaba and Nabi'u Awla bil mu'minina nin and fusihim the prophet is closer to the believers the prophet is more beloved he's more dear to the believers even more so than their own selves even more so than their own selves they prioritize the likes the love of the prophet over the love of their own families this is a Hadith I swear by the one who holds my soul in his yad none of you truly believe until I am more beloved to him than his parents his children and the whole of humanity I swear by the one who holds my soul in his yad his children and the whole of humanity well how do we gain this love for the prophet sallallahu alayhi wa ta'ala this incredible love how do we get this type of which is unconditional love is through intimate gnosis intimate knowledge this is the way you cannot love something you don't know what are you always talking about this is how you can tell what you love what's on your tongue the heart is a revelator of the tongue whatever's coming out of your mouth is proceeding from the heart if you're always talking about this or that celebrity or food or some tv shows what are you talking about money even your family your children this is what you truly love I'll tell you a horror story a muslim doctor told me he worked in a hospital the muslim ward of the hospital he said you won't believe how many muslims refuse to say the shahada when they're about to die A'udubillah nasalallahu ala afya wa salama because of the point of death the reality hits home and whatever's in your this is what's going to come out you don't want to hear that you want to hear your favorite song you want to be around your kids and family you want that old story about high school or college this is dangerous the affair is serious we have to take our lives seriously don't fall for this frivolity and play take it seriously cultivate love of the messenger his love is love of Allah sometimes people say this is a misguided statement they say if only we loved Allah as much as we love the prophet this is a misguided statement the only reason why we love the prophet sallallahu alayhi wa sallam is because he's Rasulullah Rasulullah the messenger of God construct noun absolute noun who is the owner of Rasul Allah why do we love the Quran some words on a page in a book why do we love this book kitab Allah the book of God why do you love the Kaaba a few bricks bait Allah this is why cultivate love for the messenger through noses of the messenger ma'rifah of the prophet sallallahu alayhi wa sallam how do we gain ma'rifah of the prophet sallallahu alayhi wa sallam people they don't know one hadith i read an article one time the Christian newspaper it was called the greatest book never read the greatest book never read and it was about the bible and this christian journalist he said he went to churches at random and asked people coming out of a church people who were parishioners in a church who just attended church and he asked them at random can you name the four gospels of the new testament he said 50% of church going christians could not name the four gospels of the new testament matthew mark luke and john they couldn't name them i told this to my teacher he said don't be surprised maybe 50% of Muslims who walked out of salat al juma could not quote one hadith of the prophet muhammad sallallahu alayhi wa sallam addeenu al nasiha ballihoo anni walaw aya convey from me even one one statement one statement wa ma arsalnaa ki illa rahmatin lila alameen we did not send you except as an incredible mercy for all of humanity we quote this aya 21107 in the Quran and people say what does that mean how is he a mercy to all of humanity we can't give an adequate answer the Quran is a bold book is very bold because the author is Allah subhanahu wa ta'ala but we have fallen short we have fallen short collectively of defending the speech of Allah subhanahu wa ta'ala in the Quran and people have skewed perceptions of our messenger sallallahu alayhi wa sallam of how he dealt with people how he dealt with his enemies how he dealt with sahaba when the Prophet sallallahu alayhi wa sallam passed away many sahaba never recovered they never recovered Sayyidina Bilal he couldn't even do the azal in madina he had to leave madina because everything in madina reminded him of his beloved sallallahu alayhi wa la'ali wa sallam the Prophet sallallahu alayhi wa sallam's message saved Sayyidina Bilal sallallahu alayhi wa la'ali wa la'ali in every way possible when he was being tortured by his so called slave master in the burning deserts of Mecca it was the Risala of the Prophet Muhammad sallallahu alayhi wa sallam that took him from that position and put him on the Kaaba to give the azan you don't think he loves the Prophet sallallahu alayhi wa sallam you know these are the die for the Prophet sallallahu alayhi wa sallam he couldn't even make azan everything reminded him of the Prophet he went to Syria where he lived for over a year Imam Asufki says that the Prophet sallallahu alayhi wa sallam came to Bilal in his dream and said what is this aversion O Bilal why are you estranged to me isn't it about time for you to visit me in madina isn't it about time Sayyidina Bilal comes into madina after a year and as soon as he comes in to the sacred precincts of madina tul-malawara he begins to weep uncontrollably he can't stand it he goes into the masjid and Sayyidina Abu Bakr sadaq he sees him and he says this is Bilal give us one azan like he used to give in the days of the messenger sallallahu alayhi wa sallam and Sayyidina Bilal said I can't do it Sayyidina Umar saw him give us one azan like he used to give let us remember the aiyam of the messenger he said I can't do it so al-hasanayn Imam Hassan and Imam Hussein the grandchildren of the prophet sallallahu alayhi wa sallam who look like the prophet sallallahu alayhi wa sallam according to our sources from the neck down Imam Al-Hussain looks like the prophet sallallahu alayhi wa sallam from the neck up Imam Al-Hussan looks like the prophet sallallahu alayhi wa sallam so here Sayyidina Bilal is looking at the reflections prophetic reflections illuminations of refractions of the prophetic light he's looking at them and he said give us one azan he said I'll do my best he climbs the tower he says allahu akbar allahu akbar allahu akbar allahu akbar ashadu wa la ilaha illa Allah ashadu wa la ilaha illa Allah ashadu anna Muhammadan and he fell down he collapsed he collapsed his knees give up he couldn't even say the name of his beloved sallallahu alayhi wa sallam unconscious in the swoon that carry him out of there this is the love of Sahaba we have to cultivate this love we have to cultivate this love through ma'rifah inshaAllah ta'ala I'll say this and ask forgiveness of Allah for you God is the most merciful alhamdulillahi rabilalameen wa salatu wa salamad rasoulillahi wa a'la sahadatina wa immatina abibaqa'r'umal othman wa alee wa radhiyallahu ta'ala ashabi rasoulillahi ajma'in we need to cultivate the love of the prophet sallallahu alayhi wa sallam through ma'rifah how do we gain ma'rifah read the seerah of the prophet sallallahu alayhi wa sallam and if you've read it And if you read it again, read it another time, read it in a different language, read a different translation. Keep reading with an intention of ma'rifah that leads to ma'habbah. Get to know the Messenger, sallallahu alayhi wa sallam. Get to know what he's done for us. In Sahih Bukhari, we are told Kitab al-Anbiya that human beings on the Yom al-Qiyamah, they will go to different prophets and they will ask for Shafa'ah and they will say Nafsi Nafsi, Nooh alayhi s-salam, Musa alayhi s-salam, Ibrahim alayhi s-salam, Isa alayhi s-salam. All of these prophets, Nafsi Nafsi, they will go to the Prophet sallallahu alayhi wa sallam I am for this. And he will go make sajdah beneath the Arsh of Allah SWT. Ya Muhammad, irfa'r asak wa shfa'at yushaffa.  Raise your head and ask. Ask what? What will the Prophet sallallahu alayhi wa sallam ask for? Shafa'ah for his ummah. You see our parents are responsible indirectly for our earthly existence. Ultimately Allah is the cause of everything. The Prophet sallallahu alayhi wa sallam is the cause of our eternal existence. He is al shafi'ah wa al mushaffa. He is the one who intercedes and the one whose intercession is accepted by Allah SWT. Wadtuha wa layli iza sajah. Ma wadda'ak rabbuka wa ma khala. Wala al akhirat khayru laka minal ula. Wala saufa yu'ateeka rabbuka fataradah. Soon will your Lord give you something and immediately it will please you. Imam al-Suyuti mentions when this ayah was revealed to the Prophet sallallahu alayhi wa sallam he said, I will never ever be pleased while even one person from my ummah is in the fire. This is the concern. It crushes him that you should perish. Deeply concerned is he about you. Get to know him through sira. Get to know him through khasa'is. Through literature that speaks of the unique qualities, the distinctive qualities of the Prophet sallallahu alayhi wa sallam. Qualities that no other prophet had but him. Imam Abdul Aziz, Ibn Abdul Salam in his book Bida'a to Surah al-Fitafdil al-Rasool. Get this book. It's very short. Treat us 40 pages. 42 types of distinction. He mentions that the Prophet sallallahu alayhi wa sallam has immanence over all the other prophets. I'm not making distinction. Allah subhanahu wa ta'ala makes a distinction. Prophets have different degrees and his degree is the highest. Read khasa'is. Read the shama'il of the Prophet sallallahu alayhi wa sallam that deal with his outward and inward qualities. The Sahaba described his character. His khuluk. They also described his khalq. His physicality. Why would they describe his physicality? One time a student said to me, this is just a waste of time reading about the physical description of the Prophet sallallahu alayhi wa sallam. I asked him, did Sahaba waste time? They wasted time? Sahaba? He said, no, they waste no time. Then why did they mention these things? Why did they mention he has 11 white hairs on his temples? Why did they mention something so minute? Why? Because they loved him. And you want to know everything about your beloved. You just don't want to know what your beloved said. You want to know everything. How was he standing when he said it? What did he look like? What color was his turban? What did his beard look like? What did his sandals look like? This is the Sahaba obsessed with the Prophet sallallahu alayhi wa sallam because this obsession is healthy because ultimately it's for the sake of Allah swt. Everything is about Allah swt.


