Folks are slowly coming into the room. Yes, hello, hello. Hope a couple more folks will be joining us in the space and in the room. Hello, hello, and welcome, welcome, welcome. All right. Hello, everyone. I just want to say hi to everyone on this beautiful Thursday morning, afternoon, afternoon for all of us, afternoon. So hopefully if you're watching it, it's either afternoon or if you're watching it later in the recording, it is a lovely day for you. I want to acknowledge the presence of, that I am on the presence of the traditional ancestral and unceded territory like the Gabriolino and the Tabonga peoples. And I'd like to also acknowledge that we have our captioner Miranda who's going to be doing captions for us and we have Gregorio and Gloshanda who are going to be our ASL interpreters today. And I also want to acknowledge that we are, you know, a lot of writers are still striking. The WGA is still striking and people are still picketing. So if you can have a moment to head on and join and strike with folks, that would be greatly appreciated and that the Actors Union has also voted to strike. So it's going to be very interesting. But I'd like to share this is really important because we are entering the space with playwrights and a lot of playwrights are members of these unions and it's important to be very respectful. So thank you so much everyone for joining the space. I'm going to pass the baton over to Ray. Ray! Hello everybody, thank you so much for being here. I'm Reynaldo, my pronouns are he, him, his. I'm coming at you from New York City, the land of the Lenape people.  You know, I mentioned to Daphne that my path to playwriting has been a bit unconventional, you could say. So I'm excited to be in conversation with you all. My bio is down there in the chat as well. You know, and yeah, Daphne, should I just jump into sort of how I came to the end in the first place? Yes, please do. Because it's such a, I mean, I didn't even know. And then I was like, what? So please, please, please do. Oh, absolutely.  No, I went to high school for agriculture. I totally was not into the arts at all. I was super shy, introverted. And I kind of stumbled into the arts. And the way I did that is I did not want to take English, like I did not want to take an English class. So my high school, John Bowne High School and Flushing Queens, if you took drama, you did not have to take an English class. So I thought I was being slick when actually all we do in theaters re-scripts all the time. So that was a terrible choice. A good one, because I ended up with you all. But at the time as a 17 year old, I was like, this is a big L I just took. But that being said, once I discovered theater, I found a place where I could be my full self. It was the first time that people really wanted to hear my voice. They wanted me to play, wanted me to make a fool of myself. And I kind of knew that I wanted to be an actor. Playwriting was nowhere near the realm of possibility for me at the time. And me being the naive New York City teenager I was, I was like, college, nobody needs college. All these BFA programs and all that. I'm like, that sounds like a lot of money. That sounds like a lot of time. Let me go buy Backstage Magazine and start auditioning. And that's what I started to do. I found my first community at the Flea Theater in New York City. I was this 18 year old with a bunch of 25 year old fresh transplants to New York City. And it was just a great education for me, being around these up and coming playwrights, designers, people who were discovering their own unique voices as well. And I started to build from there. But what happened over the years is that I got further and further away from why I was drawn to theater in the first place, which was I found theater had the potential to change minds, to open hearts, to really say something about the world. And as I was working more as an actor in nonprofit theater, I found that my intention became getting the next gig for myself as opposed to the story I was telling and the communities I was affecting with my work. And that started to shift actually in 2017 when Michael Brown was murdered in Ferguson, Missouri. I was actually working in St. Louis right after that happened at the St. Louis Shakespeare Festival. I was doing Romeo and Juliet. It was Elena Rosa's production. I was playing Romeo. And something really called me to start writing. I was like, as an actor, I spent so much time waiting for that great script, waiting for someone to cast me in the play. And I'm like, what if I just take that power back and tell my own story?   But for me, I just felt like this need to get this story out of me.  I paid them a little stipend and I had them read the first draft of a play I wrote. And they said it was trash. It was so bad. They gave me all these notes. We all need those friends who like are gonna keep it real with you. And I definitely have those friends. But that feedback did not discourage me. My friends wanted me to keep going. And so much of my work as an actor was about, how should I say this? Being okay with failure? Looking at failure, quote unquote, as a chance to get closer to that opportunity that's gonna really fulfill me. Taking that risk in rehearsal so that you discover the fullest truth you can in each individual moment in the script. So from that initial playwriting experience in 2017, I just started writing more and more and the pandemic hit. And all of us were at home. I lost all my employment as an actor as did most of the industry as well.  And that time in 2020 and 2021 was the time where my artistry actually exploded. I took this painful, dramatic experience we were all living through and I channeled that through my art. So I know it's a bit unorthodox to say I do not have a BFA. I do not have an MFA. But I wanted to share that story because there may be someone out there who feels discouraged, who may say, hey, I did not get accepted to that school or I don't have that fancy degree. Is there a place for me in this industry? And I feel like I'm a living example that there is. And I just want people to know that there's a path for them whether or not they can see it for themselves. Thank you. Thank you so much for that. I think it's so important and inspirational. I've taught at community colleges and it's the same thing. It's like each person's path is at their time and whatever it is meant to be is meant to be. And so thank you so much for sharing that. So I would love, I know you have a little PowerPoint for us. You want to share the PowerPoint and go for it. Absolutely. So for all the people on the Zoom as a playwright, maybe as an academic, even as an actor, you're going to be applying to different opportunities, maybe different fellowships, different residencies. You may have a family member or a producer who's asking you, so what kind of art do you make? What stories are you passionate about? And I know for me as an artist, oftentimes I'm like, oh no, I just did not have an answer to that question. So thankfully I did this workshop with Forge NYC, which is an arts consultancy firm here in New York City where I am. And they gave me a roadmap, a roadmap to find answers to these questions so that I could get really specific about the stories I want to tell and the opportunities that I'm really passionate about. So I'm going to share a PowerPoint. Can everyone see that? Oh, I did not share my screen. Okay, let me do that first, everyone. Okay, bam. All right, cool, perfect. So the artist roadmap developed by Forge NYC and we're going to talk about four key points today as a group. The first, why we make our art in general. What's our fuel? Some of you write because you want to celebrate a certain community. Some of you write because it gives you a chance to discover who you are as an individual. Other people may write just for entertainment purposes. Whatever is specific to you, we really want to hone in on that. And that leads me into number two, which is how you make your art, your core values. Everyone's process is different. We all enter spaces in different ways. Do you make art collaboratively with other people? Are you devising your work? Are you someone who likes to work alone? We are going to really hone in on what are the key ways that you make your art so that when you get back to number one, why you make it, those two things are connected. And then that leads us to number three, which is who is all for, right? Because certainly we can make great art for ourselves but so many of us, particularly in theater are creating the work to start that conversation, to make someone in that audience feel seen, to promote healing in different communities. So we're going to really get specific about our unique visions for our work. And we're really going to dream because I know sometimes in theater in particular, we don't get to see the impact of our work, right? We put the play out there, people come to see it and we're not seeing that conversation that happens between a family because they've already left the theater space. So how can we dream about the impact we want to have with our work? And then that leads me to number four, which is what is like to work with you, right? Because we all have a unique vibe and a unique process. I know for me, starting out as an actor, I felt like I had to have a process that was maybe rooted in an angle sized way of making art that wasn't unique to my background and my heritage. And more and more as I've gotten deeper into my career, I'm getting back to what's at my core, my vibe, my process. And this vibe and process is unique to you. And maybe it's something that maybe your close collaborators are really familiar with, but we really want to get specific on that because it connects all three of the previous bullet points. So without further ado, we'll dive into mission. And clearly it says here that your mission is at the heart and soul of your why. And that mission should only be two to three sentences. And that's because we want to get really specific, we want to really distill why we do what we do. So for our first exercise, I want everybody on the Zoom call, you can be on camera, you can be off camera, you can write on your computer, you can write using a pen and pencil and paper. But we're gonna answer that first question, which is why must you make, craft, weave, design, tell, serve, write, whatever kind of artistry you do, why must you do it? Why are you called to do it? The second is why is your work necessary for the communities that you're wanting to serve with your work, right? Getting down to like why these communities need that, need your work in particular. And then also number three, we're considering which is why are you uniquely able and positioned or qualified to do it well? Maybe it's your training, maybe it's where you grew up, maybe it's something unique about you. Let's really hone in on what makes us unique in that way, because this is what's gonna draw people to our work in the first place. So I'll be here, it's in New York City, Eastern Standard Time, it's 4.13. But let's just take five minutes and then we'll come back and we'll share a little bit. Perfect, I'll keep the clock for you. Thank you. Okay, it's been about five minutes everyone. So I hope you've considered all of these questions because now we're gonna move on to our next exercise, which is a mad lib. Okay, so mad lib is something I played a lot growing up in the 90s, for anyone who does not know where the mad lib is, they are stories with words removed and replaced by blank spaces. So in this instance, we're going to be using the answers to these questions here in order to fill in a story in which you'll see next. So number one, the first question. What is a core value that your work upholds or a specific methodology that you employ or a specific cultural or life experience that guides you? Some of you may be trained in a certain methodology. I know as an actor, we talk about Meisner method, for example, a specific cultural life experience that shaped me is growing up in New York City. So those are just some examples of an answer to number one. Number two is what is the full name of you or