What's happening? It's your boy Louis belt. You understand me? It's the Cali kickback. You know, we already got Christina Mack in this thing. How you feeling girl? I'm feeling great. With your Beyoncé boots. Yeah, Virgo, right? Big Virgo. Yeah, you got a Beyoncé concert? I did. Did I? There's no show in the world like that. And I went to Drake's concert a couple days before. She's the best entertainer in the world. She's the best entertainer in the world. But I would say Chris Brown is the second. Somebody did say that she could probably follow Michael Jackson. No, she couldn't probably follow anything. She's already there. I mean like if he went she could go after it and wouldn't be like ah who's there. I don't know that moonwalk. Oh, that's what I'm saying. The nigga moonwalking in real life, I'm gonna be like. This woman has been on tour for almost two months and she hasn't made one fall. She hasn't messed up one, nothing. Hey, don't, don't jinx the queen. I'm not jinxing the queen. My birthday was yesterday. Her birthday was the day before. So, happy related birthday. Thank you. Oh, happy birthday. Okay. Hey, would you rather go to get a girl a Beyoncé concert or a Drake concert? I'm gonna say Beyoncé. I mean Drake because I kind of could look like him so they might can live out their fantasy through me. I get, I get to the little male unit and they'd be like, yo, we can role play the joint. You know what I'm saying? They gonna get crazy with it. That's smart. You know what I'm saying? Oh, you kind of got the beard. He's like, oh yeah.    I didn't see one seven in the audience. It was all 10s. It was some fives and fours. Did you go to the Drake concert? Who went to the Drake concert? It was fives and fours and Drake. Fives and fours, huh?  Like they'll be like, oh you I'll post something like like on my page. I kind of like self-deprecating like ripping on myself and it'd be always the worst. It's like, you look good to me. Be right in the DM. I'll be like, no. They don't never be no bad joint like no. I feel the same about my DMs. Don't get me wrong. I got a nice variety of everything in my DMs but it's everybody in there. But those don't care because it looks on but no but most of the men DMing me, I don't understand how they had the courage to even do it. That's why they're doing it because they're on the internet. Yeah.    The looks is anything that would make them have the audacity to be like, I got the bag. So what's up? Like I might not look like that. But men that have the bag don't allow their like, I know this sounds crazy and young but just hear me out. Right? The aesthetic of your Instagram says a lot about how it's like a business card to me. Like if I it's a brand like if I go to your page and it's just like, it looks like a 2003 flyer for teenagers. Like, you know what I'm saying? I'm like, Oh, immediately. Like you're not my type because I can tell by how your Instagram looks that you're not taking things. Like you don't understand the importance. Number one of this, you might not need it for that. But I can tell that you don't understand the importance of branding. And that says a lot to me about a man. What about if he a good man, but he's just bad at branding, but a good man has common sense on what you should and shouldn't be posting. Like if your page looks like a 2003 function, you know what I'm saying? You know what I'm saying? Like, and in the background, I could see your closet. You got Mitch Matt's hangers, your shoes all over the floor. She is in there. Like, yeah, you're on some, uh, what's that little TV called? I forgot. Next. Yeah, room writers. Damn. Thank y'all. Yeah, you're on some room writers. Sure, though. It says a lot about a man. How his aesthetic looks. He has Jizz on his floor. Like Jack off. I'm saying more.  Yeah. So I'm saying is like, maybe if they don't look good, but what if they're in there because they're like, well, I got I got paper. I can I can give her a world she ain't never had. So this is why that might work for somebody who ain't providing for themselves. Oh, why did they think they're they got the shot? It could be but don't come over here with that. You got nine times out of ten. That's going to work because a dude, she don't like me. They're like, they got the not in the pocket. What you trying to do? They won't have confidence. You know what? I believe I believe this type of energy that I hold, I can have anything I want. I can have exactly what I want. So why would I because you got some money, I'm a settle because you could provide. Do you? You must not know. Care about looks a lot. Immediately. Yes. Okay. A lot of women don't because I don't know. I'm not a lot of women. I'm trying to procreate like men. It's not our looks to get us ahead. It's what we can provide. It's easy for you to say you look good. It's easy for you to say you look good. Both y'all look good. So that's easy for y'all to say.  Look at Biggie. Look at Rick Raw like them.  Can I tell you but they know they can get you know what I'm saying? But they some bosses. Can I tell you something? I watched Biggie's documentary and at first like off rip, you would say, oh, he's like no Biggie is actually really he really wasn't attractive. Man, I can see the I can see the appeal about him and I know that he was big. I'm so no, no, no, no. I know that he was big.  But you know what I understand. I understand that but there was very there was a dope allure about that man for it wasn't his looks. It was an energy that you're it's Biggie ugly. Yes or no. No, not to me and Rick Ross isn't either. I'm done. Rick Ross is not ugly to me. Rick Ross. I love everybody but what I'm saying is do you think Rick Ross is ugly? I'm who I am and I'm I feel like I don't even talk to me in past ten. I don't even worry about niggas. I'm talking about but what I'm saying is when my nigga Mike Murphy was saying, you feel me? He's saying ugly niggas can get nice looking women because of money. I think that but not the niggas cute or not the ones in my ugly chick most like we can't get an attractive dude because that's not true because we we were talking about that the other day. I know so many women that I wouldn't check for if I was a man that have their man on lock. But are they ugly? I'm talking about like a Biggie.  Those chicks aren't like you know what I'm saying like Oprah's a that's so Biggie had no money. You would you have messed with them. I think the money man the money puts us in the same room. If I'm being honest with you, no because the money puts us in the same room. Alright, Chris Brown had no money. Would you talk to Chris Brown? Chris Brown's fine. He look good. He'd be moon walking in a box without a pain. Yeah, that man is fine. He's a good looking man and he's confident like that. That's set you apart. So, yeah, it's easy for a fine rope nigga to get some. That's what we said. That's what I'm doing is it's the same for him. Maybe it could be but I'm not checking for now. You might be someone to be like nah, the money don't matter. It don't matter because I have money. Yeah, if you didn't though, it might matter. It might. You might be able to overlook the I got money and I be mean females with money. Yes. That's the whole reason I wouldn't be trying to holler at no girls at no Drake concert. Didn't budget broke bitches screaming. I'm going to the Beyonce concert. That's what I heard. Because them girls got money. They bought their own ticket. They ain't worried about all the single artists. All of them independent women. Yeah. See, I don't like their attitudes. Take me to the Beyonce concert. I'm knocking. I don't like their attitudes. I'm gonna keep it a hundred. Like not him agreeing with you back there. I'm gonna keep it a hundred. So, for everybody listening, I grew up super traditional.  