Is there anything we don't know about Yukon Striker? It's hard to know what you already know, or what you don't know. That's a tough question to have to answer. Is there anything that maybe hasn't been announced yet for Yukon Striker and the POVs and stuff? No, there's a few other things that we're going to add that we'll leave as a surprise, but that'll come later. So we have an exciting construction update for Yukon Striker today, and as soon as we get up to that storage facility, you'll understand why. It is starting to look absolutely barren in there. So as you can see, there is hardly any track pieces left for Yukon Striker, and you'll see why once we get on over to the construction site. But I can tell you there are no more track pieces or support columns arriving from Ohio. Whatever is there is here. So as you're going to see, we're going to have some super zoomed in shots for you guys. So as you can see, there's work going on on Mindbuster, and the Helix supports are in for Yukon Striker. So the support columns for the Helix have been installed. All they have to do is install the track work, and I got this really tiny blue crane in there that folds up that will finish installing the Helix on its own. So they actually have a separate crane installing that while the big yellow crane is up there in the north, installing the vertical loop. Yes, that's right. The vertical loop. The vertical loop is going in. So again, we will have some super zoomed in shots for you guys moving forward on Yukon Striker. So you can see what we're talking about when we're talking about pieces being installed up north. It's going to get a little harder for the drone to pick up stuff like that. But don't fret. There's going to be some awesome updates for you guys. We're going to have some super zoomed in shots for you. But as soon as we get that zoomed in shot, you're going to see that they have the base on the exit of the vertical loop installed. And once they have that, so they have that, and they have the entrance to the vertical loop installed, they're going to install the support structure for the vertical loop. And then they're going to actually install the pieces. And once they do that, it's usually a one day project once the support columns are installed. So as you can see there, the exit of the vertical loop is installed. The entrance to the vertical loop is installed, and then they'll just put the support structure up and connect them all. And then after that, it's just the Imelmann and then the connecting piece to the MCBR. It's not much left of this coaster. So again, I'm predicting this coaster should be done by the end of next week. So December 21st is my prediction. Yes, I could be wrong, but that's my prediction. So as you just saw on the screen there, that is what they're going to be working on down by the brake run. So they're just going to put the helix in. It'll go underneath that little airtime hill and then connect to the brake run. The airtime hill is there. The helix is obviously to pay homage to Skyrider and the vertical loop as well. And yeah, not too much. This is getting really exciting. This coaster is going to be done very shortly. And by be done, I mean the ironwork aspect of Yukon Stryker. There's still plenty of more work to do. In fact, we have Frontier Canada that needs to get done. We have the station work that needs to get done and theming as a whole. And as you saw at the beginning of the video, there's a little bit of information that they've withheld. So we don't know what Frontier Canada is going to look like. We don't know what the trains are going to look like. We don't know what the theming is going to look like. There's a lot of information we don't know. And it is driving me absolutely insane. What a cliffhanger. So much information that we need to know and we don't. But it's an exciting way to keep winter going for us enthusiasts. We'll find out slowly throughout the year. I'm sure they'll announce in the new year as teased in the tweet that you saw at the beginning of the video. But I couldn't be more excited. I have no idea what's going on with MindBuster yet. Still trying to figure out some minor details. But wanted to show you guys some things that were developing in the area. It's definitely getting really interesting. Anyways, hope you guys really enjoyed this video. Don't forget to give the video a like, subscribe if you haven't, and share this video for others to enjoy. Thanks for watching guys. Have a good one. Bye.


Hey everybody, welcome back to magicwarthodoxy. My name is David and this is a magic review Hey today, we're gonna look at sublime self-working card tricks from John Kerry and big blind media. All right. So what is this? Basically, it's 10 effects 10 tricks. There's nine card tricks one coin trick. Hmm one coin trick They're all self-working. No sleights at all. Let's watch the trailer A little mystery with a pack of cards, but you don't have to choose a card. Okay. I'm gonna make a prediction Right. Now most magicians when they make predictions They take a piece of paper they take a pen and they write it down Some fold it up into a little square They put it in an envelope and then they seal the envelope up some take the envelope put it in a box Take a padlock and lock the box Right way too much time. Okay. I'm gonna make an open prediction a verbal prediction of a card. Okay And my open prediction today will be the four no the two of clubs the two of clubs Okay, what's my open prediction the two of clubs don't forget that yeah, okay, would you hold the cards for me? And what I want you to do is give me a little mix so cut off about a third of the deck and place them just there for me Excellent and cut off about half of those and put them there Beautiful and put those just there. Let me ask you Did you play any cards at all poker or not really? No, but you understand the cards. Yeah, okay Then why don't you just stack them up for me lovely now numbers play an important role in our lives Don't they Lucy you've got pin numbers house numbers Yeah, national insurance numbers lottery numbers Jim numbers as you can see my gym number expired about three years ago, but Numbers do play an important role in our life. Yeah, I'm gonna ask you to think of a number So we're not here all day. I want you to think of a number say Between 10 and 20, you know like 11 or 12, but don't let me influence you make it high make it difficult. Yeah, okay Could I have any way at all of knowing what number you're thinking of right now? No, no, absolutely No, it's the right answer Tell everybody what number you're thinking of 19 19, but you could have named 12 you could have named 14 You could have named 16. Yeah, I want you to pick up that deck for me. I Want you to hold it as if you were gonna deal in a game of cards And I want you to deal with the cards one at a time face up turning the cards over onto the table And we'll count that's one and continue two three four five Six stop there for a moment Lucy. Do you remember my open prediction? Yeah, what was it two of clubs great memory? Have you seen the tour club so far? Remember that's one two three four five six cards. Yeah, yeah, and you just thought of a number and it was 19 Yeah, so that's six one two three four five six carry on risk carry on seven eight nine Ten stop right there Lucy There's a two hearts. Yeah, I could have named that car, but I didn't name that car What's my open prediction the two of clubs? That's 10 so that's 11 12 13 the tension is building 14 15 16 17 18 stop right there Lucy There's 18 cards there. Yeah, there's black cards as red cards as picture cards as number cards Do you see my open prediction card? No, and you thought of 19 Yeah, you could have thought of 12 14 16 any number as possible How impressed would you be if the 19th card was my open prediction and remember you mix the cards? I'm very impressed because it's not possible. Well, I'm here to try the impossible Maybe mysterious forces are at work here in Shropshire today There's only one way of finding out turn that card over and show it to the camera and freak out My open prediction oh my god Just kill me All right, so that was John Kerry and big blind media a couple questions We always ask about all of our magic reviews and the first of which is What's in the box kids? What's in the box?  It's really just a DVD And there's ten tricks taught not really know how long it is because DVDs broken up into little segments, but there's a performance and a teaching for every single one of these tricks Is it what I thought? Yeah, it's what I thought. It's a DVD on simple card tricks So there's really nothing else to it. What's the overall quality and production value of the video? Big blind media always makes great videos all of the performances are shot In kind of like a big open space like a old rustic barn Townhome upstairs John Kerry performs all the effects for very beautiful very attractive spectators And then the reveals the teaching is all done with John Kerry Back in the big blind media studio with Liam Montier and it's nice to have Liam there because Liam Is there to ask questions kind of like be your eyes ask the questions that you would ask and he helps John Kerry? Teach this to you in a really fleshed out way. All right So what are the tricks you're gonna learn on this you're gonna learn a couple of Simple any card to any numbers you're gonna learn a trick with dice You're gonna learn a really cool take on Max Maven's One-handed card trick where you do the entire trick with one hand in your pocket the spectator selects a card The card vanishes from the deck and then when you pull your hand out of your pocket. It's holding the card that they chose There's a do as I do on there with two decks. There's a couple of prediction effects There's kind of like a modification of a 52 on one trick that uses a little bit of math And there's even a coin trick on there called make-believe, which is actually my favorite All right positives. What are the positives to sublime John Kerry has created a fun entry-level card magic DVD Breathing new life into classic plots young and old just