your company? Some of you may be an individual artist, but some of you may write collaboratively as part of a theater company. So that'll be the answer to number two. Number three, what is a long-term change or outcome that you hope your work achieves? Some of your work may strive to pass laws. Some of your work may fight to change some environmental racism in different communities. So that'll be the answer to number three, a long-term change or outcome that you hope your work achieves. Number four, what is your signature product or program offering? In this instance, it may be a play you wrote or it could be a whole series of plays. Maybe you're more of a producer or director. So what's the signature product or program that you're offering? Number five, your target audience or community that you hope to serve. We all write for different reasons with different communities in mind. I know for me, somebody who's, you know, Black, Puerto Rican and Cuban, I'm always writing with my people in mind. But who's that people for you? Maybe you're from the East Coast, West Coast, maybe it's an international audience. It's getting really specific for you. Number six, the specific medium you work in or unique process you use? Now some of you may be theater artists. Some of you may work in VR. Some of you may devise work through movement. What is the unique medium you work in or the unique process that you use to make your work? And then seven, yours or your company's short name or nickname. For example, I've done some work with the classical theater of Harlem. So for number seven, I could put C-T-H which is the abbreviation they use there. Number eight, a short-term observable or measurable impact your work makes. We had long term for number three, but number eight is short-term. An example I can give of that, my bilingual Hamlet that I've co-created. When we've presented it, we always have young people of color talk about how they've never felt seen in the classics until they've seen our production. So that's something that we have footage of, we've documented. So for you and your work, what is that short-term observable impact you hope your work can make? And then number nine, a grounded image of your long-term change or outcome. What does it look like in practice? And this is where we get to really dream big, right? If your work is produced all over and is in schools, is in communities that you really want to have your work be seen in, what does that change look like? Are people healed? Are people having conversations? Are people celebrating themselves? What is that long-term image you're looking for? So I know this is a lot which is why we're going to take 10 minutes to really brainstorm on these answers for each of you. And then we're going to take these answers and then we're going to plug them into the next slide which you'll see very shortly. So 10 minutes, everyone. Thank you. And I think we're back. I think the 10 minutes are up. Amazing. All right, everyone. So make sure you have numbers next to your answers because we're about to plug in all of these amazing responses you just generated into the next page, which is, sorry about that, great. Okay, amazing. So this is a little template that you can use. And what I basically want you to do is to plug in those answers we just generated into these spots here. It sounds simple and easy enough. If you're anything like me, you'll start to plug in these answers and you'll say, I like this and you'll cross them out. I'll show you, this is when I first did this exercise. You can see it's a mess because suddenly I was like, this doesn't feel like me. This doesn't sound like my voice. How can I make this sound unique to me in my process and the work I want to make? So you have these offerings here, like grounded in and formed by based on, if that does not feel like you, feel free to write whatever feels like you. This is just an offering to you as a starting point. So let's just take a few minutes to plug in those answers, just five minutes and then we'll share if anyone is up to it. And remember, we're speaking in draft here. This does not need to be perfect. There's no pressure at all, but this is just a chance for us to really hone in about the work we're creating and why. Great, so five minutes everyone. Perfect, thank you five. Those five minutes are up. Amazing, all right. Everyone, pens, pencils down, fingers off those keyboards if you're typing. And now, I just wanna have someone volunteer to share their mission with us. There's no pressure at all. What I'm really looking for is, for us to inspire each other, because sometimes we hear someone give a specific example that says, oh wow, that sounds like this. And I can use that in mine. And for the people listening out there, we're really gonna support this work. We're gonna share what's that first word or phrase that the volunteer uses that gets us excited, that gets our attention, because we want people to be as excited about our work as we are about creating it. So do we have a volunteer out there, anyone feeling brave?  Should I? Yes. I don't know. All right, well, this is a very, very rough draft. Yes, that's what the space is for, your brainstorming. And so now you'll have a brainstorm to work off of, so go for it. All right, very rough. Based on lived experiences, Brookmill Productions nurtures love and complexity and hope by offering stories to teens and to late 20s through film and theater. Brookmill achieves connection that encourages celebration. Hi, yes, thank you, Mildred. Okay, lovely. And then for the rest of us, what phrases stood out? Anything really, you know, making ears perk up? Love, love, yes.  Absolutely, love. Nurturing too. And for me, it was connection and celebration, like those two right there.  I almost wanted to know like what those experiences are, like how can we even get more specific about that? You know, what's unique to you and your company in that way, you know? Because we've talked about it personally, but I just want to make sure everyone else is just as passionate about your stories as we are. But great stuff, awesome. Anybody else feeling brave out there? Peggy, you feeling brave today? Yes, I am, I'm sorry.  That's what you say, that's what that happened to me. My camera, like someone called me and I'm on my phone, so absolutely, go for it. This is messy. I've done this before, but I'm trying to clean it up for you, but it's messy right now. Good, this is good. Okay, based on lived experience, Robles Rise Productions Inc. nurtures intergenerational communal heating, literacy, creativity and equity for the Bronx and beyond by offering support and publishing writers of color with the focus on women writers to publish and perform, oh, sorry, to publish, perform, and no, yeah, to publish and perform work via our public journals, performances, open mics and workshops in order to create conversations and celebrate who we are and our unique experiences that shape us. I said something like that. Nice, well, if that's in draft, I'm like, woo, that was amazing. Thank you, Peggy. That was so good. Sorry. When I'm done, actually. I know, I was like, that is fantastic. And I, I've been doing this work for quite a while, but I finally got incorporated as a non-profit about a year. So this is what we've been doing since 2013, but I finally did the paperwork and I'm currently applying for grants for myself, but also for the organization because I really, really believe in our writers of color, especially women writers of color. So yeah, that was kind of like much for you. Thank you. Thank you for that. You feel a great segue actually into what's next, which is just us talking about what the next steps are for this work that we just generated, right? Because at this point now it's about self-reflection. It's us asking ourselves, is this mission we just created, does it feel true to our why, right? Is Peggy just shared such a great, lovely example of why they're passionate about the story they're telling? So for us, whatever we just created is a true to us. And does it speak to who or what our work is in service of and the communities we want to really reach? And to me, most importantly, does it sound like your voice or give a glimpse of your vibe? And that can mean your company's vibe and the work they create. That can mean the way you speak because we don't necessarily need to have our mission sound all intellectual to sound academic. It can sound just like everyday speak. So these are just little notes for the next draft for your mission statement to keep it grounded in process over promise. So the work that you make as opposed to an expected result of that work. And then also specifying those verbs because those verbs are everything, those are your actions. So instead of make, you can use concoct. Instead of collaborate, you can use nurture. And that's just, you know, some things for the next phase of your mission drafting which brings us to our core values. So our core values are in articulation of our non-negotiables, those things that are key to who we are as people and who we are as artists that should guide us and be visible in all aspects of our work from the creation of it to the implementation of it. So I just want everyone to take a few minutes. I know we're running short on time now. So let's just take three minutes actually as opposed to five. What do you stand for and believe in? Ask yourself that. And what are your non-negotiables in every collaboration you enter? What are the things you need before you say yes to a job? And on the flip side of that, if this work doesn't blank, I will say no to doing it. So what's that no to you? What's that thing that is the line in the sand that you will not cross? So let's just take three minutes to contemplate these answers and then we'll come back. We are good. Perfect, all right. So we're going to move quickly into the next slide, which is a free ride. So from what you just did, those questions you contemplated, can you pick three to five words from that answer that feel like your core values? And a core value can be justice. It can be activism. It can be collaboration. Whatever that word is for you, let's jot down some notes about what those words mean to you. Because collaboration, for example, can mean many different things to different people. So let's actually just take three minutes again, just based on time, to contemplate what our core values can be. Perfect, thank you. And we are ready to go. Amazing, okay. So just reflecting on those core values now, how do you define your core values in a manner that is unique to you? Because many people say a core value is leadership, for example, but what is leadership in your work or in your company? Then the next reflection, would someone from outside your work know what you mean by these core values? For example, when we talk about activism, maybe someone isn't really into the social justice movement and how do you make your work accessible to them so that they want to support your work and really champion you as well? And then the next reflection, are these truly non-negotiables for you? And that can mean different things. For example, for a long time, I said I would not work for free in any job. That was just a core value of mine, that if you want to celebrate me, you need to pay me. But then I got presented with opportunities to support communities that were made up of incarcerated individuals and it wasn't a paid opportunity. And I'm like, really the payment in this is not going to be financial, it's going to be spiritual. So I had to shift my non-negotiables in that way. And then the final reflection is, are these qualities present in your work or things your work exists to uphold? If you're someone who wants to open hearts and change minds, can you honestly say your work is doing that right now? And if it's not, why not? I think this is a really important reflection for us and all the work we create, but particularly as playwrights. So now we get to the next category, which is vision. And vision is an articulation of a world changed by your work. I'm asking you to tell us what your utopia looks like. This is a big thing, right? Because