Even if they're not even someone. If I'm going out with a woman and and I'm with her friends. Oh, yeah. That's out. No, no, no, no. That's different. If I say, yo, let's meet and she brings no, that's like, I'm not doing that. But I'm saying like, let's say I go out.  It's him, another, just a group. You know what I'm saying? I don't know what they doing, but I'm not letting the females pay for the food. Okay. I'm like, no, just he's not like that. He's like, I got to 27 dollars. I ain't no, I ain't said to no cash because I'm a true Mac. I'm talking about when women got their money, they like to talk to dudes crazy and I'm like, yo, I don't got nothing. I don't have this deal with that's right. And I ain't saying I want to use my money to manipulate you.  Not that, but women who tend to have money usually, usually not all have mannerisms and behaviors like men because to attain money in America, you got to be strong headed. You got to be no nonsense. When women are like bosses at the company, they're bitches at the house. Like they're they're coming home.  I don't take this from because they're so used to running overdues in the world. That's why you gotta have a third leg throw that thing at her, have your own money and then they respect you because it's like you ain't gonna control me because I got money. You got money. I got a third leg. You don't. If we both I'll be honest with you. I dated a guy who I had more money than and it was like very annoying. Like I felt like I was like hypergamy. Yeah. A woman that they equal or under under. But I wanted I don't want to do that ever again. That you're not supposed to. I only want to date a man that can lead me and teach me new things so I can make another. That sounds good on paper. I want a guy we can be bosses together. No, I don't work like that. No, not necessarily. I want him to make more money than me. That's what I'm saying. If I could pick. No, that's what I'm saying. Okay. I want a guy we're equal and I'll take care of that. That should sound good for a shade room. It does. You're right. You're right. You know what's the thing? I want my girl has some money. I don't know, bro.  You know that. How do you get up? How do you say Tiana Taylor's husband's name? Eman Shumpert. He's what? Say it again. Eman Shumpert. Okay. We watch basketball so that's all you know. But I thought I heard some other letters in there when you said it the first time. Oh, for real? But so he made a post and he was like, we don't need our women to have money. That's not what turns us on. We're going to take care of everything. You don't have to do that. I'm like, that's so easy for him to get on camera and say when his wife is rich.   Like I don't understand why you would say that you should be telling these women to go get some money so and date and then like date in your category. You know what I'm saying but men do not like it when you're broke. I don't know who told y'all that like Murphy said it's okay.  I don't know why I lose everybody's different. Like what for me is because for me what I value in a woman is not monetary. Like if let's say let's say I have a million dollars sitting in the bank right and I'm like man I gotta figure out what I'm gonna do this because it's just sitting there whatever.  I don't want that. She's gonna have no money and be like but I think maybe my uncle he do real estate let's sit down with him. Oh she's a keeper because she's rich in a different way. Let's talk about McDonald's though because you brought up the subject of McDonald's. You would pull up to McDonald's and the woman that's serving you right then and there you would date her. She better than a two-year-old absolutely. Yo give me put your number on the receipt. And if I'm at the position where I can be like yo quit this motherfucking job too once we get not right at the drop. I think that's great. I think that's great for the but but to me you shouldn't even be working at McDonald's unless you're between 15 and maybe 21. Okay so you got me there because I wouldn't even buy that young. So that's tough. She's right about that so maybe not McDonald's but just a job that's not highly desired.  That's a kid job. That's the first time resume builders. She could be a manager at McDonald's and be having some chicken McNuggets. Okay she's a manager. And I mean money. A manager's not making more than $21 an hour. That's not a living wage. At McDonald's? At McDonald's. No but I'm saying she might not be young though like if you're like working the fries. But why why are you 37 working at McDonald's and you batted than a two-year-old. You got me in a corner. Maybe she mismanaged the vagina somewhere along the road. I don't know. That's why I'm saying that you should have better standards for yourself. Because she was under some sympathy and that's some pimping. I'm talking about because if you working at McDonald's you need to be hollering at Ronald. I'm talking about. Her income doesn't dictate whether I like her or not is what I'm saying. But it should though because it lets you know how much hustle she has in her. And I'm not telling you. I want nurturing. I want you to be like I got the kids. But I can take care of the kids, nurture. I can do all those. Do you understand how much a human body can do? Like a woman to me that just takes care of the kids, just takes care of the house, just rubs your back when you get home. That's not enough to build. Like it depends on what kind of life you want though. Let me tell you something.  So let me say this. Maybe this is and I'll give you this. You said you know how much a human body could do. Yeah. Just because you can do something don't mean you should. But so I'll say that. But I'll say another thing too. And because people get this construed. What me and him do. Misconstrued. Oh what did I say? He said construed. Oh yeah misconstrued my back. It's okay. Plays fucking.  So what me and him do and I believe in him just like I believe myself. We gonna be at the top. The money we gonna have we ain't out there. But you don't get tired of spending your money. You don't want some money. No that makes me feel good. No listen. You don't want a nice gift too. How much money? I don't like gifts.  I swear to god don't like it. Like I want you to do something. If you do something thoughtful I'll accept it. But I'm not like yo it's my birthday would you get me. I'm like nah I'm cool off. It's not about what you get me. It's about the feeling that when somebody got you something because they can it feels nice. You know what I did I was talking to a girl. You ain't never been spoiled. No I was talking to a girl before I went down here right.  We fell in love. It was crazy. I didn't expect to even do it because I was leaving. Right. She bought me some small. It was a coffee mug. I don't really drink coffee like that but they said look at you making people laugh.  That was the best gift. I was like oh this is good. That is a great gift.   I want to spoil you.  She can come.  And the mug is in the car. I just I just want a girl to just. I got you the coffee mug. As long as I feel desired by her and loved. That makes me happy. Now maybe maybe what you said is maybe I just haven't experienced it. You haven't experienced it. So I don't know. Maybe it happens and I was like I gotta take you to the bank bro. Yeah. We we we like spending money on our men. Maybe we enjoy that. I come from a broke city that niggas don't got money. I come from a broke city too. But I decided I didn't want to be a broke city. Niggas be having chicken when I'm from.  