Hi, Charles-Bucks. Let me guess, you miss your homeland. Oh yeah. Welcome to Swiss Pavilion. So now, first of all, I'm Mazen from Communication and PR team, and we will go on a tour and Swiss tour for the Swiss Pavilion. Are you ready? All right. Let's go. So this is a big reflection of the Swiss flag right here. Exactly. So here, it is our first act where we will show the red carpet. We unfold our red carpets to wait for our guests. And as we can see here, we can see a Swiss flag and the reflection of the Swiss flag. And on the architectural facade, and the title of our pavilion is Reflections. So as we can see, it reflects all the people getting inside, and it reflects as well the Swiss flag. And these umbrellas have all kinds of cheese. Exactly. It is cheese. It is Swiss cross. It is like chocolate. Also chocolate and mountains. So we need to showcase, no, not tennis. We need to showcase more Swiss vibes. So we bring the umbrellas all the way from Switzerland to here to Dubai. First, it can be used as umbrellas to protect from the sun. And second of all, it is nice for picture purposes and as we can see it on the reflection. And how do you say Switzerland in Arabic? Switzerland. Hello. Switzerland. Yes. All right. Okay, let's go. Let's go inside. So you have a busy pavilion, right? Exactly. Everyone is willing to see the Swiss pavilion and get to know more about our innovation ingredients and get to know especially about the mountains, cheese and chocolate. Okay, let's go and have a taste. Are you ready to get inside the Crystal Cave? All right. Also, we all know our main partner, Rolex. It's exactly the right time, right? Exactly. Yeah. Okay. Exactly.  So now we are here in the Crystal Cave. Here what's meant to be calm after our red carpet because we will have that choice. We'll have the luxury of choosing between two options either to hike the mountains of Switzerland through the Sea of Fog or use the electric cable car to also reach the peak. But for a premium experience, definitely we'll be hiking. All right. Of course. Of course. Are you ready to hike? Yeah. Let's go. Hiking shoes on. Let's go. All right. So here, as you can see the Swiss fog and as you can see the sound of nature, I want you to feel the humidity. Does it feel like home? Screaming. People are so interested to climb the mountains of Switzerland. Yeah. Exactly. Exactly. We're having a hiking trip all the way to the Swiss mountains. Sometimes in Switzerland there are storms. We're having a storm right now. Is it going to rain now? We're having a storm. Are we going to get wet? All right. We are providing you with the premium Swiss mountains experience. So tell me, you must hike? Oh yeah, that's fantastic. It's good for health to do some hiking and get to the top of the mountains. How do you feel to hike Swiss mountains in Dubai? Yeah. Yesterday I climbed the Burj Khalifa. Oh nice. That was pretty high. That was pretty high. Fair enough. Fair enough. Keeping fit. All right. So now here we have a time lapse of 24 hours and seven minutes where we will show the view from Swiss mountains. It is all the way from sunset to sunrise. We can watch it together. All right. How long is the whole cycle? It is seven minutes. Okay. That's nice. It feels cold at night. Yeah. Oh. All right. Who made all this? What's the design? The designers here. Okay. So the designer is group architecture designer of OSS. Okay. And the designer name is Yvonne. Yvonne. So you guys are trying to continue? Yeah. Let's go. Let's go. So now we're heading to the second to the third exhibition, which is our main partner Shindler. So now we'll get to know more about Shindler, which is known for the innovation and technology of elevators and escalators. Let me ask you a question. Have you been to the escalator of Jungfrau? Oh yeah. It is 103 meters high and it is designed and built by Shindler. And as we can see here, like the movement between the cities and the mountains and here we have QR codes that will show different augmented reality filters for Instagram that will show you different projects of Shindler. Some of the best elevators in the world, right? Exactly. Is it the one used in Borsch-Kalifa? It is. It is, actually. As a fact? The fast one? It is. And as a fact, they elevate 1.5 billion traveler per day. Whoa. Yeah. It is. All right. And here also the elevators here are used for people of determination. Yeah. To provide them with the perfect tour that they deserve. I hope Switzerland takes care of the people with their termination in a nice way, not just at the expo. All right. So should we go with the escalator? Exactly. We go to the escalator and here we'll get to know why Switzerland is the most innovative country in the world. Okay. Let's go down the escalator. So do you do a lot of tours with people every day? Exactly. We are a team of communication and guest relations that will make sure