starting out in card magic are gonna find some total gems sure to Peek their magic interest negatives. All right, so what are the negatives? You know like we stay around here. There's negatives to everything. These are just the negatives that I see They don't have to be the negatives that you see for me sublime was just a little too easy Okay, I love self-working card tricks. I do and I love all the self-working tricks that Big blind media has put out in the past. I love the ones with Liam Montier and the ones with John Bannon This one though was a little too easy a little too simple And so a lot of these tricks if not most of them if not all of them I was able to figure out how it was done before they showed me how it was done Like you just see it watching it you just know okay This is that and it's only because I've seen a lot of these maybe that's part of it But I I just also have a magician's eye, so I kind of always know what to look where to expect But I think this DVD would be great for entry-level magic So I think you know who would like this beginners. All right This is a great beginner DVD and it's so much better than a lot of the other Beginner card tricks that are out there that are like so easy anybody could figure them out, right? And this is so much better than any like Dover publication that's trying to give you like simple card tricks for kids Like this is a this is good stuff. This is good stuff for beginners And so I think anybody just starting out in card magic is definitely gonna love this young and old is it worth your money It's 27 bucks ten tricks. It's John Kerry for goodness sakes and big blind media So it's definitely worth your money. All right, so that's sublime self-working card tricks from John Kerry and big blind media As always I want to thank Murphy's magic supplies for allowing me to have this so that I could do an unbiased Review for you and if you would like to purchase this for yourself, you can find it from one of your very favorite Murphy's magic dealers Thanks. Bye


Hi everyone, Joe for Jaspy's casebreaks.com coming at you with a random number block randomizer for these three teams right here, England, the US, and the Netherlands. That's going to help sell out that World Cup break, that NT World Cup break. And we're giving away two extra spots. So we only sold eight spots outright, so our first dice roll will be giving away those spots. So let's roll it and randomize that list four and a two, six times, top two after six extra spots. One, two, three, four, five, and sixth and final time. Robert, there you go. Both spots for you definitely have the odds on his sides. We'll put those little rooftops next to your name so you know you won those spots. It's a little buy one, get one for you. Now let's randomize you and everybody else a number. Let's clear that list out there. The number's right there. Let's roll it and randomize it two and a one three times for names and numbers. One, two, three. We got Robert down to some more Roberts, let him call him A. Two and a one three times for the numbers one, two, and three. Zero down to eight. Now remember, Robert zero gets any and all redemptions for those three teams. For these three teams out there, including one of one redemptions, but Jonathan, you'll still get live one of ones. So Robert with zero, Alex with three, Robert with five, Jonathan with one, Daniel for nine, and Robert you have the rest two, six, seven, eight. Let's order these numerically and coming up in the next video, in a separate video, will be the break itself. JasphysCaseRakes.com. Bye bye.


Good morning. Welcome. Welcome. Hi. Wow, I love this crowd already. My name is Derek Goldman. It is such a privilege and a pleasure to welcome you all here. Many of you have traveled a long way to be here. All of you have traveled some way to be here. And it's very moving and special for us to welcome you here in Washington, D.C. for this day and for me to welcome you to Georgetown's campus and to our global pre-conference for TCG, finding home, migration, exile and belonging. I, again, am Derek. This has been my home, my creative home, intellectual home for the last 11 years and it's very special to be sharing that home at this finding home day. Among my hats, I'm co-founding director with my amazing colleague, Ambassador Cynthia Schneider of the Laboratory for Global Performance and Politics here at Georgetown. And after years of planning and dreaming together, the lab has recently partnered with TCG to form the Global Theater Initiative, GTI, so many acronyms, which you'll be learning more about throughout the day from myself but also the full GTI team. But today's gathering really reflects and epitomizes the vision and hope for that initiative, which is about relationship building, it's about cultivating exchange, it's about bringing people together with shared interests from around the world and grappling together with challenging and critical issues we face. I may appear for the moment to be up here alone, but it's a trick of the eye. TCG executive director Teresa Eyring is in fact here. It's just that she has split herself and the invisible part of her is here. And the visible half is across town welcoming the constituents for another TCG pre-conference on equity, diversity and inclusion. But she'll be here with us shortly and as the day goes on. And it's worth mentioning from the outset that the vital work of that group, the equity, diversity and inclusion group, dovetails very deeply with many of our topics and concerns here today. And it's only due to the limitations of schedule template and travel that they're happening simultaneously, but we are very invested in making sure that the intersections between those discussions and issues are further developed through the conference proper and beyond as we lay the groundwork for conversations and actions. So I sort of just want to name that because there's that odd thing of like choosing one of the two for some and they're really importantly in conversation. In addition to my colleague Cynthia Schneider, I want to briefly acknowledge and introduce you to the GTI core team and the incredible efforts that each of them has made to make today possible. The amazing, from TCG, the amazing Amelia Casciapero and Kevin Biderman. And from the lab our extraordinary managing director Jojo Roof. It really has taken a village as they say to make this come together and it's been an incredible team working tirelessly. I want to thank quickly some of the people without whom today's gathering would not be possible. My colleagues in the theater and performance studies program and the Davis Performing Arts Center here at Georgetown, in particular our department chair, Maya Roth, technical director, Ronnie Lancaster, who's making all of the beauty and magic happening along with technical advisor Toby Clark. I also want to acknowledge our international host committee. Their names are in your handsome glossy programs. I won't share all of their names now, but they've been incredibly generous with their vision in helping us conceive and shape the day and with their time and effort including generously volunteering housing for our international artists and other major contributions without which we couldn't do this. And our friends and partners at HowlRound, which I think hopefully as everyone already knows is an amazing resource in for the theater field, live streaming today's events. So we say a warm hello to our many friends watching and listening around the world. And that will of course be archived. So even if you have friends around the world who can't be watching live, you can share the events of the day with them through that amazing resource. And that will allow the conversations and performances to ripple outwards and resonate farther and wider. In today's challenging landscape, it's very moving to look out and be able to welcome artists and thinkers from at least 22 countries here. Many of you are here for the first time. Quite a few participants in the day have long histories and relationships not only in the U.S. but here at Georgetown, including artists we have hosted such as our friends from DA Theater in Serbia, Belarus Free Theater, Freedom Theater, our resident artist Heather Raffo, among so many others. And DC companies with whom we are proud to collaborate often and to share culture in the city. Companies like Willie Mammoth and Mosaic and Studio and Shakespeare Theater and Folger Theater, Theater J, so many others. Along with Georgetown faculty colleagues from a range of disciplines, students, alums, artists and scholars and colleagues from the policy world. We come together against a backdrop of dark and challenging times in so many parts of the world. I'm reminded of the famous words of Brecht. In the dark times will there also be singing? Yes, there will also be singing about the dark times. Our theme for the day is finding home, migration, exile and belonging. It's a heady name. But as we've been planning and preparing for the events, we've had cause to think deeply about each of the words and phrases that make it up and how our work as theater artists touches them in ways that transcend their status in perhaps our daily news cycle or our social media feeds. Finding home is something that we as theater artists have a distinctive understanding of. Like many of you, through coming to be involved in cultural exchange and global collaboration, I have found home and a sense of tribe in far away places with people who come from very different cultural experiences and backgrounds, including many of you who are here. Migration is something theater I think knows how to do. We are effective nomads. We know how to pitch a tent or a set and take it down or to ship it to another location to make provisional homes, material ones and familial ones and the beautiful performances of shelter and migrar that we will see today poetically and politically underscore this truth. And as theater artists, we're invested in the tension between exile and belonging. I moved by the way the word longing is embedded in the idea of belonging, the desire, the hope to connect, to