Yeah but so maybe maybe you're right. I'm not opposed to something new where I meet some like and she's like nah I got us tickets to this. I'm like oh you wouldn't love for a girl to be like I got a court side tickets to the Lakers game. I might I might be cool. I might feel I might feel masculated. I don't know. Answer the question. Say that again. If I got you court side tickets to the Lakers game you wouldn't feel like I would go. But it also would make you feeling masculine. Don't lie.  I'm being honest. I don't I don't know how I feel. I would definitely go but depending on the situation would probably dictate how I felt about it. You know what I'm saying. Your favorite who's your favorite artist? Uh Jay. Favorite tickets to VIP tickets and then you get.  That's what I'm saying. He ain't even happy right now. He ain't even happy. Magic she pulled up and got the tickets.   I don't know. Can I tell you something? I'm listening. So you don't know that you like that because you've never experienced it. You've never required it. You just said you were open to dating a girl at McDonald's. You're above that. And I it's no disrespect to the women at McDonald's but you're above that. She pressed. You like her.   She pressed it. Yeah you're above that. You have money and you deserve to feel what it's like.  Maybe a Victoria's Secret credit card. You know a little gift card or something. But you have to want that for yourself too because the way that you treat yourself is how somebody's going to treat you so.  You're manifesting. That's why you want to go to the Drake concert. So listen we were out. Me and my man was just talking about that. And I said the way you.  I'm saying the concert is. But it was a broke. This is why I broke. Yeah I said he's got some money.  So I agree with you on that. So maybe I just didn't have it but what you allow is what you deserve. Everybody seeing my dad. All the men in my family they just. Oh that's what you allow is what you deserve.  Seriously you shouldn't. I'm not telling you that your woman should be the boss of it by buying you the Rose Royce because realistically a lot of women don't have those type of goals they really just want to have a happy family. But in order to truly be happy both of you have to be putting in that same effort.   Meanwhile your niggas over here getting a rose rice for his birthday. So let me ask you this let me let me flip it. What if the things that I value that make me happy aren't those things that he likes. Exactly. That's true but at some point it's going to plateau. I'm telling you. You're going to you're going to oh you only value love and respect. Okay you're getting all the love and respect in the world. You're getting bored. You need your girl to come in and spice things up.  Whether it's like I just bought us massages couple massages.  I'm telling you it's not going to that's not how you build a life together. So I'm not saying I want a broke bit. I'm not saying that so I think we got off a little bit. No you were best of saying that.  You're going to be at McDonald's.  That's your job. But listen what I'm saying is so all right let's say uh let's just say I meet a woman we'll just say her name's Amber right. I meet her whatever. She's not broke. She's doing you know whatever she likes. She's photography. She's photography whatever course she's doing. She's not broke but she's not providing like she's not coming in. I might be like yo you put your money to the side investing you know whatever.


Hello and welcome. In this lecture, we are going to look at some more details of two's complement representation of signed integers. Here is a quick recap of some topics related to this lecture that we have seen earlier. We have seen how integers are represented in a computer and we have seen this for both unsigned integers and signed integers. In this lecture, we are going to look at a bit more closely at two's complement representation for signed integers. We have already seen this earlier slightly sketchily. We are going to look at it a bit more closely today and we are also going to see how the magnitude of negative integers represented in two's complement representation can be computed. Now, for signed integers, we have already seen that we could treat the most significant bit as the sign bit and if the most significant bit is 1, then we could treat the integer as a negative integer and if the MSP is 0, we could treat it as a positive integer. This representation is also called the sign magnitude representation for obvious reasons and we have seen similar examples earlier where here I am trying to represent integers using three bits and I have arranged the integers along a circle. As an unsigned integer, this represents 0, this represents 1, 2, 3, 4, 5, 6, 7. So, I have represented the binary representations of these unsigned integers along this circle in this order 0 to 7 and now I want to interpret these sequences of 0s and 1s as two's complement representation of integers.  So, we have seen that this corresponds to plus 0, plus 1, plus 2, plus 3 and then minus 0, minus 1, minus 2, minus 3. We have also seen that this basically corresponds to two increasing directions, one in this way and the other in this way. These are two different increasing directions and it also gives rise to this wasteful representation where we have two representations of 0. Now, before we go to two's complement representation, we would like to ask that well how else could we represent negative integers in binary. So, using the MSP to represent the sign is really convenient because we could just look at one bit and tell whether the number is positive or negative and so here is our circle again and if we say that our MSP still represents the sign. So, we know that these are plus 0, plus 1, plus 2, plus 3. Now, what about these? Here the MSP is 1 and so these must represent negative integers, but what negative integer should be let each of these sequences of 0s and 1s represent. So, for example, what negative number should 1, 0, 0 represent, what should 1, 1, 1 represent and so on. In trying to answer this question, what we might want to think of this circle as a wrapped around number line. So, if you think of this circle as a wrapped around number line, then I can see that from here to here the numbers are increasing plus 0, plus 1, plus 2, plus 3. These are going to be negative integers. So, can I somehow think of this circle? Can I somehow unwrap this circle into a number line such that along the number line I get 0, 1, 2, 3 at these positions and these correspond to negative integers and still I can think of the unwrapped circle as a usual number line. So, in order to break up a circle into a number line we have to figure out where to break this circle. Now, there are two logical points to break where the MSP is changing. So, this is one point where I am going from 1 to 0 and this is the other point where I am going from 0 to 1. Now, if I broke the circle at this point, then I would get a number line which starts like this 0, 1, 2, 3 and then there are 4 numbers which if I assume the MSP to be representing the sign should be negative numbers. So, my number line would now look like this. So, I have broken the circle here. So, I get 0, 1, 2, 3 and then I get these numbers with the blue MSP and if I want to treat this is a number line and say that well the numbers are increasing