to give you the premium Swiss experience so you will live the Swiss journey in Dubai. Okay. Ladies and gentlemen, it's our time to shine now. My colleague Mazen and I are going to show you Swiss innovation. Follow us. Please introduce yourself. My name is Dan Tiderini. I'm project manager here at the Swiss pavilion and I'm here to showcase that Switzerland is the most innovative nation in the world. So this is the elevator down to the caves? Exactly. So you saw before the nice beautiful land size, the beautiful sites of Switzerland, the mountains, but here we're going to show you what not a lot of people know is that Switzerland is the most innovative countries in the world. Why? This is the question. Well, let us show you this. It all starts here. You see, we have innovation is like a recipe. Innovation is made of different ingredients. It's made of high quality universities, good infrastructure. It's also made of the lifestyle, the life quality, which must be very high. And here within these fountains, you can see these different ingredients. For example, this represents our universities and the drops that you see, it represents that each and every drop counts when it comes to innovation. So this is about our universities. This is about social justice and peace in Switzerland, which is also a very important ingredient. And all of these ingredients mix up for a recipe, which is innovation. So there's much more than chocolate and cheese. Exactly. Exactly. Absolutely. And this is what we're trying to showcase here in this space. And we actually have a temporary exhibit on wastes. And this is also one reason why we want to showcase this because of course Switzerland is good at recycling, but we're also a big polluter in terms of waste generation per capita, one of the highest in the world. And so together we're trying to change this. We're trying to showcase how we can together find some solutions to live in the most sustainable world. Follow me. I'll show this to you. So it all starts here. We're showcasing here wastes. Now look at wastes from the angle of the letters. See, we saw with W, W stands for wealth. So this is what we're showcasing here, that within smartphones here, they all contain one small amount of gold per smartphone. So we're trying to put this forward in terms of wastes, not being just something you just dispose of, but something which has value. Why can't you just take all this gold back and put it in a bank from the disposed smartphones? Well, that's the thing. It's very expensive for us to do so. So this is what we're trying to do. We're trying to raise awareness for us to use technology, to use manpower, to use education for us to manage this waste and convince people it's worth investing into treating this waste. Follow me. I'll also show you something else. Not everything is as gold and shiny in the Swiss pavilion. As you can see, we also use actual waste to showcase that it's okay to have waste in your pavilions. You see, it's okay to showcase this because what we can do is turn this waste into fashion, into cloth, into different elements. So this is what we're trying to showcase here. It's happening. It's happening as we speak. Yes, this is waste that we're trying to reuse. Let me show you something quite cool too. So we went through W for wealth. We went through A for art. And now we're going to S for sustainability. Follow me. This is S for sustainability. This shows a compost system whereby we have actual worms which are then able to process organic waste and they're able to then produce soil to be used as fertilizers. So this is something quite out of the box but we're trying to put this forward by raising awareness about this. So there's actually projects for this in Switzerland? Yes, absolutely. There's projects on compost. I mean, most of us, we have compost at home which smells a little bit but it's worth it. It's worth doing this to manage your waste. Alright. And so now we did letter S. Now let me show you letter T which is technology. Check out this guy. I'll just cross over the line. This is a program which uses old ski boots to be used as raw materials for 3D printed materials. So essentially you take these ski boots. These are processed. And then you can pretty much print whatever you like. For example, this cool line here. But you can also print cables. You can print machine parts. So all of this is a way of using technology to better manage waste. There's a lot of ski boots in Switzerland. There's a lot of ski boots, yes. But they're very difficult to recycle. And so this is what we're trying to showcase. Through technology we're able to recycle the most complex materials. And then we finish by E, education. This is a project we're showcasing which was done by Swiss and Lebanese students to not only develop better ways of managing waste but also doing so by empowering youth. So we had a