be acknowledged, to be part of something that is suffused with meaning. Here at Georgetown, we're privileged to have students who bring a dual passion for theater and politics. They're invested not only in how to do theater well but in what it does in and for the world and very much inspired by these students and our colleagues. Cynthia and I founded the lab with a mission to harness the power of performance to humanize global politics. We do this by hosting, creating and developing performances as well as courses and public discussions and convenings on campus and around the world. And often this is about relationship building and creating stronger networks because so much amazing work that you are all doing is happening in different parts of the world. But our art form is still largely rooted in the communal and the ephemeral and so we don't always have ways to know and see and understand what each other are doing. So this opportunity to gather and to share and amplify what we are doing feels momentous. When we founded the lab, I think we expected that the artists would be the primary galvanizing force and that over time we would chisel away at and persuade those in other sectors to see the value of this work. But in many ways what we have found is the inverse that those other sectors, those working in politics, policy, human and economic development, peace building and human rights, education, science see the power of theatrical narratives to create motion and vibration and they are hungry for the potency of culture to help move some of what is stuck or broken in their worlds. The door is often open and our challenge is to step through it. And I'm grateful that many of our guests and participants here today are from these other sectors which I know will make that conversation especially rich. It was important to us in planning the day and intentional that we're going to move through the experience as a whole community. We've allowed time at breaks and meals for making more personal connections. Then in the coming days at the TCG conference proper, we'll be dividing up and choosing affinity groups and sessions. But today we will all be together. It was also important that we have the chance to experience exciting artistic work together throughout the day in addition to talking about it and the issues that we face. One of the challenges that the lab has tried to embrace has been to make sure that we're able to pursue artistic work of the highest caliber and to be able to have sophisticated artistic conversations and not settle for an instrumentalized notion of art that accounts only for its social intentions. And as many of you know it's not always easy to hold both of those values firmly in hand simultaneously. But it's vital that we do so, I think, because we recognize that just because work intends well doesn't always mean that it succeeds. Marty Lerner, the wonderful playwright whom we're fortunate to have here from Israel with us today, has a brilliant lecture on political theater and he talks about how Aristotelian concepts of the drama assure us that audiences will identify with the dilemma of the central character. And if that central character is the enemy of a community, bringing the audience to identify with that enemy or perceived enemy is the most radical political act. Once you acknowledge the fundamental humanity of the other, it is difficult to continue to oppress, ignore, violate, and pillage. War, genocide, incarceration, racism, Islamophobia are all dehumanizing processes and theater is by its nature embodied a space for the living encounter with another human being through which we come in our humanity to recognize the humanity of others. So in closing and thinking about our gathering today, I was deeply moved by a recent New York Times interview with a Polish sociologist, extraordinary guy, Sigmund Bauman, about the refugee crisis and its reverberations and I recommend the article to you, but he concludes, quote, humanity is in crisis and there is no exit from that crisis other than the solidarity of humans. In our art form, we're invested in the power of story as a humanizing force, a catalyst for empathy, gathered in human solidarity here around this earth. Our son among many of the critical inspiring examples of theatrical expression and inspiring sites of meaning making around the world to engage these urgent questions of our time. These are complex issues we cannot purport to solve or even adequately address them in one day, but we can forge new ways of understanding each other, create new relationships and dialogues and an appreciation of so much transformative work already happening and a catalyst for so much more that remains to be done. I'm really excited to share the day with all of you. And it's now my pleasure to introduce someone who I personally am very grateful has found a home here at Georgetown. Joel Hellman became dean of the Georgetown University School of Foreign Service in July 2015, following 15 years at the World Bank where he served as chief institutional economist and previously led its engagement with fragile and conflict affected states as director of the Center on Conflict Security and Development in Nairobi, Kenya. He was also manager of the governance and public sector group South Asia region in New Delhi. And as a development practitioner, he coordinated the bank's response to broad and deep complex global challenges such as the tsunami in Ache and North Sumatra. Prior to the World Bank, he served as the senior political counselor at the European Bank of Reconstruction and Development in London, UK. He was born and raised in Brooklyn, New York. He's a graduate of Williams College, has a PhD in political science from Columbia University and a master's of philosophy from the University of Oxford and Russian and East European Studies. Earlier in his career, he served as a faculty member in the Department of Government and at Harvard University and in the Department of Political Science at Columbia University. We're very fortunate to now have him here as the dean of our School of Foreign Service at Georgetown. It's my pleasure to welcome Joel Hellman. Well, thank you very much, Derek. Just what an audience of theater people want to hear from a World Bank bureaucrat of 15 years. But let me tell you why I'm here and why I'm so pleased that I've been invited to spend some time with you and welcome you here today on behalf of Georgetown and the School of Foreign Service. First, I should say that the School of Foreign Service is extremely pleased to welcome this year, the lab, the lab for global performance and politics as part of the School of Foreign Service. We think it is an absolutely critical part of our mission. And I want to tell you a little bit about that and why we're so excited to welcome the lab. First and foremost, as Derek said, I'm the dean of the School of Foreign Service. The School of Foreign Service, which sounds like a training ground for diplomats, actually was created before the US Foreign Service by a Jesuit institution here at Georgetown, which thought not about Foreign Service as a career, but service as a concept, engagement as an obligation and the responsibility to engage with the world. The School of Foreign Service is the oldest School of International Affairs in the United States. We are about to reach our 100th anniversary in 2019. We were started just after the conclusion of World War I, in fact, announced a few days after the armistice with a very, very bold mission. The School was created to actually foster and build the foundation for peace in the 20th century. After the United States, which had been an isolationist power for most of the 19th century, had been pulled into world affairs through a violent global conflict. As the war ended, they tried to think about what was next. And the founder, in announcing the schools, had said and announced, unprepared as we were for war, we are resolved not to be unprepared for the peace.  And of course, the natural thinking about what needs, what are the needs, what are the key aspects and pillars of building the foundation for peace were intercultural understanding. And in fact, the mission statement of the School was peace through understanding. And of course, one of the first aspects of that was we ought to understand history. We ought to understand politics. We ought to understand the economics of different parts of the world as a prelude for better understanding what's happening, what's guiding, what's motivating world affairs. Language and language training was seen as a critical part of the school. But from the very earliest days, performance and culture were seen as an absolutely essential part of building the foundations for peace and security. And in 1919, when the school was created, international performance was still a priority, especially in sleepy Washington, D.C. So in the 1920s, the school for the first time tried to open up a window into the world by bringing performance on to campus and asked each embassy in Washington, D.C. to sponsor a cultural evening on campus. And this was a radical notion, believe it or not, in 1919, the first time that international performance was actually brought to campus. Now, Derek mentioned that embassies performances may not have been of the highest quality and artistic integrity that you can imagine, but nevertheless, it was a start. And over the years, we have continued to place an emphasis on culture and performance as an important part of an understanding of global affairs. And in fact, one of the most important majors in the School of Foreign Service is culture and politics. But the performance aspect, we've left to the artist, not the embassies. And as a result, over time, I think we've lost some of that critical engagement with performance and the power of performance, which is when I came on as dean, I was so thrilled to reach out to Derek and Cynthia and talk about bringing the lab into the School of Foreign Service to bring performance back into the foundation of global affairs and thinking about global affairs. But I'm particularly excited about what you're