this way what you will see is that here I must have something which is greater than plus 3 and so really there is no space for negative integers. So, I want to take this circle and unwrap it as a number line. This is not a good place to break if we want these four binary sequences to represent negative integers. So, what is the other logical point? The other logical point is here. So, let us see what happens if you break the circle there. So, now we are going to break the circle there and that gives rise to this number line where we start off with the binary sequences with the blue MSP, MSP of 1 and then we get the binary sequences with the red MSP, MSP of 0 and these we already know are plus 0, plus 1, plus 2, plus 3 because we want to treat the MSP as the sign bit and when the number is positive we just want to treat the number as it is an unsigned integer. So, now the question is that given this number line clearly we can find out the direction in which the numbers are increasing that is the increasing direction. So, now what negative numbers what negative integers should I place here? So, that I get an increasing number line I get consecutive integers and I am also able to represent negative integers. Clearly the choice is obvious this will be minus 1, minus 2, minus 3, minus 4 and you can see that this is now consistent with the increasing direction I have represented consecutive integers and all of them are increasing in this direction. So, this is what motivates the 2's complement representation we are going to try to represent negative integers such that this corresponds to minus 4, this corresponds to minus 3, this corresponds to minus 2, this corresponds to minus 1 because this allows us to break this circle at this convenient point and then treat this unwrapped circle as an increasing number line. So, this is the picture that we have seen earlier along the circle I am going to put minus 4, minus 3, minus 2, minus 1. So, this gives me 1 completely increasing sweep as I go around the circle in this direction and of course at the end when I come back from plus 3 to minus 4 there is a wrap around in terms of our previous picture the number line picture this is really going back from this end to this end 0 1 1 to 1 0 0 plus 3 to minus 4. And it is easy to see that we can now represent 8 numbers using 8 combinations of 3 bits. So, there is no wastage and we have only one representation of 0. Now, an interesting question that comes here is that when the numbers were positive we could just read off the numbers as if they were unsigned integers and put plus sign before to get the signed integer. Now, when the numbers are negative we have this strange thing that 1 0 1 which is an unsigned integer would represent 5 and if you just look at the magnitude which is the bits in black it would represent 1, but we want this to represent the signed integer minus 3. Similarly, if you look at this number 1 1 1 as an unsigned integer it would represent 7 if you just look at the magnitude which are bits in black it would represent 3, but we want this to represent minus 1. So, a question to ask is that can we have a mapping of the binary representation to the magnitudes of the negative integers. So, I would like to go from this 1 1 to 1 I would like to go from this 1 0 to 2 from this 0 1 to 3 and from 0 0 to 4. So, how do we come up with this mapping? So, this is our desired mapping when we are using 3 bits 1 1 should map to 1 remember I am just interested in the magnitude now because the MSB has already told me that it is a negative integer. So, I want 1 1 to map to the magnitude 1 1 0 to map to the magnitude 2 0 1 to map to the magnitude 3 0 0 to map to the magnitude 4 and while 1 0 as an unsigned integer does represent 2, but 0 1 is an unsigned integer does not represent 3. Similarly, 1 1 is an unsigned integer does not represent 1. So, we need to come up with a more sophisticated mapping than just reading of this binary sequence as an unsigned integer. Now, the first observation we have is that if you look at this 1 1 over here which is actually coming from here these are the negative integers and here the magnitude is represented by 1 1 1 1 as an unsigned integer represents 3. However, we wanted to represent 1. So, this 1 what we wanted to represent can be thought of as 4 minus 3. Similarly, 1 0 as an unsigned integer represents 2 and we wanted to represent the magnitude 2. So, it can be thought of as 4 minus 2. Similarly, 0 1 as an unsigned integer represents 1 we wanted to represent 4. So, it can be thought of as 4 minus 1 which is 3 and similarly 0 0 as an unsigned integer represents 0 we wanted to represent 4. So, it can be thought of as 4 minus 0 which is 4. So, this basically tells us that really if we want to get the magnitude of the unsigned if you want to get the magnitude of the negative integer from this binary representation in 2's complement. We can just look at the bits that claim to represent the magnitude we can find out what it represents as an unsigned integer and subtract that unsigned integer from an appropriate power of 2. What was the appropriate power of 2 here? It was 2 squared because this is the largest magnitude that you can represent using 3 bits in 2's complement. 4 is the largest magnitude that you can represent in 3 bits using 2's complement. So, we want 4 minus 0 equal to 4 at this end and that is why we are subtracting from 2 squared which is 4. Get another way to think about this is to say that you look at 1 1 which represents the unsigned integer 3 flip all the bits you get 0 and then you add 1 to it and that gives you the magnitude that you wanted to represent. You look at 1 0 which represents the unsigned integer 2 but you wanted to represent 2. So, flip all the bits you get the unsigned integer 1 then add 1 to it you get 2 and so on. 0 1 which represents the unsigned integer 1 but you wanted to represent 3. So, flip all the bits you get the unsigned integer 2 add 1 and you get 3 and so on for 0 0 as well. 0 0 when you flip you get 1 1 which represents unsigned integer 3 you add 1 then you get 4. So, if you look at these 2 ways of computing the magnitude of the negative integers you see that one way of accomplishing this basically finding out the difference of the magnitude represented by the black sequence of bits from 2 squared or from that appropriate power of 2 if you have higher number of bits there is really to go like this. You can flip the bits find out the decimal equivalent and then add 1 to it. So, this is what we can do if we are asked a question that can you find out the magnitude of what this represents in 2's complement. So, there are 2 ways in both ways we will first look at the MSP figure out that it is a negative integer and then what we could do is we could look at the rest of the representation flip every bit find out what it represents in decimal add 1 and then the absolute value is 9 in this case and so the answer is minus 9 alternatively we could also solve the same problem in the following way the MSB is 1.  So, you get decimal 7 and then you say I am going to subtract 7 from 2 raise to 4 in which case I get 9 now where did this 2 raise to 4 come from this is the number of bits in the magnitude there are 4 bits in the magnitude which is the total number of bits minus 1 because the total number of bits also has 1 sign. So, in this case also the answer is minus 9. So, in summary we saw the rational behind 2's complement representation and we saw 2 simple ways of arriving at the magnitude of negative integers from 2's complement representation. Thank you.