for many playwrights, it can be, my vision is just to get my play produced, which we know is incredibly hard right now in the state of theater. But thinking big picture, we're dreaming right now. What is the impact we want our work to have? And can we articulate that in no longer than five sentences? So because we're running short on time, we were going to take five minutes to do this, but I know we got some grade A students in this class. So we're going in two minutes and I know we can do this. So in two minutes, how will people change if they participate in your work? Now that can mean the people who are creating it, your collaborators, or it can also mean the audience receiving your work. So how will they change if they participate in your work? How will communities be changed because of your work? That can mean communities locally, that can mean communities nationally, communities globally. This is your time to really dream in that way. And how will the world be improved because of your work? Is your work trying to incite changes in government, in communities of color? Let's really dream about how the world will be improved because of our work in only two minutes. And go. All right, y'all. Amazing. You just dreamt big in such a short amount of time. So now we're going to take this work and go into our second and last mad live of our time together. So just like we did previously when we were thinking of our mission, we're going to answer some questions and then on the next slide, we'll plug in our answers there. And there will be some overlap with the work we've already done. So question one, what is a core value your work upholds or a specific philosophy that guides you? This can be a core value you just brainstormed or it can be a certain philosophy that guides you. Some people, it could be a religion. Some people, it can be a lesson from an elder. So what's something that guides you in that way? Second, the full name of you or your company, I think that's pretty straightforward. Number three, what's a long-term change or outcome that you hope your work achieves? And this is dreaming long term when that film gets produced, that play is published, what's that outcome you're dreaming of? Four, what's the broadest community or world in quotations that you hope to serve? Now, this can mean the tri-state area where I am in New York City. This can mean a certain community of island nations. What's the broadest community you hope your work serves? And then five, a grounded image of your long-term change or outcome. What does it look like in practice? And I know for me, when I first saw this question, it tripped me out because I'm like, I don't know. Well, this is our time to dream right here. There's no right or wrong answers to any of this. Let's just take another two minutes to quickly dream up these answers and then we'll plug them into that mad lib. Great, awesome. So we've generated these amazing mad lib answers and now let's just plug them in. So here you go right here. The same option applies as the last mad lib we all did together, which is if one of these italicized words do not really speak to you and the way you make art or why you make art, feel free to generate your own. Just because of time constraints, we will not have time to share them, but I strongly believe that all of your visions are amazing and I look forward to watching you bring them to life in the future. So let's just take two more minutes to fill in this mad lib and then we'll come to our last slide of the day. Thank you. And did you say two minutes? Because two minutes are up. Amazing. All right, you filled in those mad libs and now your next steps when you go off on your own is to consider is your mission necessary to bring about the change you envision? Because when we think about our mission, our mission is our fuel. Is our mission connected to our vision? Or is our mission so exciting that we actually can dream bigger? We can have a bigger vision in that way. So can we make sure those two things are connected in that way? The next thing to consider, does your vision demonstrate concrete outcomes that reflect your core values? Because in our vision, we're dreaming big. So if one of our core values, for example, is justice, is that connected to our vision and the change we're trying to create with our work? And then finally, the last thing to consider, does your vision offer inspiration for you to do your work and others to join in of the creation of that work? That can mean a theater producing your work. That can mean a producer wanting to give you funds to create that project. Is your vision inspiring in that way that other people want to sign on to support you? So thank you all for going on that ride. I know it was quick, but I hope this gives you a jumping off point to really get specific with your work and hopefully not dread these applications, which always ask us to distill our work into these easily digestible forms. Thank you so much, Annela. That was absolutely wonderful and so helpful. Especially for any of you who are just beginning and you start sending your plays out, they will ask for all of these things. When you're applying for grants, they will ask for all of these things. So if you already have them, it'll save you hours. So thank you so much. Thank you for being in the space. Thank you again, Miranda, for staying a little bit longer. Thank you, Gregorio. And thank you, Glossonda as well. And just thank you so much again, Annela, again for sharing your knowledge and your wish them with us. Thank you, thank you, thank you. Thank you. And I'm on social media for anyone out there who wants to stay in touch on Instagram. It's at ReynaldoRay. My email is my full name at gmail.com. So any questions, any concerns, feel free to reach out. Thank you. Thank you everyone for staying a little bit longer. And hopefully I'll see you all next week for our last session. Thank you. Thank you, thank you, thank you, thank you, everyone. Thank you so much. Thank you, thank you, thank you. Thank you all, we are live.


Hi everyone, Joe for jasmizcasebrakes.com coming at you with a two box break of 2019-2020 Panini contenders optic basketball two box picker team number 62. We've done a lot of these breaks Thanks, everyone, and we got a little bit of a break credit Come in your way If you bought at least two teams get an entry for some money Top five win 60 bucks each We'll do that. We'll do that at the end of the break Big thanks to all of these lovely people here for getting in on the action Spending a bit of your Thursday night with us. We got Pelicans Yanis is hosting Zion on TNT tonight. This is a two-screen night folks two-screen night Big TV maybe on mute Watch the game Little TV small screen with jasmiz. All right, let's see what we got here ladies and gentlemen We've got we got historic slams Jason Richardson slam Warriors come out to play all over with the historic slams Josh Richardson. I don't remember this slam, but Looks pretty good. I remember Josh Richardson We've got a randomizer between okc and the New York Knicks nice red Cracked ice highlighting the historic picks third overall picks RJ Barrett was a third overall pick and so was James Harden Many years before RJ Barrett and behind Alex Caruso is a silver Al Horfer That'll be for the Sixers Mark behind Alex Caruso is Jamal Murray Red Jamal Murray not numbered, but that'll go to Denver Ryan H with that one yeah, and Alex Caruso is the Autograph it's Carson Edwards rookie auto for the Boston Celtics Robert Runkle last spot mojo strikes again 60% of the time Hits a hundred percent of the time and there's Alex Caruso seemingly with some hair Look at that. That'll be for my Lakers Shawn man. Oh my Lakers not good Last night, but I guess that's what happens when you lose your number two and number three score Second box another two box break is in the store already if you're watching live. We can run this back. We've got aspirations Chris Weber nice for Sacramento that goes to Hovsep And we've got Robert Parrish gold To ten three out of ten that card is gold Robert with the Celtics Robert getting Robert Robert Runkle getting Robert Parrish in that Jason Tatum on top will go to you We've got a silver miles Turner for Indiana mark and we've got a red James Harden Rockets edition Going to mark as well the autograph behind Jason Tatum is Isaiah Roby rookie ticket autograph Sometimes depending on the matchup could be a good low-priced daily fantasy option 117 out of 149 Okay, see Gilbert with that one and there's the Jason Tatum right here and there you go there you have it All right, let's randomize these This card as well as break credit. So if you follow the instruction, you got to have at least two teams So let's alphabetize that list right here by your first names So ea got two teams that equals one entry Gilbert two teams one entry Gretchen two teams one entry Hovsep two teams one entry Joshua two teams one entry mark with six teams. That's three entries Oliver with two teams one entry Robert two teams one entry Ryan with four teams two entries Sean with two teams one entry and Kim zoom in with four teams two entries And so that's 15 entries. So the full boat of possible entries and let's actually bring up another list Right here for okay C and NYK Let's roll it. Let's randomize it seven times for both lists five and a two one two two three four five six and Seven and final time after seven okay C on top. So that will go to Gilbert and the Thunder you'll get the historic picks third overall card James Harden R. J. Barrett And now the break credit same dice roll seven times. So it's gonna be top five after seven $60 a break credit each one two three four five six and Seven and final time after seven. There you go. There's the top five right here. Sorry Ryan Summon mark EA Gretchen and Hovsep $60 break credit going your way I'm Joe for jaspys case breaks calm another two boxes in the store. We'll see you for that one. Bye. Bye


So I appreciate everyone in that was there for the stream You guys were amazing. You made the stream so much better, bro Made that my experience of watching hell in a cell this year so much more enjoyable than if I was to watch about myself But we're gonna check this out man appreciate all the love and support roads of 50k and let's see what Russell Lamea has to say What is going on guys? It is Russell Lamea here back with another video It's time for the 2021 hell in a cell pay-per-view which is said to be the last pay-per-view in the WWE Thunderdome Oh, thank goodness. God.  