doing here today, the theme, Finding Home Migration, Exile and Belonging, because it's something that is absolutely critical to our school's mission and absolutely critical to my own personal commitments that I've done over the years at the World Bank and now here at the school. Let me tell you a little bit, a reason why I'm so thrilled that you're talking about this today. As many of you may know and have seen in the last report from the UNHCR, 65 million people are currently being faced with the travails of forced migration, forced migration, not voluntary migration, as a result of conflict, violence and deprivation. This is the highest number of forced migration ever recorded by UNHCR. So we are in the midst of a tremendous global crisis. I'm an economist and political scientist by training, and so I'm going to give you some numbers, probably not the first thing that you do in a group of theater professionals, but I think it's important for us to understand how critical this is. Right now, only 14% of the world's extreme poor live in conflict-affected countries. Most of the world's extreme poor, those who live on $1.25 a day, which is the definition of extreme poor, if you believe it. Most of the world's extreme poor lives now still in the large populated countries like China, India, Indonesia, Brazil, Pakistan. But if we look at generation, if we look 20 to 25 years in the future, given what's happening in economies around the world, growth rates around the world and changes, while India, China and those large countries are rapidly reducing the world's extreme poor, those countries that are locked in conflict, and currently there are 36 countries around the world in active conflict. And of those countries, 90% of them have been in conflict for over 10 years. So the likelihood that they will remain in conflict far into the future continues. And if we look 25 years, sort of one generation into the future, right now 14% of the world's extreme poor live in fragile and conflict-affected states, as we call them. In 25 years, 70% of the world's poor will be living in fragile and conflict-affected countries. So the world is changing rapidly. There's growth which is wonderful around the world that's leading to poverty reduction. But what's happening around the world is conflict and deprivation leading as a result of conflict is concentrating the world's poor in a group of countries that are increasingly isolated from the global economy, from global political integration. And what's going to happen as that poverty gets worse and worse, as that group of countries get further and further away from global prosperity, the desire to leave, the desire to get out, the desire to look for a better future increases. Right now 85% of the world's forced migration comes from conflict-affected countries. So if you just project 20, 25 years, you're going to see that the problem that we're facing now, in which we have already the largest number of forced migration ever recorded, will only get worse and worse. As the problems become more extreme, as the gap, as the inequality, as the isolation of the nation's impacted by conflict gets more and more extreme. And what worries me most, especially as the dean of a school meant to train a new generation of people engaged in foreign affairs, is that at a time when we should be most concerned about this problem, we actually see the dialogue turning the opposite direction, the national political dialogue. Here in the United States, instead of thinking about the root causes of migration, what's happening, why? What's happening around the world that's leading to these problems? We're talking about building walls. We're talking about excluding groups of people coming to the country on the basis of their religion. But not only in the United States, we're on the cusp of a historic election in Britain in a couple of days in which they may leave the European Union. Why? Because of the fear and hate mongering associated with migration. In France, in Germany, across Europe, we're seeing the rise of right-wing parties, often coming to power on one issue and one issue alone. Migration and fear, and fear mongering. So instead of a national political dialogue that's confronting the problems that this world is facing, that's forcing 65 million people to leave their home and search for belonging somewhere else, at that very moment our political dial has taken a turn for the worse. Inward looking, isolationist, not engaging in the world, tired of engaging in the world. You can't talk, and if you think about situations like Afghanistan, Syria, Iraq, in the United States, people don't want to talk about it. Rather, they want to talk about the fear, the concern of the other, the risks to national identity that come out of that. And I'm so worried about the stalemate in the national political dialogue that I can tell you as an economist and a political scientist, data doesn't matter, political strategy doesn't matter, international strategy doesn't matter, this is not a set of issues that are being talked about in a rational way about what's happening to the world economy, what's happening to politics. There's something more deep-rooted that's leading to these fear. And that's why I think this effort that you're doing today is so critical, because what's going to impact that dialogue is narrative. It's humanizing the story of these 65 million people who are impacted. Humanizing not only their flight, but their story and their histories in their home countries, why they're leaving, what they're seeking, what they're trying to do, what their experience is. This has never been more important, and I think the power of performance, the power of storytelling, the power of narrative is absolutely essential because is, in my mind, one of the only things that can actually have an influence on the political dialogue at this very, very peculiar moment in the political dialogue in the United States and Europe. So it's on that basis that I am absolutely thrilled that we here at Georgetown University and the School of Foreign Service, with our mission as a Jesuit institution to reach out to those boundaries and reach out to those borders, see the world from the periphery. We are inviting you who are doing this in your day-to-day lives through the power of performance, through the power of narrative, through the power of storytelling. So it's wonderful to welcome you here. We see this as so core to our mission and so core to the political dialogue going forward. I wish you a very productive, exciting day. I wish I could join you all for it. I will say for the performance, but I would love and I hope that you get a wonderful opportunity to exchange your ideas, your efforts, and help build the foundation of what this school was originally created for of peace in the next century. So thank you very much. Good luck with you. Thank you, Dean Hellman and Derek, for really launching us into this day, which I'm so, so pleased to be here with you all. My name is Kevin Biderman and I serve as the Associate Director of Artistic and International Programs at Theater Communications Group. And before I go into my introductions, I just want to acknowledge you may not have noticed on the front of your chairs, our team has compiled not a random but a selection of factoids from various sources around the precise crisis that we've been hearing about this morning. These factoids you may find helpful in your conversations today. You may choose to share them through our social media channel. The hashtag for this event is hashag TCG 16. It's a great way, as Derek mentioned, for us to share what we're discussing with the TCG conference attendee. It's over 1100 people who will be joining us tomorrow, as well as the Equity Diversity and Inclusion Institute pre-conference happening on the other side of town. So I'm really honored here today to introduce the first performance of the day and really our first collaborative venture with the lab here at Georgetown. Shelter is a project of the CalArt Center for new performance and one day arts. It was conceived and written by Marisa Chivas from Los Angeles and written by Martina Costa from Mexico City. This movement based performance shares stories of the massive human crisis of unaccompanied child migrants crossing the US border and they're passing through the deportation's shelter system. Today is my first time seeing shelter which actually premiered in Los Angeles earlier this spring followed by several site specific performances around Los Angeles and the surrounding communities and including a performance last night at the Kennedy Center of the Performing Arts. However, it's been incredibly moving to watch this creation process from afar. Shelter as noted in your program for the event and also their program which provides more context for the piece is a participant in TCG's Global Connections Grant Program, which is generously supported by the Andrew W. Mellon Foundation. In addition to the shelter grant recipient, we have several Global Connections Grant recipients are able to join us today as well and I know that they're eager to talk about their projects too. What you're about to experience is the result of two years of interviews, conversations and work with unaccompanied child migrants and the students and faculty of Calarts. Today's performance features both students and recent graduates, which is why it's especially exciting to begin our time together with a vision from the future generation of our field. And let me tell you it's inspiring. So without further ado, I invite you to please turn off your cell phones. Hold your social media tweeting until later on. So please turn off your cell phones. The performance will last approximately one hour, followed by a short break in the lobby. As many of you know, restrooms are in the lower level, but you'll have to exit to the top. And then we'll gather back here for a conversation, which will include members of the creative team of Shelter, as well as other artists who will be joining us on that panel. So thank you very much. And I look forward to you seeing you later. Bye bye.