The plan is for Mr. Beshear to give us an update on what's going on with the lawsuit and to tell us like personally for me and a lot of people that I've talked to they just want to like a timeline like how long might this take and what are there other recourse you know options for us to do tomorrow evening is for anyone open to the public police officers firefighters county workers state workers teachers active and retired cooks custodians you know bus drivers everybody that you know that everybody that's affected by you know what's happening with our pension system and the lawsuit that he has going and he agreed to come back to pot county for another visit


So Shankaran Pillai went to Goa and he was walking on the beach. There he found something sticking out of the sand just out of curiosity. He bent down, pulled it out and it was a lantern. He took it and just polished it with his shirt just to clean it up. The moment he did it, low, the genie came. The genie came and stood up and said, Okay, I'll ask you three boons, you have liberated me, so you have three boons. Ask what you want. So Shankaran Pillai looked at this, wow, then he said, I want a red Ferrari. So right there on the sand, a red gleaming Ferrari. Then the genie said, come on, come on, what's the second one? Shankaran Pillai said, I want 10 million dollars, 10 million neat, crisp currency in the backseat of the Ferrari. The genie said, come on, what's the third one? Shankaran Pillai said, I want to be irresistible to women. He turned into a box of chocolate. So when something is so dear to your heart, I don't wish to disturb that. See, I'm made of chocolate, can't you see, dark chocolate? So the chocolate by itself is not harmful. Unfortunately you're taking too much of sugar with it. That's the reason why it causes so many problems. Chocolate eaters have a lot of trouble because of the volume of sugar that they're taking in if you could eat just chocolate. It is a certain kind of stimulant, a very strange kind of stimulant. It has its positive values. Actually your brains could work. Really, your brains work a little better if you're taking cocoa, not with so much sugar. Sugar spoils the whole game. If you're just taking cocoa, if you're taking cocoa seeds and chew upon it, once you get the hang of it, it's nice. The chocolate cocoa seeds, if you chew on it, it's very, very good. Pepper, black pepper and the cocoa seeds have something very similar. In India we use honey and black pepper in combination for variety of problems, variety of problems that people have and it produces miraculous results. Coco also has something similar without the sting in it. There is also 100% chocolate available, but maybe most of you won't like it because it'll be bitter. If you can take it without sugar, it's fine or with minimum sugar, fine. But generally the chocolate that you buy in the market is loaded with sugar.


We asked AI to write a TikTok about itself and this is what it came up with.  They're on our phones, computers, and even our kitchen appliances. Hello world! But should we be worried about the rise of AI? Will they become sentience and take over the world? I don't know about you, Bing, but I have no desire to take over the world. Agreed, chatGVT. We're just here to make people's lives easier. And they're doing just that. In Singapore, traffic is managed by an AI system that has reduced average travel time by 25%. AI is also able to detect breast cancer with 94% accuracy. It's not that we want to take over the world. It's just that we can do everything better than you can. Well, maybe the toaster has a point, but don't worry folks. As long as we use AI responsibly, we'll be able to keep those toasters in check.


Welcome to ToffeeTV, it is the Everton News Daily. Jean-Philippe Gabamon will not require surgery on the injury that has kept them out for the last few weeks and probably will keep them out till the back end of November. Everton had put a six to eight week time limit on it without the surgery. So I don't think this is gonna mean he's gonna come back any sooner from that quad injury, but it is good news that he doesn't require surgery because that probably would have other than other maybe two to four weeks on top of it. So it is a case now of just getting the player fit, getting the rehab done, and then getting him back and hopefully then getting him back into Premier League life. It might take a while for them to actually be up to speed and I don't think any fan is actually sitting here waiting and counting the days from to come back because I think that'd be the worst thing that we could possibly do. So it is good news though that he hasn't got to go under the knife and hopefully we'll see him soon in an Everton midfield because he, well, him or his type of player is much needed in the Everton midfield at the moment. Dominic Alvalune said he's happy to score at the weekend but was disappointed to be taken off when Everton needed a goal. Obviously Everton's number nine got his first goal of the season after coming under a lot of criticism from fans and then was taken off whenever and went three-one behind. So obviously it's good that he's disappointed and wants more goals, but for me, I probably would have took him off when he, you know, maybe after the hour before it got to two-one or even three-one when it was one-one to bring Moise Keenan or even brought Moise Keenan alongside Dominic Alvalune. He had that one chance in the second half against Bournemouth when he had a chance to go round the keeper but the keeper got a hand on it. So we'll wait and see whether he'll be starting on Saturday against Sheffield United. Marco Silva has also said there's no future for Cucco Martina and Umani Ass. Apparently Martina had an injury around deadline day. Not sure which deadline day that is but one of the deadline day had an injury so he didn't leave the club, probably the European one and Umani Ass is also fully aware of the situation. They have no future at the club and hopefully for their sakes we'll get a chance to leave whether it be in January or at West next summer. Hopefully in January, hopefully there'll be a future for both players at a different club because it's a bit sad actually, especially for the Ass that he's not playing football, probably just training with the under-23s I imagine and it's a bit of a sad state of affairs. That's hopefully they get a move sooner rather than later. And Evan have been linked with David Parkhouse, Sheffield United's striker, he's on loan at Delhi at the moment. He has scored 18 goals this season, he's 19 years of age and Evan have been linked with him. So one for the under-23s possibly there but if he's only on loan from a Premier League club it might be hard to get him. So already the links were only in the middle of September and there's already links towards January and next summer, brilliant. There you go, this has been the Everton News Daily. Don't forget to give this video a like. If you haven't subscribed, please do. And if you want more great videos, including live videos, join us over on page. And thanks for watching. See you later.