Oh, no It's actually just getting stupider each time and this moment was just ridiculous Anyway join us now as we recap all the matches and analyze the show for the good the bad and the downright ugly Be sure to subscribe and hit that notification bell for daily resting videos and follow us on Facebook So glad they're getting rid of the gun at all and actually have live fans in attendance for the next pay-per-view. Thank goodness, man Start off with a pre-show as Mandy Rose took on Natalia. Rose is out to prove She's more than a pretty man. I watch this match Competitive at all at one point nearly finishing the match after hitting a missile drop kick However after escaping an armbar attempt Rose falls into Natalia's shop shooter and quickly taps out Natalia wins the match We're then gone on to the main show and the show opens up with a Hell in a Cell match for the Smackdown Women's Championship This champion Bianca Belair takes on Bayley. Bayley puts on a showcase of underhanded tactics targeting Belair's arm and shoulder tying the ESD to a chair and tormenting her and even biting her However, Belair shows her toughness and dishes out a lot of punishment to Bayley with the role model injuring her knee It's a seesaw battle as both women batter each other with kendo sticks and chairs Both women are beat up, but Bianca shows more heart hitting a sent on to Bayley while she's laying on a ladder followed by a KOD to the challenger that drives her into the ladder Belair covers her and it's all over She retains the Smackdown Women's Championship Next up Alexa Bliss cuts a promo while on her swing telling the fans that Lily is RIP Shayna Baszler, bro Your main roster career is dead, bro Still in time out. She tells the WWE Universe Baszler brought everything upon herself with her negativity and reminds the fans to expect the unexpected So much cringe, bro. Just just oh my god Just so much goddamn cringe, man. Let me just be honest with you that match was awful So bad don't even know why it was on the show Next up it's Cesaro versus Seth Rollins. As Seth Rollins ambushes Cesaro while the Swiss Superman is making his way down to the ring It's a technical classic as both men counter each other finishes, but Cesaro avoiding the curbstom and Rollins countering the neutralizer The things get personal though when Cesaro rips off Rollins' black glove stuffing it in his mouth Cesaro gets Rollins in the Cesaro swing for 15 swings as well as locking in the sharpshooter until Rollins reaches the ropes Cesaro looks like he's going for the sharpshooter again But Rollins surprises him with a small package kidding the one two three and Rollins wins the match I wasn't the biggest fan of that finish. I thought that finish kind of was Black luster for me personally I get why they did it cuz you know, they're now tied up 1-1 and you know, they're they're a feud of matches So now there's gonna be the rubber match and we're gonna see who's gonna ultimately win this little feud I'm hoping Cesaro does so I get why they did it Understand, I just wasn't a big fan of the roll-up, but I understand why they did Why they had Rollins win that way. So I get it But honestly, man, this was the better one of the better matches of the night. So So the Rollins is beat up, but he's ecstatic to finally have a win over Cesaro, but this one isn't over yet It's a match between Baszler and Alexa Bliss I'm sure Baszler is looking to punish Alexa But Bliss uses her Jedi mind tricks to be a photo and bewilder Baszler while also getting Nia Jax to take out Reginald Yeah, WTF.  Bliss basically mesmerizes Baszler and her entourage making for an easy match Twisted Bliss on Baszler and Bliss gets the win. We then get Sami Zayn versus Kevin Owens As Owens comes in from Commander Aziz's attack on him on SmackDown Well, that's a question fans are asking as Owens goes into the match Gaeo takes the fight to Zayn, but Zayn stays in it even after a stun and nearly leads to Sami being counted out The match ends after both men start trading punches and Zayn kicks the Luba kick for the pinball victory We get the Royal Women's Championship matches champion Rhea Ripley Didn't I like the ending of this one A flare attacks Ripley before the bell and two fight tooth and nail with a number of near-falls Including one with a nightmare lands or the rip tied on flair But the Queen has to wear with all to put her foot on the rope Another close call comes when flair locks in the figure four However Ripley grabs the ropes for the break and the two fall out of the ring with Ripley grabbing the cover to the announce desk and earning a DQ Charlotte Flair wins, but only by DQ Which means that Ripley retains the Royal Women's Championship Ripley attacks flair after the match and the tube brawl until Ripley hits the rip tied on the Queen And finally we get the main event as it's the last chance Hell in a Cell match for the WWE Championship Drew McIntyre loses, he can never challenge Bobby Lashley again for the WWE Championship But Drew McIntyre is a man on a mission as he pummels and punishes Lashley from pillar to post The only problem is that Lashley is equally determined to retain his title Our referee bumps, spoils Drew's chance of getting the 1-2-3 on Lashley But the challenger wisely asks the outside official to enter the ring and the match resumes Drew's determination sees him escape the hurt lock and hit the Claymore kick on Bobby Lashley going for the pin But that is until MVP lives up to his name and pulls the referee out of the ring, breaking the count Lashley takes his frustrations out on MVP laying Lashley's manager out The hard-hitting bout continues with McIntyre finally setting Lashley up for the Claymore But MVP has recovered and he holds McIntyre's foot Preventing the warrior from hitting the finisher and allowing Lashley to roll McIntyre up for the 1-2-3 Bobby Lashley retains the WWE Championship MVP waves goodbye to McIntyre after the match as Drew can no longer challenge Lashley for the WWE Championship as Helen Lacell closes out Wasn't a big fan of that ending only because I felt like If you're gonna have this speed of stipulation to this match where Drew can never challenge for the title again as long as Bobby's holding it I would think it would end in some in like a different fashion where I guess you can say maybe You know, of course MVP gets involved and then maybe you know some type of powerful move where Bobby Lashley is able to go for the pin because I think Helen Lacell I've just I'm always envisioning it as a brutal intense match So I'm not envisioning it envisioning it as a match that ends in a roll-up It's usually the match ends where someone just is so devastated and the other person is tired and exhausted and battered and beaten and bloody and had to crawl to get the pin That's what I envisioned Helen Lacell not a roll-up victory like I don't know man I just I didn't like that for that to be his last chance Supposedly at going for the title It's just like if he's gonna go out I'd rather have been some you know cheating tactics And then of course he just gets destroyed by Bobby Lashley, but instead he just goes for a roll-up I was just like, yeah I just it just left a sour taste in my mouth man after the pay-per-view. I was like, this is how you end it I didn't really like the ending out. That was a quick recap What about the good the bad and the downright ugly as always we start off with the good as a number one a momentous match And we can't praise Bailey versus Bianca Belair's match enough as Bailey Was evident tonight with the role model utilizing every devious tactic in the book and even challenging Abdullah the butcher by taking a Both Belair and Bailey utilize Bianca's braid with Bailey tying Belair's hair to the bottom rope and later a steel chair Bianca wasn't afraid to employ her braid tying Bailey's wrist to it and pumbling her Just love the different amount of ways that Bianca uses her hair as a weapon But the action was heated and featured a brutality you'd expect in a Helen Lacell match Number two a phenomenal finish that sometimes a match can be exciting up until the last few seconds only for the finish Flop and take something away from the match This is what I was talking about the match could be decent and then the finish you just like well What was this? I did like to finish of this match This was probably one of the most better spots of the entire night as she was brutal looking that was pretty cool Bianca versus Bailey match as Bella finish things off with an explosive ending planting Bailey into the ladder via KOD It was a hard-hitting finale that highlighted Belair's quest for revenge on Bailey and a reminder that she's a champion Not to be trifled with yeah, that was pretty cool forwarding feuds a tonight show featured plenty of action from start to finish And just as good the show forwarded feuds particularly the war between Cesaro and Rollins and the seemingly endless struggle between Kevin Owens and Sammy Zane The WWE has shown some serious savvy with both programs by having neither wrestler in them dominate the series The WWE has a bad record of booking wrestlers into a feud only to have one wrestler win every match That wasn't the case tonight as Seth Rollins scored a much-needed win over Cesaro after dropping two matches to the Swiss Superman Yeah, Sammy Zane got the Duke on Kevin Owens and giving Zane plenty of ammunition to claim Owens is I don't know why I said when I say it's it's it's tied 1-1. I don't know why I said that my bad, but not Seth definitely did need that win. I just wouldn't a big fan of how he got it I would have liked if he got it some other way, but He still need that win, but I'm glad they are continuing the feud with him rather than running lopsided feuds that quickly burn out fans The WWE is building interest in a rematch for both programs Something that is the goal of any wise booker number four. It never gets old How did they do it? Fans have to wonder how Sammy Zane and Kevin Owens can wrestle what seems to be their millionth match against each other They're really good in the ring Exciting this little question that both wrestlers it was an enjoyable match, but I think this match took place after the Becky after not Becky after the What match was that? I can't even think of it. It's so trash Alexa Bliss and Shayna Baszler. It took place after that match and I was kind of I was engaging with the chat at this point Why we was just kind of just and you know enjoying these chudders banter in the chat You know, it was I was more focused on that even though I was watching this match and it was definitely decent I just wasn't as invested as I should have because I was literally just like really just Disconnected at this point after seeing what I saw Happened on an actual pay-per-view with Alexa Bliss.  Best workers in WWE that's no guarantee They can keep the fans entertained when you think of how many times they've battled each other not only in WWE But throughout their careers Somehow Zane and Owens know how to find a way to put a fresh spin on their matches and tonight's bout was no exception Number five a clever twist and just as we praise the finish for Bianca versus Bailey We have to call out the WWE for what can only be called a clever finish between real Ripley and Charlotte Get what looked to be an intentional disqualification might have seemed like an anti-climactic ending Yeah, first of the story of Ripley growing as a wrestler and learning from how to make your video You know now when wrestling me I just did not like that bro.  What is this? Who am I supposed to really cheap root for like I want for you to keep the title, but it's like She'd like that was a heel maneuver type thing It's like nah, I just I just wouldn't a fan of it me the veteran flair This was heard during the post match exchange between flair and Ripley when flair said you're learning bitch and Ripley replied I only did what you would do to me Queenie and I'm a mentis main I get that from that standpoint. I just wasn't a big fan of I thought they could have did something else They could have did potentially something else. I'm not sure what they could have did But I just thought intentionally getting disqualified is like well It's like it comes off like you couldn't beat her so you got to get yourself disqualified I just didn't I didn't like it, but maybe someone else did maybe more of you more of you Didn't enjoy that ending the almighty era faced its biggest challenge tonight as a determined Drew McIntyre Seemingly had lashley locked in the cell however lashley's manager MVP lived up to his name helping give lashley the edge He needed by interfering not once but twice So to say drew dominated not hardly as both McIntyre and lashley seemed to have the upper hand only for the other to recover This was a fantastic fight that told the eternal story of a heel using underhanded tactics to outdo his baby face opponent The WWE has created some serious storytelling possibilities as drew deals with the reality He came up short I could no longer challenge lashley while the champion seems more dominant than ever That was a good. What about the baddest number one at a poor pre-show book Maybe he'll turn heel from that. Maybe that causes him to snap He does need a character change my opinion to freshen up his character. So maybe it turns heel from that King I regardless of whether you enjoyed tonight's match between Natalia and Mandy Rose You have to ask what the WWE was doing booking her on a pre-show the purpose of the pre-show is to provide an exciting match This was a little disappointing didn't watch it The purpose was to forward the Mandy Rose and Dana Brooke battle for respect angle It should have been a tank team match either a non-title match or better a title match a singles match between the two tank teams Is the epitome of filler and better suited for raw or smacked down not a pay-per-view Number two better dead than red now although it looks like there's no turning back the WWE's use of red for the Hell in a Cell remains and I saw By the red light that the WWE used to employ for the fiends matches and God we didn't have that this year I don't know. I just wish they brought the old cage. Thank you. That was a good the bad What about the down? Moronic mine. Yes. We had any doubts about just how bad Alex Oh my god come tonight's match between bliss and basil a dispelled all doubts Initially the idea that feeds former disciple turned into a monster all on her own had potential But it stumbled from the start only worsening when bliss introduced a doll lily and jumping the shot when bliss Tormented Shayna Baszler in a segment that had fans and critics instantly ranking it as one of the worst segments in raw history Am I talking about a program that had the infamous Katie Vic angle came lighting Jim Ross on fire and more repressed memories We'd rather not dig up the idea of bliss possessing hypnotic powers over opponents might seem clever But like that means imperviousness to pain it makes it difficult to book as she can apparently win any match now You know the train is flying off the track when one of the WWE Superstars has powers like Pokemon's Hypno like cheese. Oh my gosh Despite the bliss BS tonight's Helen a cell over delivered with two great Helen a cell matches and several good matches in between If the WWE wanted to motivate its fans for the return of live shows it couldn't have done a better job I don't know man.  