Hello people of the internet, my name is Johnny and welcome back to Spring Locked at Fredbear's Remastered. Now, we played a demo build that the Fredbear e-mailed to me, but now the public demo is officially out and it has one... It has night one, two, and three. But first, we gotta complete the test night again. Ooh, nice loading screen. Something that I do want to do though... I'm just gonna mute you, phony.  Still kind of creepy. Um, yeah, hey. Uh, nice. Something I do want to do is I want to find that key. Um, and I can't actually close these doors now. Didn't realize I had to click some... some things. Because other things, they just open automatically when you're near them. So, I do know where the key is. Um, it is... or do I? God, I forget where it is, actually. Ooh, hey, hi. I was just admiring the way you open the doors. Johnny, nice. Okay, nice. Let's try this again. Oh, also these guys are different. There's a new Chica character and it looks like this guy's model has been upgraded. Okay, I think we have to go to the parts and service room. Uh, yes, right here. Pick it up. Nice. What is that? Ooh, I could not see what that said. Also, uh, this guy's here. These two guys are here and they are fricking huge. Also, you are pretty broken. Don't know where that spark is coming out from, but, uh... Oh, that's creepy. Yeah, these guys are here and they're broken. Awesome. Uh, but that's not good. That's not awesome. So now we got to find where this key goes. And I think I might know where it is. Haha. What was that? Closet key. Nice. I think that's the one we need. So, ooh, hey. There was an achievement. There we go. There was an achievement for talking to you. So, is actually, this might be one. Yes, it is. Alright, so what's in here? Uh, little Bonnie plush or a little Bonnie token. Is that it? There's a box. Uh, ooh, another key. Oh no. What? I can't pick this up. Uh, okay. Interesting. Ooh, what is that? The hatch. I think I know what this is for. Yeah, I think we've got all the keys. Also, this is a camera system.  Uh, I've kinda completely forgot about doing the music and all that.  Close, close, close. I can't close that. And she got me through the wall. Alright, let me do all that again. And this time, I'm gonna wind up the music box, cause I totally forgot to do that. I got everything now, so let's go in here. Yes, these guys. And I'm pretty sure they activate if I click on them. I don't like how that door is closed. Oh, it's me. Oh. Oh no. I like your eye tec- Uh, um, okay. I like your eye texture. Also, Darko's here. Okay, yeah. Yeah, so Fox is out. That guy's out. And now we have a ghost trap music. So, I can open this and I can go down here. If I remember correctly, I think Anu's down here. Maybe? Oh, don't, don't get stuck. Uh, oh, here we go. Yeah, I think Ennard, there he is. Oh, oh, that's not Ennard. Who is that? Who is that? It's like a Freddy guy? Huh, well, they're there, and I don't think I can do anything from here on out. So, let's go back up top, and what do we do?  I don't know what else we can do. All right. Well, oh no, no. There we go. I guess we just complete the night now so we can see what night one, two, and three are like. Actually, can I just stay in here? Okay. Let's go to the office. I don't think I have power, so I'm just going to close these down. Um, but I do have to go and one the box.  Why? Damn it. All right. Let's get Foxy. Let's get his attention, and then I got to sprint to the music box. All right. Come on. Good enough. Good enough. So, let's go out, wind up the music box, close that, so it's not in my way anymore. Okay, that's just going to stay open. Here we go. Now it should be good for the rest of the night. Are you going to do anything? Springtrap? No. Silverized Endo? With no eye texture? All right, let's leave the building. I know where that is. It's up this way. You're the ball pit. Don't catch me, don't catch me. Yes, you actually did it. That's the test night. I don't know what the other nights are going to be like, though. Night one. Here we go. New phone call, maybe? Hello, hello, hello. Hey there. If you're hearing this, then congratulations. You've got the job. Yay. You're now officially part of the Fredbear's family. Yay. I hope those characters didn't cause you any trouble last night. Not really. You're here, right? Wasn't that bad? Anyways, I'm sure you got a chance to look around the building, so you probably got the gist of the place by now. I just wanted to clear up two of the characters first. The first one is Foxy. He's always hiding, secluded in his coat. Hey, hey man. Look at these boys. Hi. I don't want these guys to activate. I wonder if the queue's still here. No. Hmm. How can I open this? If I even can. It's in here. This has got to be a hidden key. It's got to be a key hidden out somewhere. Huh. I'm no clue what that key could be for that door. Damn. This way and I'll close the door. Oh, why thank you. Man, it's only two. Nice. These nights go by pretty quick. Gotta get to the music box though. Not really too keen on that. Actually, I could probably wait a bit. See. Doesn't really look like anyone's really activated. Unless these aren't live. Oh no. Oh, Bonnie. Maybe they were glitched. I don't know. I don't know. It looks like they're trying to do something.  Is anyone truly activated? Doesn't look like it. I think this night might be a little bit... Why not so bugged? Oh no, it's bugged. Just a little bit though. Unless Bonnie, yeah. No. I don't think they can move. Hey guys. What's up? Nice. Well, this is going to be an easy dub. So I'm just going to take this time to look around and see if there is a key. Oh hey. I don't know what those are for. Yeah, I'm just going to look around for a key. Anyway, what's that? Oh, it's just a creeper. Oh man. Well, I'm just going to leave the building then. I was looking around for a little bit and I could not find a key, so... I don't know. I guess we'll look tomorrow. Let's get out. Yay! I wonder if there's something for beating all three knights? There probably isn't. Probably just like this is the end of the demo. You know, wait for the full game. Alright, night two. Let's hear the phone call. Hey. Alright, I'm going to keep looking around. Yeah? Um, no. No one moved. Yeah. Key on your stage. Nope. Nope. Am I going to have to keep track of the temperature? Oh jeez. Uh, Foxy, hey. Is there a key in that corner? Uh, probably not. I don't see how we could get back there. There. Oh! Mixing up the gameplay, huh? Lemonator. Wait! No way! Alright. Oh. Oh no, I found a song key. So we're going to go down here. Right? I think we're going down there. Alright, let's get that key. No way. Found the... was that?  My mic's in the way. That's why I can't read. What the keys are called. Alright, are we really about to go down here? Fred, are you joking? Alright then, let's do it. Let's go. Oh! Oh. Oh, can't open those. Okay. Do these doors even open? It doesn't look like they... Oh, I went down the hatch. Wait! What is going on? Am I supposed to be in here? I don't think I'm supposed to be in here. What is going on? Maybe it's a maze? But this is in... oh, what's this? It's a seal? Can I go in? Nope. Alright then. Scorched endoskeletons hide in the furnaces and can only be with stand heat for so long, they will come and go through the different furnaces gates. Oh! Gotcha! So do I hang out here? And I just wait? So I can hear walking around. So I wait for this to... Glitch trap! It's in the vent shaft. Where's he going? Glitch trap. It's walking around in the vent shaft. Where's he going? Where you going, friend? Oh! Not good. Hey, wait a second. Oh my god. No way. The rabbit climbs through the vent shafts looking for you. Wow, Crouch, he is faster than you. So remember to stay out of his line of sight. Oh my gosh. What am I supposed to do, though? Do I just block him? Like, what's my objective? I'm sure I gave me an objective and I just don't know what to do. Oh! Who is this?  Oh. Oh!  