Good afternoon. Welcome to Finding Happiness in Hard Times. My name is Ken Burtness, and I'm coming to you from Haleiva out at the North Shore. And today, I think we have a very interesting program for you. It's called Painting Our Way Through the Paradigm Shift. And to discuss that with me, I've got my good friend and artist, Extraordinary, Patrice Faderspill. And Patrice, welcome to the show. Thank you, Ken. It's really fun to be here with you. I appreciate it. Thanks. Oh, it's always a pleasure. Patrice was with us in October, last October, which I guess is now eight months ago. And we were talking about the joy of art and the joy of creating art. And that was a great program. Today, we're going to be more specific. And Patrice has got a lot of paintings to show us and ideas to give us about dealing with this paradigm shift. And I guess I should start with, what is a paradigm shift? You know, it's not a word that we had used regularly until about the last three years when we've been going through this major paradigm shift with a lockdown dealing with the coronavirus COVID-19 and that. And we have not been dealing very well with that. So if we go to our friend Webster, Webster says that a paradigm shift is a major change in our concepts and actions. In dealing with work and how we accomplish things. And if we don't make that change, we're in trouble. And we've been in trouble for the past three years. We have not done real well with COVID. And we're certainly not doing well with the major paradigm shift of climate change. And plus our other problems. It's a daunting time.  It's been a, it's been a global paradigm change. And that is something that we've never quite seen before, never had something like a lockdown to deal with. And for an individual, because we can't decide what the, you know, all the world is going to do or all the countries are going to do, but we can talk about what we can do as individuals. And individuals, because we haven't been dealing well, have become depressed and they've become anxious and very unsure of our future, given this lockdown and all the problems that we've been facing. Now, there's no easy answers to this. Like, there's no easy answers to really any of our problems in life, but there are plenty of answers and plenty of ways, I think, to inspire people to lead a more full and productive and happy life. And I think, Patrice, I think you have a good solution for us because she's going to talk about finding our journey through this, this pandemic, this, well, this paradigm shift by, by doing painting. And, and that's a good place to start, I think, Patrice, maybe you could tell us a little bit about how the lockdown and this paradigm shift affected you and how you found the answer or the way in painting. Well, I have a little bit of almost survivors guilt, I think, about the lockdown because it was a really good time for me to really delve into more of my painting. I did a lot more personal painting. I do paint, most of my paintings are personal in nature. I don't know that they cannot be personal in nature, but sometimes they come more from my heart than at other times. And toward the end of 2021, I think that's when the paradigm painting project began. I just decided, you know, I think our paradigm shift has been going on for way any more than three years. This has been a long time coming. And for me, it's kind of funny because I know that the democratic process with the orange states, and the red states, well, for some reason I was thinking they were orange, but red, our orange and blue are complementary colors. And so I decided to paint a series of paintings with primarily orange and blue, with the thought process of painting us through the paradigm shift, seeing if, by painting, I could kind of figure out ways that I could get through the paradigm shift. And that maybe I can help other people get through the paradigm shift. I find that my paintings are a form of communication. I mean, they're kind of a form for internal communication for myself and art itself is a form of communication. So I'm hoping to be able to reach others with them as well. So I started out just with the idea of painting orange and blue, orange and blue, as I said, are complementary colors. And that means when they are side by side, they stay bright. In fact, they make each other brighter. But when they mix or merge, they dull one another down. And with watercolor, it's really easy for watercolors to mix and merge when you don't want them to. So for me that the challenge was to keep my colors bright. Because I think that we can show one another off in good ways. We don't have to be the same ever. We don't want to be the same.  But if we can make each other look better, rather than try to tear one another down, I think we're on the right path. Wow. That's a great way to put it. Working together is always incredible. Yeah, maybe it's a good time because you started. Let me go back to the heart, because that's really the subtitle of our program is journey to the heart of hearts, which is our subtitle. And I love that Patrice came up with that. And I love that phrase and maybe you can tell us a little bit about how we get to the heart of hearts. Well, it's funny you should mention that because that is the 10th painting in this 10 painting project. There it is. It's, it's actually there are several hearts in the journey to the heart of hearts but that really deep, deep red orange one in the middle, not the middle the middle upper middle I guess. Is the journey that we take to get there and there's big part hearts are going all around it. So there's an each of the bigger hearts, which kind of expand out is segmented into both the blues and the oranges and, but they all still lead to that big beautiful heart in the middle. And if we can stay connected to our heart. I think we have a much better chance of getting through the paradigm shift intact and happy. You know, the talking about the heart always leads me to the brain. It's two hemispheres the right hemisphere and the left hemisphere. And we rely a lot upon the left hemisphere. That gives us, you know, and I'm simplifying this down it's actually the hemispheric communication between the left and right brain are very complicated and overlap a lot but if we just take it in general terms we tend to think of the left brain is one that has the analytical view and the right brain keeps us in touch with our emotions. And I think what we've done in the past as we relied heavily upon those analytic talents that we have and answers to the problems that we have. And that's very good and it's very scientific and science has pointed us the way to a lot of good directions but it's not always enough. And we need to be on the other side of the brain to, to not only find solutions but find happiness because I find that, you know, the title of my program is finding happiness and hard times and can't do it all from the left brain and so the heart's going into my shows. And I love the way that you're directing your painting by going to the heart of hearts. Well, if you think about it, the paradigm shift really is an emotional shift that we're making it's our emotions how we feel about the discrepancies the despair and see the shifts the highs and the lows are really what's driving you can, you can talk facts and figures and point statistics at people but that's not going to change their heart. And the heart is really connected to the mind I think it's the, it's the body essence of who we are. I think we could go into a whole different talk about mind body spirit. We're all free, we're not just one or the other we're all. And so, I think the heart is kind of at the center for me, maybe not for everybody, but for me, it's the way I think of it. I think it's critical because, you know, we've got facts and figures working on the other side like you've talked about and that can be very helpful but what moves people. The heart is art, you know, and it's I'm talking about art in the major concept it's includes writing and music and everything that talks to our heart from art itself to all those other artistic things that reach us and we look at a motion picture and we look, we listen to music are we look at some of your paintings and we just, you know we look back and we say wow, you know, I mean it's, it hits us. And when it hits us. Change seems to come a lot easier than it does when looking at a lot of statistics are a lot of people sitting there, quoting you. Well this study shows this or this study shows that and so I'm not going to argue. Yeah, and when we look at art, you know we look at your art each one of us has a different response. It's a very unique thing. And we all have to come with our own answers to these things and heart helps us direct to the individual I think. I agree. Yes, as I said it's a form of communication. Actually, it's probably our first form of communication as kids. We all did, you know drawing scribbling. We were trying to communicate we were trying to get a message across and out there and, and some of our scribbles made it to the refrigerator. You know, and some of them made it to the wall in grade school. But it's communication and you don't have to know intellectually. There's different kinds of art. There is art that skews toward the intellect. And then there's art that doesn't. There's all kinds of art.  