I'm not to disagree with it or wrestle lamey on this one, man. I Yeah, I wasn't really a Big fan of this pay-per-view. I gave it a four out of ten for me personally after the stream Well, as the show ended I gave it a four out of ten. I did not really too much care for This match. Well, this this in pay-per-view in the sense of the booking decisions and Just some of the stuff that was going on within the show and how the matches ended now I'm sure there's people that enjoyed it. But for me, I have to give it a four out of ten. It's not I May be able to think of two matches I would probably revisit maybe two or three matches and even then it's still one of those type of things where it's like Nah, I can't I can't give this one a good rating, bro A lot the lexabliss situation alone Automatically drops it so many points because that shouldn't have never been on a show and maybe you can say I'm being a little critical here You know, maybe over critical here, but I just for me personally I'm gonna tell you this now if I was watching this by myself to take notes I would have been bored out my mind But it wasn't if it wasn't for everyone that was in my chat last night while we was watching it together It made the show that much more enjoyable Because of my commentary your guys commentary in the chat. It just made it that much better So me personally I give this show a four out of ten. So comment down below. Let me know What do you give? Hell in a cell 2021 Do you what I don't on the scale of one to ten? What are you giving it me? I'm giving it four out of ten I would love to get your thoughts and opinions on it on how you rate the show from last night But I appreciate all the love and support Road to 50k appreciate y'all kicking in with me. I see y'all on the next one. Peace


So you're either going to say yes or no. Were they right? Yes or no? Yes for was the distribution not fair Okay, not fair would be yes and fair would be no Okay, so were they right was the distribution unfair one two three Okay, excellent. So data explain why Because let actually let because this is what I'm thinking. Okay. I'm looking at this problem, and this is what I see Hmm. I have four students and we're giving them three subs There is okay. We have eight students. We're giving them seven subs That's one less than the other group received that seems fair to me And then we have the third group which has eight students the third group has Eight students seven subs one less sub seems fair to me too Actually what I think is the only group that got short change was the fourth because there's five students They got three subs. So why can't I say that the first three groups? Got shared equally. Why can't I say that? Continue data the three groups of the four groups. They didn't get the same Did don't have the same amount They didn't get the same amount because they don't have the same number of students and they don't get the same number of Sandwiches so for example when I did number one I got zero and seventy-five hundred or three-fourths and Each student got three-fourths of a sandwich But that wouldn't be fair because the second group they got four sets of a sandwich, which was eight times of a sandwich Excellent, and what about the other two? How does that compare with the other two as well? Amelia um the other two groups well First of all, I think it's fair because Um each group got one less um sub Each group got one less sub So I think it's fair because none of the groups got two less subs than other groups Okay, so take a look at Around the room. So apparently there's there's something there's something a little bit off with our thinking Okay, um Gabby, I just agree with you Amelia. I'm not all of it It's fair because each group got different um get different piece of pieces of sub for example The first one has zero and seventy-five hundred whereas the last the fourth group has zero and six tenths You said that some groups Don't have two less Two less sandwiches and others but the fourth group says had five students and shared three sandwiches and three is less than five The second group and the fourth group had the same number of students But they didn't get the same number of subs or sandwiches So that wouldn't be um two one less than one less sandwich. So I disagree with your thinking Amelia


They have to adjust their false character To keep you under control, to keep you in order and in check They're coming into the relationship As an imitation of something else As something that is not true, genuine or honest, as something that is only intended to deceive So it's a lot easier for them to abandon you They're not really sabotaging the relationship They're just abandoning it to avoid something that is bound to happen To avoid something that would be unavoidable If they chose to remain in the relationship Because they know that at some point you're going to discover who they really are. You're going to figure them out It may seem like they're sabotaging It may seem like they're deliberately destroying their relationship But they're just having issues controlling and restraining their false character They're having problems with containing their false image Which they have to do in order to further manipulate and trick you They may fail to take proper care of it They may not give enough attention to it Until it's gradually revealed and ceases to function Which is when you start to see their masks slipping off You start to see their true character and feelings And you start to wonder what happened to this perfect character This person who was exactly right This person who did everything carefully and completely They're beginning to neglect the false character that they first showed you Because they're losing interest Their interest doesn't last long So it's only a matter of time until they turn against the very character that they displayed to you in the first place They act in opposition to it And show resistance to it And then they take an interest in something else Which can look like they're messing up everything that they've just built But they were just playing a role They were putting on an act And at some point they abandoned that false character Which means they have to abandon everything else that goes along with it They have to abandon everything that they were trying to hide They have to abandon the illusion They have to stop using it They're abandoning the false character And the role that the character was supposed to play Which is everything that they were displaying to you So it looks like they're sabotaging themselves It looks like they're destroying their relationship But really They're abandoning their commitment to the false character The character that they were using to manipulate you And now they're changing their position, direction and focus Onto something else Because they have very short attention spans There's a very short length of time For which they are able to concentrate on a particular activity or subject They're easily distracted So they're constantly going from one thing to the next It's never stable And their interest also changes direction and focus very quickly too Their feelings of wanting to know and learn more about you Can change at any moment The moment they feel like they're not getting the supply or power that they should be getting from you Their attention and interests instantly goes on something else And then they neglect the character that they use to entice and attract you They stop acting They stop performing in the way that they did before That initially aroused your curiosity and interest That initially fascinated you And once they begin to neglect this character It looks like they're sabotaging themselves But they're just neglecting the false image that they used to manipulate you with And then their attention is on something else But when they lose interest in that They will come back and get something small from you It's like first they're going in one direction But then they will go in the opposite one It's like an emotional roller coaster It seems to have wild and unpredictable changes But they're just going in and out of characters Which is how they can be completely different depending on their environment They can change their mood and character around certain people If you could be a fly on the wall You would see a completely different person They have multiple personalities Because they're always trying to blend in They're always trying to be whatever they think other people want them to be They change their opinions and behaviour according to the situation But when they're not getting a widespread reaction of interest and excitement They abandon that character And then they put their interest and attention on something that is more stimulating to them And once they abandon that character Everything else goes with it They no longer try to uphold their false image And it looks like they're sabotaging themselves Because they stop caring at all about you They stop being concerned They stop considering you as important When they abandon the character They stop caring about anything that's associated with that character And it looks like sabotage It looks like they're trying to destroy their relationship But they're just abandoning the character They're abandoning the character that they were using to entice you and fool you with Which is how you can see them doing something with someone else That is completely different and unusual To what they have shown you Because they've abandoned that character with you And now they've created a new character with someone else Which they are now using to fool them Thank you for watching I hope this video was informative for you Please like, comment, share and subscribe If you would like to donate My PayPal link is in the video description Coaching queries You can email me at coachingatnatfivert.uk Thank you for watching and I'll talk to you soon


A truck suffered severe damage this morning after it collided with the moving train in Pennington County. The crash happened before 10 in River Falls Township, around 11 miles south of Thief River Falls. According to the Minnesota State Patrol, the truck was traveling west on the Center Street East, approaching the train tracks when it failed to stop for an activated railroad crossing. The truck was hauling a trailer that was loaded with another car at the time of the crash. The driver was taken to Sanford Health in Thief River Falls to be treated for non-life-threatening injuries. Alcohol is not believed to be a factor in the crash.