What is that? The bear climbs through the vent shafts. Oh! He is faster than the rabbit. Yeah, he did look pretty fast. Find that air control thing. So I just wander around the vents aimlessly. Sounds fun. So it says find that air control valve and turn it on. So I do just wander around. Oh, wait. Let's see what happens here. If I close it. Okay. I guess I do just wander around until I find something. And I gotta watch out for those guys. Oh, shoot. Come on. Close. So are they just gonna be stuck? Oh, this is our chance, I guess. Don't come this way. Oh, he's gonna come this way. Yeah, he is. Damn it. No, he's not. What's this? It's another room? Oh! What? Oh, hey. Hell is happening. This is so eventful. I don't know what I found. Oh, awesome. Interesting, interesting. Okay, so I found it again. I don't know what I'm supposed to do in here though. Oh, hey. You can't get in here, right? No, of course. I guess I just go into that vent. Maybe. It's gonna be difficult though. See, he's right there now. And he's like... Oh, no, he's moving. Oh, no. Okay, well, I'm just gonna chill here then. Is this it? Oh, I think this is it. This is it, boys. Return to... Are you joking? We have a problem. Guys, we have a problem. See, I... I thought that... God. Damn it. God, damn it. Oh, why did I close the vent behind me? Well, we can explore this area a bit more. This looks nice. Hey, boys. Oh, hey. Hey. Was that dreadbear? That was dreadbear. What is dreadbear doing down here? Oh, let me do this again. Damn. Alright, I've made it back here. Um, the route to get here is actually pretty simple once you know it. I guess I'll show you guys. So, when you're in here, you obviously... You want to get past him. Wait for him to go away a little bit more. Alright, let's go out. Go in here. That was close. That was really close. You want to go through this vent, right to a left. Is he coming? Damn. You need to go down that way. Yeah, you want to go exactly where he's going. Okay. This is good. Is this it right here? Hey, nice. Oh, fantastic. Alright, was that night two or night three? I thought it said night one and two and three were here. I'm sure everything went smoothly. I guess not. Yeah, so I guess it is just night one and two. I was not aware of that. I do have a store, which is nice.  Whoa, whoa, whoa, whoa, whoa, what's that? So, I'm going to quickly do that. Alright, just about to run out of music. 5am, do it quick. Well, how are you? How are...  Wait a minute. Let's get killed by Foxy now. I'm doing this because I wonder if you get two stars. If you get all the achievements. Probably not, but I just want to find out. I actually can't wind this up. But luckily, Foxy is going to kill me first. Does anyone at you? He just jumpscares you. Nice, late to the party. Ooh, that's creepy. Final one, complete the first minigame. I don't know what that means. Complete the first minigame. Alright, I don't know what it means by minigame. The only guess that I have... Where's my mouse? Why is it over there? Is that either it is one of the arcade machines, but I swear I clicked every single one. Hello, hello, hello. Oh, there you are. It's the night two thing, which I did do. Maybe it just didn't count it? I don't know, I can try it again. Alright, I did it. First try, zero deaths. Does that count? I don't know what that minigame is. Damn. I really don't know. Anything about a minigame? I'm going to be on the lookout for easter eggs. There could be anything from YouTubers, secret rooms, and animatronics. Alright, so it doesn't say anything about a minigame? I don't know. Credits. Oh, hey! Oh, that's really nice. Thank you. Damn, that's really sweet. Thanks. Oh, Jesus. So, we saw this one. Now we have, you can escape. Oh, yes, buff help be my favorite. Is this the pizzeria? It is. Wait, if that's an exit, what is this? Just another exit that you can go through? Alright, I don't know where that final secret minigame could be. I really don't. But other than that, I love this a lot. Like the original build that we played beforehand, that we played last episode, I still love this. This is really good. Of course, there still are a few bugs here and there, but it is just a test build. So, you know, that's kind of expected. But I freaking love Night 2. I love the fact that it just went in a completely opposite direction. First night, you're in the regular establishment, just taking care of all the characters, you know, keeping watch on Foxy, keeping watch on the music box.  And in there is like Glitchtrap and The Bear, and like these new scorched characters. I love that. That's absolutely incredible. Forever. Just round of applause, man. I love that a lot. I love surprises like that. This is gonna be it for this video on spring lock at Freddy's. We're mastered. We'll come back once the game is updated again. But yeah, like I said, absolutely freaking love this. So, thanks everyone so much for watching, and I'll see you all on the flip side. Goodbye.


It is a summer evening in Rapid City, and many in this medium sized town settle down to watch TV and eat dinner. The area has seen several days of heavy rain culminating in an intense storm. This puts a damper on the Friday night, but the subdued and miserable start to the weekend just a few hours later would feel like a high point. As the final few hours of the 9th of June 1972 played out, disaster would strike. The Canyon Lake Dam, groaning under the strain of the heavy shower failed, sending millions of gallons of water hurtling towards the some 43,000 residents in Rapid City, South Dakota USA below. The four flood sirens intended to give residents some warning fail to activate, meaning the occupants of the city would be at the mercy of the torrent of water heading for them. The causing flood of damage would be one of the nation's worst dam failures, killing an estimated 238 people. The event would not leave as much a remark on the national psyche as the Johnstown flood or the tombstone of St Francis Dam, but a financial and human cost would be just as horrific. Today we're looking at the Rapid City Dam failure and I'm going to rate this disaster here 7 on my scale and here 5 on my legacy scale. Our story starts over 30 years before that fateful summer evening. It is 1935 and the USA is languishing in the Great Depression and millions are unemployed. Politicians at the time across the world are faced with an economic nightmare. Many homeless, jobless and helpless are created after the Wall Street crash of 1929. One such solution to the employment crisis, at least in the United States, is to make lemonade with lemons so to speak. With so much available manual labour, an idea to develop the country's infrastructure is posed by the government under FDR. It seems like a golden bullet for the countries that economic woes, providing jobs and in return improving the nation's infrastructure. On the 6th of May 1935, FDR issued Executive Order 7034, establishing the Works Progress Administration. This would allow funds to hire manual labour to develop new parks, buildings, roads, railways, bridges, amusement parks and even dams. One such project was just 7 miles outside of Rapid City, South Dakota. The idea was to build a reservoir for recreational activities for the nearby residents. This wouldn't be the first project in the area, as in 1936 a dinosaur park was opened by the Works Progress Administration. To create a reservoir, the Rapid Creek needs to be blocked off upstream of Rapid City. To create the block, the Canyon Lake Dam was built, a 20 foot high, 500 foot long, simple earth-filled structure with a spillway. The new dam would hold back the 192 acre feet recreational reservoir. Like all dams similar to this, the spillway is vital in keeping the weight of the water from overcoming the structure. The spillway employed gates which allowed control of the reservoir's level, for example when heavy rain is anticipated. Space can be made, so the dam won't be overcome. You see with an earthen dam, an overtopping can be even more catastrophic than a stone or concrete structure. This is due to a thing called erosion. As water flows over the top of the dam and down the downstream face, the soil that makes up the structure is moved away with it. After a certain point of erosion, the strength of the dam is severely compromised and as such can lead to a rapid and total failure. Rapid City had become a victim of its own success in some regards, as many developments for residential and commercial buildings were constructed in the flood plain of Rapid Creek and this brings us to early June 1972. The week preceding the 9th of June can only be described as wet. Multiple showers had left the ground along the Rapid Creek sodden. To add further weather issues to the mix, a low level air mass flowing from the east forced moist air up to 7,000 feet high mountain slopes of the Black Hills. In the morning of the 9th, the weather forecast went from bad to worse. Both national and local weather predictions were calling isolated thunderstorms approaching severe limits, with hail larger than three quarters of an inch and wind gusts stronger than 60 miles an hour. The afternoon was battered by two individual thunderstorms. These increased the levels of water in the Rapid Creek reservoir. As the afternoon gave way to the evening, at 7.15pm a flood warning was issued for the northern Black Hills, but shortly afterwards this was extended to Rapid Creek. In little over 6 hours, a total of 10 inches of rain had fallen over a 60 square mile area. The flash flood carried debris laden water from upstream of the dam into Canyon Lake