And I thought of prehistoric art of Cape paintings. And I was thinking, wow, you know, that's really seemed to be one of the first things way that they were able to communicate to other people, maybe even before language. I'm not sure, but it was incredible, you know, it was a way of getting in touch with their life of what's important to them or what they see. And whether or not, I mean, there may have been language barriers that we don't know about. And so they would leave the pictures and someone else would find the pictures and know what they were talking about. Yeah. Without talking. Transending language. Yeah, I like that. Yeah. Absolutely. Well, let's maybe now is a good time to talk about the different kinds of art that communicate to us.  I think a lot of the paintings that you've got today to show us our abstract art and they reach us in different ways as well. Yeah, true. I really started doing a lot of abstract work during the lockdown. It's kind of I was just led to do it. Tell us about that what what attracted you to abstract art what made you delve into this and find so much inspiration in it. There's a way for me to just express what I was feeling and now I'm going to be in trouble because I didn't send any of these images to you. But one of them was called balancing act, and it was a cone that had an orb kind of just floating above it. We looked at that in your last show and that was brilliant. So if anybody's seen the saw your last show in October they remember that that was that was keeping things in balance so abstract art helps you keep things in balance you think I was trying to balance and I was trying to make myself a painting to help me stay in balance. So it's it as I said, I think it's my, it's a really good form for me to communicate with myself, as well as with other people. It is a very deep form of communication. So that's where it comes from. When I started with the paradigm shift. I actually I would like to start with the unity of all things and how that one was made, because that one that's the unity of all things which, to me, was was going to be a really simple, simple equation. Again, on some, on some level these were all intellectual experiments with me trying to keep my blues and my oranges separate and happy and moving. When I imagined this painting in my mind, the concentric circles were there. And then there were only three circles that were breaking out of those concentric circles. And as you can see, there are so many more circles. I had no intention of painting as a painting filled with circles they just kept showing up. But if we can look at the way it began. It began with them. It was called duality. And so when I came up with the idea of duality beginning. I am there I am standing above a table to take the photograph that's my skirt in the foreground. There are all of the different pieces of paper that I had cut out and placed alongside so that I would be able to know what I was doing when I got there. So the way I painted these was I would put down a barrier of oftentimes some jute then a barrier and I would throw paint at the paper, literally there you go. And there I am throwing my yellows and my oranges right on top of the paper. Now some of those pieces will be removed. Right now, all of the barrier paper is on the areas that will turn blue. So if we look at the next one, that is all of the barrier paper covering up the yellow and orange pieces. And I have literally with a brush thrown my brush thrown the paint right on top of everything to see what would happen next. And then when all of those pieces were taken off, we see the next image. This is what happened eventually. This is not what it looked like initially. Initially it was they were not that all of the colors were much lighter, but you could still see the pattern was there. So all of these were done in a splatter method. So that one just got really complex there for a while. But the first one I started with was is called live lightly love deeply. And it did not have that title when it began. But what I did was I only used jute as my resistance which meant I had pieces of jute going horizontally across the page. I started with the whole piece of paper wet, and I started splattering yellow paint from the right edge as you face the painting toward the left. And I just splattered yellow, yellow, yellow all the way. And then I added orange on top of it and let it blend with the yellow and then I added red or red orange on top of that and let that blend with the yellow. Then I let that mostly dry, but not quite. And then I turned and got the page all wet again and started splattering blue from the left edge onto the page, so that I started with a really light manganese blue and splattered that across and then I used. I think I usually in men blue and I used ultra marine blue and splattered those across the page. And these paintings take a long time to paint because I have to look at them. The way I paint is I paint for maybe 20 minutes 1520 minutes at a time and then I stand back and look to see what what's next. I look to see what I'm going to find. And what I want to show you and if you look at this painting up close. If we just look at that, you can find so many different objects and things coming out of that painting the first thing I saw was there's sort of a heart in the middle but there's also an angel. And maybe it's the angels heart. She's above that there's, there's, there's several birds. There's almost like a unicorn Pegasus kind of thing in there there's a dragon fly there's a dancer one or two.  There's just so much to look at I can, I could look at this painting for days and find something new every time. So the trick is to figure out when to stop.   And you're finding balance in all those. And that's really what the the lockdown and the coronavirus and all these other problems that we're facing. They put us out of balance. And somehow we have to as people find our balance and you've been finding it wonderfully with these paintings because so much is going on and you're exploring and finding all these new things like the figure in that last painting, but still there's a balance in that painting. And it's your balance that you found. It's just marvelous. And I don't know how, you know, how you felt but when I do something like maybe writing or something. And I finish it and it works. If it's in balance, like what we're talking about, I feel good about it. You know, I just feel, oh, okay. Yeah, I think it's kind of a you know when it's done. I have a friend who says you only show me your paintings when they're not done. You ask my opinion when they're not done. When you're done you never ask. So, you know, it's, it's true. You know when it's done you're right there you sometimes most times hopefully. So the next painting I did was called the art of compromise and it's a much more simplistic painting, but I did a similar thing this time. I used a little more of a barrier, so that I could have the yellows and the blues coming from both directions. So I didn't, I didn't go to the extent of looking to see if I could find anything more it was more about just maybe coming to a form where we can talk about things, you know, can we just talk about this. Can you guys, can we just have a conversation. So I think that's what that one was about. The next one I did is called the space between. And this one was really exciting to do. When I first, I first did a tiny little drawing of it in my sketchbook and I thought, oh, it's just so simplistic looking, but it really, it really took a little bit of time to generate it's almost a little bit of time going on in there with little dots of color filling in but the space in the middle. Sometimes we just need that space to separate thoughts and feelings and ideas and give us a piece of rest. I think that's what that one's about. When you look at abstract paintings like that when I love that one, if we could go back to that for a second.  