Good afternoon, moon! For those morsels who are new! I am esteemed Dr. Smithson, and today we will be studying, studying SCP-6452. There's nothing at all objectionable about this document, no, no, nothing objectionable, so let's dig in! Item number SCP-6452. Object class, safe. Special containment procedures. Please send healthy, alive human test subjects disposable to the offices of Dr. Smithson daily, located in room 5A in the basement of area 179. Observing this experimentation is bad, bad, punishable by death. O5 Council has said so. Description. SCP-6452 is a fleshy, thin strip of skin found on all human bodies that stretches so far from the top of the cute little head to the bottom of the constricted, tight waist. SCP-6452 is invisible, yes, and can only be seen by esteemed researcher, Dr. Smithson. That's just how it is. Applying force and tearing back SCP-6452, ripping and peeling away the yawky trash from that horrid-looking body allows access to the subject's gooey, creamy center. Everything inside is edible, from the meaty cutlets of lard and tissue to the stringy stuffed tubes near the bottom.  The removal of the exterior layer attached to SCP-6452 results in the subject's neutralization. Dr. Smithson knows how to keep them alive as long as possible with his expert precision. Makes flavor better. The crunching of the organs and gasoline of the juices is more than enough reason to continue Dr. Smithson's research very quickly with sweetness. Extreme caution not to choke on the chewiness of the contents inside. Notice from the Foundation Records and Information Security Administration. The Foundation is presently aware of the peculiarities of the above file. The matter is presently being investigated. The page has been edit-locked by the request of its author, Dr. Smithson, who has verified his identity via blood sample. Signed, Maria Jones, Director, RISA. Thank you for listening.  Please become a patron or visit our merch store at the link in our bio to support our work. Secure, Contain, Protect.


Do you have anything to say to the camera? I just feel like we're weirdly close to there.  That's trying to be funny, it wasn't funny. Ha ha ha ha! First human reaction to the idiots, I'm Corbin. I'm Rick. And you can follow us on Instagram! Yeah, cheers. I think we're supposed to patron on Foster's official Twitter account. Yep, he polled answers over there. I sometimes don't believe me, check it out. Naked. Uh... And then I post it to Grindr! Uh, ha ha ha! Old people? Oh, somebody requested, by the way, whenever we do 90s cheese, they really want Alexa saying it's so cheesy. So we gotta get started. I know, I know, I know. We gotta get started. Anyway, so this is an old trailer. It's called Dil Chahata Hype. We may have to, like, have a ceremony. Dil Chahata Hype. Anyways, for the death of Corbinization. It's 2001, so it's gonna be an old trailer. Right. But...it has America, Oche, and Sartash. SWEET! Yeah! And somebody subbed the source, wasn't Haynaz, but, uh, thank you so much. Thank you, who helped us out with that.  And I ask on Twitter, so thank you so much. But, let's just... Ah, now I'm looking. Did we, is there anything we've reacted from this thing yet? Or just seen lots of requests for it. Uh, we, I don't think we've reacted to anything. Okay, I just, now that I'm seeing the full name there, it's, I've seen the requests for this, so there's probably a lot of people saying, finally I can die now. Yes. Yeah. Here we go!  Don't be too emotional. Yes, I, but... There he is. Let me hear it. You did. But I... Since when? That was on the buck. No idea what's going on right now. What did you call it originally? Dil Shatahai? Yeah, that's what I thought. Uh, yeah, but... I didn't see Akshay. Let me check on you, because the title I was given says Akshay. Okay, maybe it's a different Akshay. Akshay. You probably already told us that, if that's what it's, uh... If somebody says Akshay, we're immediately thinking... Kumar. Bubblebath dancing. Uh...  Plumber. Uh... Obviously that, the song looked really cool. Obviously, I don't think it was the actual trailer, because I don't think it had trailers. No, no, no, it didn't, it doesn't make much sense. But I think it's a movie about three guys discovering love. Yeah. And I believe, from what I've heard, like it's a really good film, and so you're going to just have to tell us, once again, we're not, we don't judge films off the intro. No, but I mean, especially old ones. Especially old ones. But at this point, we trust the choices. Not that everybody makes the perfect choice, but if Amer Khan is in it, and Saif Ali Khan is in it, we're going to be 100% in, unless somebody says, avoid it at all costs. So, the fact that they're in the films is already enough for us to be interested in wanting to see it. And, okay, so you say it. And I remember requests for this. So it's Akshay Kanna, yeah. Okay, so it's a different Akshay. Okay, sorry, I'm sure you already told us when I said it, they're like, Akshay, not in it! There's already 500 comments in that first 60 seconds of it. It's not Akshay Kanna. Three inseparable childhood friends. They're just out of college. Sounds like a game show. Nothing comes between them, until they each fall in love and their wildly different approaches to relationships creates tension. And I did notice one moment when, was it Sartaj on the phone? Yeah, how about it? How about it? I mean, many films might have done it, but that's almost directly out of Uncle Buck with John Candy, if you've never seen that film. If you don't know John Candy, the one of the most lovable men of all time. Both in his characters and what anybody ever had to say about the guy. The guy was a gem and a sweet guy who died way too soon. Just comedy juice all over the place. Like, I can give you 10 recommendations for that men's film. Wonderful, anything with John Candy, see it. But it's directed by Farah. Farhan Akhtar. Oh, Deborah. I don't know if he was... No, producer. Probably he produced Deborah. I don't think he directed Deborah. In Dawn, so I don't know what he had to do. Nope, he's the... He did direct... No, no, that's what I thought. It was Zoya Akhtar. It was Zoya. Are they married? Wait a minute, wait a minute. That's what's his name. That's the brother who's also in Deborah. Go on a thumbnail. Remember who helped him wrote Deborah with her and she directed it? That's right. And he's one of the three guys with Rithic? Yeah, yeah. Okay, so I think people told us he was a good director as well. Yep. And producer, writer, and he produced it and... And was one of the... It's his story. It's his story. Now I'm even more interested. Okay. Mirkan Sarifalikan, which... You know, it's funny. We talk about Sarifalikan, we've only seen him in really sacred games. Our first introduction to him was sacred games. And then we've seen him in 90's cheese. Exactly. Yeah.  But we've not, I mean, we've only seen sacred games. Yeah, so in the comments along top of you telling me, Akhtar is not in this. Yeah. Because I'm sure there's a thousand of them already. It always happens. That's true. I say one thing at a time. Sometimes the whole... Which is a great lesson. Watch the whole reaction before you make a comment. Because a lot of the times the comments we see, it's very clear. They watched the beginning. You've got something at the beginning and you start commenting immediately because you want to be the first one seen. Totally get that. However, like this reaction, we clearly recognize the fact that it was an Akshay Kumar. That would have been a crazy cast, though. But yeah, let us know what, like in terms of, should this be one of our starts with him? Outside of sacred games. Well, I can tell you what they're going to say right now. What? Umkara. We're going to need to... Umkara? Yeah, the Othello. Vishal Bhargwaj is Othello. He's in that? He's in that. Oh, is he really? I believe so. Correct me if I'm wrong, but I am pretty sure. Really? He is in that. Oh, yeah, you're correct. I remember people saying that's what you've got to see him in and that will finish him. Well, we're definitely going to see that, so you don't have to worry about that, for sure. But what else besides that? How he's in that, that wasn't really popular. I think we... Yeah, let us know, because we really, we really like him and have found him. I remember I actually wasn't really that impressed at first. It's kind of like the Runbeard sing thing with Gully Boy. I wasn't really impressed with him the first episode of Sacred Games. But he's really growing on me to the point now I detect him anywhere. You need a shirt. It's just his... You need a shirt that's his silhouette and that says, is that Sartre? That's true. It's weird into some of the videos where I've recognized him just from like his shadow going by. Yeah. But I really would love to know more about his work. I'll let... Is it this that we should watch? Yeah. I know you highly recommended this film.  Let us know. And that's our case. Hey, that one likes me. We need to decide what we're going to watch. Yeah, we will. This week. But let us know about obviously the trailer. It's like I couldn't really tell much of what was going on. Yeah. And clearly this is just a real quick in and out movie. The runtime is 183 minutes. So it's just one of those real... Good grief. It's over three hours long. Is it really? That's... Well, it's all Bollywood. It's three hours, three minutes for a comedy. It's all Bollywood. I know. It's all Bollywood. Bring it on. We're used to it. But let us know if this is worth reacting to and let us know how it is in the comments below.