Reservoir, where it accumulated. To try and counteract this, the spillway gates were opened, but debris blocked the flow of water. To add insult to injury, many recreational boats were released from their moorings and began to make their way towards the spillway. Several workers tasked with trying to clear the debris from the spillway were soon overcome. With little else that could be done, the level of the reservoir started to rise. Eventually, the inevitable would happen, and at around 10pm the dam was overtopped. As the water worked its way down the downstream face, it started to erode the soil on the top. The main structure would withstand 45 minutes of punishing flash flooding, but eventually disaster would strike, and a total failure of the central part of the dam happened. This released millions of gallons of water down the Rapid Creek towards Rapid City. Meanwhile, many in the city downstream settled down for an evening inside their homes due to the poor weather. But as the evening gave way to the early hours of the 10th, the flowing water, which was estimated to be around 50,000 sq. ft. per second, herded its way into the city. The water smashed its way through bridges across the creek, destroying any buildings in its path, and pushed any vehicles along with the flow of the flood. Many unsuspecting residents were drowned instantly as the water engulfed their homes as they slept in the summer evening. 1,335 homes were destroyed by the flood with an additional 2,500 significantly damaged. 238 people were estimated to have been killed, but this number would never be 100% accurate. An estimated $160 million worth of damage was inflicted on the city and surrounding areas. The nearby town of Keystone was completely erased and hundreds of businesses just completely disappeared. The early warning system designed to avoid such an incident failed to activate, resulting in such a high death toll. The dam was a victim of a freak deadly cocktail of weather, all of which contributed to an increase of 12 feet of the reservoir level. The event was theorised to be a once-in-a-500-year scenario in 1996. The dam didn't stand a chance, but a loss of life and property could have been lessened by a proper flood warning system and better city area zoning. As part of the reconstruction of Rapid City, the federal government put money into a project called Greenway, where some of the worst areas susceptible to flooding were converted to parkland. Properties still in the flood plain were rebuilt above ground level to mitigate the risks of flood, and some 754 acres were subsequently designated as floodway. More reliable flood warning systems were installed in the 90s as the risk of flooding will never go away in the area due to the steep watersheds. The dam was rebuilt in 1976, and it is hopeful that the mitigation strategies implemented will reduce the chance of another tragedy. Visit the Plain Difficult Production, all videos on the channel are creative commons attribution share alike licensed. Plain Difficult Videos are produced by me, John, in a sunny south-eastern corner of London UK. Help the channel grow by liking, commenting and subscribing, check out my Twitter for all sorts of photos, nods and sods, as well as hints on future videos. I've got Patreon and YouTube membership as well, so if you fancy, check them out. And all that's left to say, is thank you for watching.


Hi, this is Chris Hodge with the OpenStack Foundation, and today we're going to talk about the latest release of OpenStack, Kilo. We're going to start off by logging into the OpenStack dashboard as an administrator. OpenStack is a set of software tools for building and managing cloud computing platforms. It lets you manage compute, networking, and storage resources. We're going to start off by launching a compute instance. We begin by naming it, selecting the image source, choosing some access and security like key pairs to inject into the system and the network to attach to, and then launch the machine. We can also associate a floating IP address to the instance so that we can access it from an external network. So now the instance is up and running and has a public IP address associated with it. Next, we're going to create and attach a volume to the system. We give the volume a new name, specify a size, and hit create volume. Now we can manage the attachments and attach the volume to the instance we just created. Specify a mount point and attach the volume. OpenStack Kilo allows you to manage an entire library of machine images that you can boot. It's easy to create an image, either from an image location on somewhere on the web, or from a file located on your disk. We select an image, some basic attributes of it like public and protected, and the image has been uploaded to our OpenStack system. We can also control access and security for our cloud, including firewall rules. So for example, if you wanted to run a secure web server, you could allow HTTPS traffic into your nodes, into your security group. You can also specify key pairs that are injected for passwordless login. You can create a new key pair, and it's downloaded to your machine. You can allocate new floating IPs to your project. A floating IP allows you to attach an external IP address to instances so that you can log in remotely. OpenStack Kilo comes with a wide range of network settings for you. Using the power of software-defined networking, you can build out arbitrarily complex networks. For example, we want to build out a new IPv6 network to add to our existing network infrastructure. So we specify a name, a network address range, the IP version, set some more details related to the subnet like having a DHCP server active, and the new network is created. We then want to attach this network to our public network, so we create a new router that has an external network as the public network, and then we create a new interface that connects to our IPv6 network. Through the network topology interface, we can also access information about the machines. Like the instance we just booted up. We can see that it's on the public network and is able to see openstack.org. And additionally, we can use our private key that we injected into the system to log into it remotely. We also get a wide range of options for managing your network, including load balancers, firewalls and VPNs. Next, we'll talk about large object storage. These are remotely addressable objects that can be either public and visible, objects are visible on a public interface. So for example, we have an asset, which is the openstack cloud logo, and we just feed that into our web browser, and it's visible to everybody. You can also have private data where you need a key to be able to access files, and you can upload and delete and create new objects as you wish. It's also easy to change the visibility. Openstack also includes a very powerful orchestration engine that allows you to automate the creation of applications that you run on your cloud. So I'll show you an instance of a simple template to deploy a small cluster. In this case, the cluster is going to have a control node and two worker nodes attached to two different networks. So we give a name to the stack, enter in some basic information, like our password, the data network to connect to, the image name that we want to boot, the key we want to inject into the systems, and the private network that we want to connect to. We hit launch, and going into the view of the stack, you can see the resources being provisioned automatically. When we go back to the network topology view, you can actually see the three resources that we created, the two workers and the one control node being brought up automatically. The Openstack orchestration engine gives you a wealth of resources that you can manage, from your compute resources to your network to your storage. In the administrator view, you have a complete overview of what your system looks like, as well as detailed views of the resource usage and the entire health of your system. For example, you can see instances that are up, volumes, the flavors that are available to boot, images that have been uploaded, all of the networks and the routers that are attached to them, and also a view of the system resources that are running in the individual services that are running for each Openstack component.  So for example, you can create new users, giving them an email, password, a project to assign them to, and a role within that project. Within the projects themselves, you can manage the members and their roles inside of that. So for example, we can add heat stack user to the new user we just created. We hope you enjoyed this tour of some of the features that Openstack Kilo has to offer. Thanks for watching and have a good time with Openstack.