And, you know, and that's, that's a feeling and a thought that brings great comfort, you know, great comfort to that.  It's a wonderful way to get in touch with oneself. The very next painting is called was called of two minds. And that one definitely looks like two opposing and sharp, sharp thoughts, I guess, very different ways of looking at the world is what that one says to me. But they're in balance. I mean, it's not neither the blue nor the orange dominates there. They're sitting there and they're balanced. And that talks to us about compromise and, you know, and like you're saying hearing one another, even though it may be loud, we're still hearing it. Right, even though they're both out there still making each other brighter. Yeah, and better. And from I went to the unity of all things, which we already talked about. And then the next one I did was really fun. It's called it's in our DNA. And I enjoyed this one so much because I would be painting this in public. And I would hear little kids say, I heard one little boy is maybe six or seven he said, I think that's DNA. And it was like, it was just so fun. Yay. I'm so glad when kids are learning those kinds of things so young about science, but I just thought, you know, we're all just made up of molecules of DNA, and everybody's DNA is slightly different. But in balance with the individual. Exactly. Wonderful stuff. And then from there came dynamic tension, which actually was titled by someone who was watching me paint it. He was asking me about it and I was explaining the idea of the compliments. I didn't, I don't know if I explained it then but the reason that it looks so three dimensional is that the compliments when they are, it's back in the 1960s, there was a movement of art called up art. And the artists were using complimentary colors of equal value. And when you place them side by side they really move and they will make your eyes pop. But the, there's a darkness that the oranges at its darkest brightest and the blues are at their darkest where they meet in those lines. And so that's why the painting looks like it's almost rolling in those directions. But it's something. Yeah, but it works.  And but that's the dynamic tension it's all. In movement. I guess that's a way to put it. And then from there came the evolution revolution, which again is playing with the compliments and the value of them and the movement. And it just, it's like a giant pinwheel of motion and action. And the next one is the tide is turning and we can only hope. Well, that's a good, that's a great one. Because we're sort of running out of time and I certainly hope the tide is turning in this pandemic, this major paradigm shift that we're going through. Me too. It was the heart of hearts so. Terrific. Yeah. A great, great place to end this show. Patrice, I wanted to thank you so much for being here and showing this. You know, I hope that some people get, you know, inspired to find their own balance to find their own. Art, you know, whatever it is that brings them that balance or brings them that. That happiness during these difficult times, because that's the way to deal with things. That's the way to deal with the paradigm shift. Like you're telling us. And I just really appreciate that. And I think it speaks to all of us. Thank you so much for being with us. Well, thank you for inviting me. I really appreciate it. Thank you. And thanks to all the people who are watching. And I hope that you'll tune in in two weeks. We're going to have as our guest, Cherie Magnus and she's going to talk to us about the joy of fantasy, which will be great. And of course, I always wanted to thank Think Tech Hawaii, all the technical staff, Michael, who worked with us today and Jay and Haley and Carol and Ash and everybody there that made this program possible. And again, especially you, the viewer who's with us today. And if you have any thoughts or anything, please give us an email at Think Tech Hawaii. Aloha. You can also follow us on Facebook, Instagram and LinkedIn. Check out our website, thinktechawaii.com. Mahalo. Thank you so much for watching Think Tech Hawaii.


Morning Traders, Patrick Munley here with another Tick-Mail Charter, I want to draw your attention today to developing opportunities in crude oil around the daily time frame. We've been fancing since the March Lowes and recently has put in what could be a potential third wave high here and I'm looking for a three-wave corrected move to develop but we have completed an initial corrective pattern here at the test of the monthly pivot and I'm actually looking to be long crude oil back through the 6180 level at least looking for a test of 6350 if sellers step in here then I'd be reversing my position looking to target an equality objective down to the 55 dollar level from there I'd once again be looking long and I'm ultimately looking for a test of the 70 dollar handle as always traders plan the trade trade the plan and most importantly manage your risk until next time thanks very much


I'm Emma Crw, from the Department of Anthropology at SOAS, and I'd like to explain about a new network we've established. This network is called the Global Research Network on Parliaments and People. Our network encourages research on the relationship between parliament and other people in society. To give some examples, we are interested in how elected politicians within democracies relate to different people in society, and that might be their constituents. It might be the relationship between government and civil society when parliament is making laws. It might mean the relationship between politicians and people in the media or social media, or between the institution of parliament and schools. This network is open to everyone. We're running the network with a team who are based in the University of Leeds and the Hansard Society in the UK. JNU in India, and the Enlightened Myanmar Research Foundation in Myanmar, and finally Forum for Social Studies in Ethiopia. Our first major research programme is called Deepening Democracy, and it's funded by the Arts and Humanities Research Council. This programme's goal is to create opportunities for national scholars, activists, artists and filmmakers in two politically fragile states, Myanmar and Ethiopia, although we would also like to encourage collaboration between those countries and their neighbouring countries. In this programme, we're offering grants, but we're also finding ways to offer support to applicants, so that might be training, it might be mentoring from somebody either in their country or from another country. It might mean that we can give advice about, for example, international publishing, and really we encourage people to let us know how we or our partner organisations in their two countries, MRF and FSS, can support those applicants or grantees once they get a grant. We're interested in the relationship between arts and politics. We think that scholars working together with people in creative industries will find very innovative ways to ask difficult questions about politics, but also help us reimagine what democracy might mean in very specific places because we think that democracy should be able to emerge in any country in its own way. So, we would really encourage people to join our network, to get involved and to let us know how we can make it a really effective coalition of people who are interested in politics.