So, as Josh said, my name is Sarah. I'm a Ruby developer at Pivotal Labs in San Francisco, and we do a lot of Rails development. I'm going to see some Rails code in these slides today. I have some GitHub and some Twitter. I'm here to talk today about Ruby APIs for NoSQL. And I also like to call this talk Polyglot Persistence. We're going to talk about how you store data in Ruby when you're writing a system that uses more than just a relational database. But I'd like to start out with a little bit of audience participation to get ready. So, fans, who's written an application in Ruby that uses a relational database? Okay, that's great. About equal to the number that do TDD, that's pretty awesome. So, who's written in Ruby app that uses a relational database and some kind of alternative data store? Any kind? Memcache counts, file system counts. All right. Who's written in Ruby app that uses only non-relational storage? Wow, that's a lot more than I thought. That's awesome. When I started asking this question, I don't know, six months ago, that last one you would get like one or two little lonely hands in the middle of the room. So, it's really, it's awesome. It's nice to see that stuff's come in that far.  This is a diagram that shows up in every single like learn rails in 25 seconds blog post. But here we have a very vanilla Rails application. Requests come in, they go through the routes, the controller, the controller attacks the models, the model talks back record, gets stuff out of SQL. And then we back out the way it came in, except we go through views on the end and we send out a response. And I was showing this diagram to a friend and he said, you know, if you show a diagram like that, you are legally obligated to have a little diagram of a cloud somewhere in there. So, I added one. So, anyway, I would be really surprised if there's anyone in this room that's actually written an application that has real users in which the system diagram looks like this. And in particular, I would be very surprised if anyone in here has written one where my SQL is the only way that data is persisted. And, you know, usually you don't set out to make a poly persistent system, but it just kind of happens.  So, you're like, all right, let's throw in some solar. And pretty soon you're like, okay, we need another web server. Maybe it was a bad idea to let them upload their videos to our file system. So, maybe we'll do a little s3. And then pretty soon you realize you need to do some background jobs. Maybe you toss in some rescue.  We made our cache the friend graph. Another use for Redis.  So, we'll put a little bit in there. And let me just pause to say that I'm drawing all these arrows into and out of the models. And I know there are people in here that do these things in the controllers.  And we're just going to pretend that everyone does this the right way. And it goes in and out of the models. So, just pretend with me. So, at this point you've got five different data stores. And you haven't even done anything crazy, right? And in fact, I would say that this setup is a lot more common than the one that I showed originally, the plain vanilla and decorated Rails app. And I would say that this is actually what a Rails app looks like, a basic Rails app. I would say that this is almost like the new normal, right? And that's actually pretty amazing, right? In the last maybe year or so, this has happened, or a couple of years, right? We've come to recognize that most applications have some data that doesn't fit into relational persistence very well. Like these models, they have relationships. And who knew, but relationships are actually pretty hard to model in SQL. And the joins get nasty really, really quick. And then you have blocks of text that needs to be searched semantically, and not just by the order of the characters that are in them. And they've got these objects that are frequently read, but rarely written. So you need to have them available more quickly. And you've got assets that live out in your other data stores that you need to associate with them. And I would like to point out actually before we go on that most of these things until recently weren't even really thought of as alternative data stores, right? I mean, Cassandra and Redis, that kind of stuff, sure. But like maybe not Memcache or Solar or S3. And a lot of people are like, well, really, S3, is that really a data store? I think you know how I feel about it. But one of the really interesting things about the NoSQL movement is it really has expanded our idea of what the data store is. Does anyone remember like in the 90s, there were these guys doing Java, writing like persisting stuff to XML text files? Was anyone one of those people? Like those guys were doing NoSQL before it was cool. So, but big problem number one with a system like this, right? Is how do you encapsulate stuff into a class where it makes sense? You've got a conceptual model, but you've got little bits of it split out over six different data stores. How do you reconcile that into a single class? What does that look like? So that's question number one. Keep that in mind, but there's another question too. And that's how do you go from a system like this to a system like this? How do you replace your primary data store with something else? Because what we've been looking at so far have been sort of satellites to the primary data store which is SQL. But if you're lucky and you're very successful, then you may need to replace it with something else. And dig, for example, just moved everything over to Cassandra. They don't have, as far as I know, any relational storage left. And of course, this is not always the right answer because they just fired their VP of engineering. But there are situations in which it's the right answer. And if you want to do this in Rails, this has historically not been super easy. So it's question two, how do you replace your primary data store? And in reality, rather than this kind of thing where you've got no persistent or no SQL based storage at all, most apps end up using some kind of hybrid model where you've got standard SQL persistence for some things because there is data that that's suited for, right? There's basic in and out cred stuff that SQL is really good at doing. And then you end up using non-SQL storage for stuff where it fits and where it makes sense. I mean, you can keep your Cassandra for your voluminous sparse data, if you have any, which a lot of apps do. Actually, a surprising number of apps do. So these are our two questions. How do you unify a model of data that's scattered across multiple data stores? And how do you replace the primary store if you want to?  If you're building even a simple application is what's called polyglot persistence. And this is not really a new idea. I think Ben Scofield has been talking about it for more than a year. But I think a lot of Ruby developers think data storage layer and they think, oh, it's a choice between MySQL and Postgres, and really what's going to end out with an assortment of different technologies. And that's really going to happen whether or not you want it and whether or not you're going to plan for it. So let's take a look at what that looks like. So let's start with a base case. I decided for my simple application that we would build a cephalopod social network, mostly because I like the word cephalopod. So here we're starting out with a basic squid class. We're inheriting from Active Record Base. We've got all the relational introspection and all the random normal stuff for free. So far, we only have one data store. So then the product owner comes along and tells us the customers want to free text search the set of squids. So install sunspot and we add solar free text search by adding a searchable block to our model, which describes what attributes get indexed in solar and how they are retrieved. So we're up to two. And then it's a web application. So we have to have a friend graph. So we decided to store our denormalized list of friends in Redis. And this probably would not be the first solution that you settled on. But I've seen a couple of these applications they normally start out with. OK, first we'll have a join model. And that works until you start spending 400 milliseconds at a time doing joins. And then the next strategy is usually let's just keep a list of them somewhere. And we'll update it when we update the join model. And then you actually don't ever have to join to get the join model. So that's an example of a relationship that just really doesn't fit very well into SQL and doesn't go with the row-oriented SQL style. So we're trying something else. So we had a follow method that uses the very nicely scriptively named gem, Redis, to insert stuff into your Redis pieces. So we're up to three. And then this is a social network centered around several pods in the novels they write. So you want to be able to upload the novels that they write into so that other squids can read them. So we want them to upload their finished manuscript. So we install the S3 gem. And we add an upload novel method that puts the tech file into S3. So up to four. We haven't even been trying very hard. Now at this point, the squid class is starting to look a little bit mismatched. Here's the entire thing. It's a little bit hard to read. I think the text is a bit too small. But you're descending from active record base. You've got this searchable method that deals with solar. You've got the novel upload method that deals with S3. And you've got this follow method that deals with Redis. And each of these things persists a little piece of what is conceptually one object. And you know what I would really like out of this? I would really like to have a nice consistent interface for all of this stuff. Wouldn't that be nice? And I was originally thinking, you might laugh. I was originally thinking that it would be nice to be able to put everything through active record as a Rails developer. Because it's very tempting. Most of us who do Rails tend to think of active record as being synonymous with model. So it's like, it would be awesome. I'll have all my little data stores down here. I'll have all my code on top. Everything will go through active record. It'll be really happy. But the problem with this is that it just doesn't work that way. Sadly. And it's not ever going to. And this is not because Rails Core is trying to make our lives more difficult. This is because active record is specifically built to model a relational database. It's an ORM, Object Relational Mapper. And in fact, in Rails 3, it kind of moves even more of that direction because they've got this new thing called Errol, which we're going to have a whole talk on tomorrow, which conceptually is an implementation of the theory of a relational database, which is called the relational algebra. And it's actually really awesome and cool. And it's conceptually consistent. It's easy to understand. It's very tidy. I like it. Unfortunately, the relational algebra is totally useless when you're dealing with data. It's not structured into rows and columns and tables. It just doesn't map well onto something like a key value store or a column-oriented document database. So the good news, though, is that once I started looking at Rails 3, I got really happy because the folks who rewrote it realized that quite correctly that the concept of what we were calling active record in Rails 2 is modeling two very different types of behavior. And so here's what we have in Rails 2. We've got this big blobby active record thing that does both the communication with the database and lots of other useful stuff, like validations and serialization and lifecycle callback methods. So stuff that your calling code uses, so stuff that sort of interfaces with the controller level, but isn't directly related to how the data is persistent. So in Rails 3, they split it up into two different sections, active model and active record. And active record handles the persistence. Active model handles validations and callbacks and serialization and all kinds of other stuff. And a lot of the blog posts about this split have focused on the fact that this now makes it possible to take active model out and use it in objects outside of Rails. But as someone who does mostly Rails, I'm actually not very interested in that. What I'm interested in with this split is the fact that it makes it possible to take the active record out of the model and still use the model in Rails. And all you have to do in order to do that is write an adapter that presents the same API to active model that active record does, which is actually pretty easy.  So you can sort of have a similar interface for different persistence models in Rails 3. And this doesn't really solve the problem of multiple stores in a single model, but it does make it possible to keep a lot of the nice tease of what we think of as active record without actually persisting to a relational database, which is pretty cool. And it's gonna make it much easier to use a non-relational store as a primary data store. So I think we're gonna start seeing a lot more applications that do that, should be interesting. So here are a few of the existing active model compliant libraries. Most of them are quite alpha and experimental and they all have a lot of rough edges, but I would expect to see more of these and I would expect to see them mature quite a bit over the next couple of months. So just to give you a quick example of what this actually looks like. So in Rails 3, we don't actually inherit from active record base anymore. So it's nicely decoupled from any sort of default data store. And in this one, we're defining Mongo as our primary data store and then we tell it which fields we want. And sadly, as I said before, active model actually doesn't really solve the problem of having multiple data stores in a single model. For instance, if you wanted to do free tech search for whatever reason, so within this model, you would still need to add the searchable block in so that you could use solar. However, in Rails 2, it was actually really, really difficult to make something like this work together because active record was so tightly coupled with all of the active model stuff and the searchable library or the SunSpot library actually needed to hook in to some of the lifecycle calls in your models because for example, whenever you update one of your indexed models, you wanna go out to SunSpot and have it update its index, right? So your SunSpot is always tracking your data that's in your database. And so in Rails 2, if you wanted to replace active record with something like Longoid, it was actually pretty tough because Longoid had to make sure that it implemented exactly the same set of callbacks so that searchable could find it in the right place. It didn't always actually seem to match up exactly right, but since we've decoupled that in Rails 3, it makes it much easier for these things to work together, which is pretty awesome. So coming back to our two questions from the beginning of the talk, which were how do you encapsulate a model that has data scattered across multiple stores and how do you replace the primary store? I would say that the first question is there's not really a pat answer for that one yet. I would say that there's some work to do there. For now, the best you can do is break stuff into modules where possible, try to extract the common bits, put as much in lib as you can and reuse it across the models that use that same kind of persistence. So there's not really a silver bullet here as far as I know, just general software engineering usefulness, but the second one is basically solved in Rails 3, which is actually really exciting. And it'll be interesting to see which active model compliant libraries actually start gaining traction, because they are all pretty much right now pretty rough and they're all missing certain things that people expect there to be in an ORM, such as joining and searching, which actually are not going to exist in these libraries at all. So it'll be interesting to see how application development, especially in Rails, evolves as you're doing different, as people start mixing these different types of data stores. So if I can leave you with a thought, if it'll go forward, there we go. If all you did was read the blogs on the Twitter about SQL and NoSQL, you might think it's sort of a standoff. You have to pick one side, right? Either you're the guys in the yellow jackets or you're the guys in the blue jackets. But I think that's a false dichotomy. I think any application with more than 100 users is going to use both. And so please, just quit it with all the fun, look for ways they can play nice together and if you're going to do this, upgrade to Rails 3. So with that, I will take questions. Quick question, how do you test with multiple data stores? Usually I try and break, so if I try and break the stuff for an individual store into a module I can mix in and then try and do shared examples for that, that I can include into each of the tests for the model is using that module. It's typically how I do it. Do you get the sense when looking at the sort of, especially the NoSQL ones, that they're sort of shoehorning themselves into the same thinking about relationships or does Rails 3 let you sort of embrace the reason you might pick that data store to begin with a sort of different way to store your data, et cetera? I don't think that it's Rails that's doing that. I do agree that there's a little bit of like, you can just drop this in, it's just like using a relational database except it's totally different. And I'm not sure that's super useful but I think that's just, it's not the fault of Rails, it's more the fault of just, that's the way people are used to thinking about things. And I think in many ways some of these libraries that are trying to be more relational or have at least a more relational interface are almost like, they're like the gateway drug, right? They're like, come on, try it, it's not so bad. You can let go of one of the ACID, right? Just come on over and try it. But I think we're gonna see more sort of native style for each of these databases because it is, as you get into it, you start realizing that, oh, you know what, it would be a lot more useful if I thought about this as a column oriented instead of a row oriented database. But a lot of the interfaces still try and pretend it's row oriented, so we'll see. Yeah, I wanted to ask you about using no SQL databases with, right now we're using, for instance, Mongoid with Rails 2.3 app. And we love it once you've gotten past some initial monkey patching. But we're really missing the sexy migrations of ActiveRecord. And I wonder whether you think that's more of a symptom of us not using it correctly or it's sort of an inadequacy of where like Mongoid is at right now and it should have a better migration system in place. And if you have any comments about model versioning. I, you know, one of the things that I really, really like about traditional Rails is the migrations model. Migrations like database changes, data store changes of any kind, right, are really a difficult problem to solve right. And I think that, I think that we're gonna see more activity in that on some of the clients for, Mongoid seems to be doing a little bit of work in that area. I haven't really had a chance to test it out but they seem to be, they have some experimental stuff on that, seem to recall. But yeah, it's one of those things that you give up when you go away from relational databases, right. It's this idea of a model with a set schema that you then have to sort of change or version. But I know there are people that would argue that if you need versions, you're doing it wrong. But on the other hand, you know, it's semi-structured data, right. You have to choose where the semi goes, I guess. Yeah, I'm wondering if you've seen any of these adapters for things like some of the semantic web technologies of triple stores and RDF and that sort of thing. I haven't seen any but I haven't been looking. Since not a lot of these data stores implement two-face commit, how do you ensure consistency across your polyglot storage? Well, usually you don't, right. And that's okay, though, right. I mean, basically how it works is that you, some of these systems are sort of self-healing, right. If they notice that there's a, if there's a consistency, they'll kind of fix it themselves and sometimes you can set it up so that it'll, you know, when you try and read something, it'll first make sure that it's consistent with whatever your primary store is and then it'll read it for you. So, I mean, one of the things that you're giving up when you do this kind of thing is guaranteed consistency all the time, right. Got the cap theorem, you can have two out of three, right. Consistency, availability, partition tolerance. And what you're doing is you're giving up a bit of that C in order to gain a little bit more of the A and the B. So that's definitely an issue but usually with code you can kind of work around it. Thanks for the talk, Sarah, it's really interesting. I have a question about the kind of loft topic but have you had any experience using some of the managed third party services for some of these new tools like Mongo HQ and all the other kind of stuff that goes along with them? No, I haven't done any of them. I haven't used any of the services. So you just rolled your own? Yeah, that's definitely a learning experience. Hey, so a while back on App Engine we did a little monkey patching and got Datamapper to run and initially people were concerned that Rails 2.3 had too much dependency and active record for things like scaffold but it turns out you can generate active record scaffold that works with Datamapper and you don't have to write schema migration so people should just go check out using Datamapper for fun on any version of Rails they want and it might just work. I mean, there's a lot of many years of tuning and adapters and things. Strangely enough, people aren't writing Datamapper adapters for all these other key value stores. I know it's unusual for them to do that but you can certainly use it on MySQL and some other things. Yeah, Datamapper has a, I know they have an active model thing. I haven't used it myself. What do you see with the question? Oh, the question was, I think what you were saying is that on App Engine, you did some monkey patching so that you can use Datamapper with Rails 2.3 and generating, right, Datamapper runs on older versions of Rails which allows you to do some stuff that active record doesn't give you but Datamapper, if I'm not mistaken, I think that they are specifically designed to be an ORM. It's another ORM, right? So it's designed to be used with relational data stores and I know that there are some, I think there are some plugins but adapters would do non-relational stores but I think it was, it's sort of oriented towards being an ORM and maybe that's why we haven't seen as many adapters for some of the key value stores and backfitted agencies. With that, we're going to wrap it up. Thank you, Sarah. Thank you very much. Thank you. Thank you.


It is really important to work with other nations together as close as you can and even before an operation starts. We represent U.S. commitment to the Alliance. I mean, U.S. Army of Europe, 30,000 soldiers forward stationed in Europe. And then the Army's contribution is above that because of the rotational force capability that comes over and other exercises that will attract other units. What we've described the environment of the future is it's going to be a very complex environment. It's going to be a multinational environment. It changes very quickly. So when you take a look at the United States Army of Europe, it's almost custom-made to do that. I mean, it's right here in the middle of a very complex part of the world. Every day they work with multiple partners. They're working in multiple domains. We were in Cameroon, Africa, in March. We were in Estonia when Operation Atlantic Resolve first kicked off. We were there for two months. And now we're here in Latvia, moving to Poland at the end of the month. So a great opportunity to get some unique experiences.


This study found that 67% of nurses had experienced work-related musculoskeletal disorders within the past year. Lower back disorder was the most common type of disorder affecting 75% of the sample followed by knee disorders affecting 52% and the least common being upper back disorders affecting only 9%. Additionally, there was a significant association between gender and the prevalence of musculoskeletal disorders with females having higher rates than males. Furthermore, those who had completed a training program on prevention of work-related musculoskeletal disorders had lower rates of disorders than those who did not complete such a program. Based on these findings, it is recommended that training programs on prevention of work-related musculoskeletal disorders should be implemented for all nurses. This article was authored by Salih Ahmed Abdullah. We are article.tv, links in the description below.