competition here a few days ago. And so we have now the winning team, Plastic Cycle. They're from Lebanon. They're working with Swiss students. And they're able to put in place their project which is tackling plastic waste. So this is partnership with Lebanon. Exactly. And this is very important to us. It's not just about showcasing what we're good at. But it's also being proactive during the expo. This is something we're able to host here. And so we're quite proud of us making a difference of this being a legacy for our presence here in Dubai. All right. So yeah. So you mentioned students. Do you work with Swissnext? Exactly. Is it a lot to do with startups also and stuff like that? So Swissnext works mainly with Swiss universities but also startups and innovative companies. It's kind of like spin-outs from universities sometimes, right? Yes, exactly. For example, we had a spin-off from the EPFL which is a university in Lausanne. And they were able to showcase their technology in water management. So this is something we also put forward to. So there might be the next Google or Facebook in Switzerland? Well, we hope so. We hope so to have a few unicorns ourselves. So our job here is to connect them with actors from the UAE. I mean, the UAE, Dubai is being a hotspot of innovation thanks to the expo, obviously, but also in general. So our aim is to bring them here at the pavilion to not only showcase their technology, their ideas, their people but also put them in contact with local partners and also other national pavilions. Because the UAE is in a very good partnership with Switzerland, right? Yes, absolutely. It's one of our most important trading partners and now we're exchanging even more in terms of education, research and innovation. And this is our job here is to connect even more with Murati universities and students. And what do you have here? The famous question. Do we have chocolate? Oh, yes. So here we have Sprinkly. It is one of the finest Swiss chocolate. We'll get to know more about it.  So let's get into Sprinkly. Hi. What have people ordering here?  Actually it is a chocolate shop and a coffee shop. So all Swiss will provide you with the most known Swiss chocolate. All right. Cool. Okay, let's go. Let's go. Okay. This looks too good. This is dangerous to eat too much. And now here we are in Al-Wadi. Do you know what is Al-Wadi? What does Al-Wadi mean? Al-Wadi means valley in Arabic. So here it is to combine both cultures from Swiss mountains all the way to Dubai. As we can see, these are real Bedouin tents to combine both cultures and heritage from a culture of mountains of Switzerland all the way to the desert. Have you checked our Swiss nice car? Is this a new smart car? No, it is a microlino. It is Swiss made. It is an electric car. Nice. For short distance because the research shows that we all use our cars for short distances. So here it is. Microlino. Yep. Swiss made. Exactly. And here? Swiss design. Here also we can see that everything is sustainable. This concrete is recycled and the project of concrete is to reduce the emission of CO2 and recycling the concrete. So we are trying to be sustainable in every single part and every single act we do here in the Swiss pavilion. All right. And people can sit there. Exactly. And there's more benches over there with the famous Swiss people. Exactly. You've asked me about tennis, right? Yeah. So what time can I see further the Expo 2020? Is he coming? You can see him right now. He's there. Look behind you. Let's check. Roger. Great. I think he is hiding. Two more wishes to go. Hiding. This is right here, no? Oh. There. Okay. Hey. Ta-da. Roger. Okay. It'd be nice if he come to the actual pavilion. Of course. Of course. Yeah. He's, yeah. Getting back. So there you're showing some highlights of some of the... Exactly. So it is about Swiss tourism. And we have here different QR codes that shows different pages about Lutheran Swiss tourism and all the beautiful and amazing acts of Switzerland. So now I have to ask you, do you feel you are at home? Yeah. Right here. Perfect. Cool. So it'd be nice to see more and more partnerships happening between Switzerland. Of course. And all the different countries to make the world a better place. Of course. You are here to connect with us and to create the future as an Expo slogan. So we are all combining together, working together for a better future.


Okay. Hello everybody. I would like to welcome you to the BSD Dev Room at Fossum 2017. Thank you for being such a large crowd here. I see a lot of faces I know, which is good. I'm going to tell you as our first talk today in this Dev Room about how we package source code of programs written in Go in package source. First of all, I would like a quick show of hands. Who here knows what package source is? Okay. So I don't need to explain it for a long time. Who here knows about Go? Most people. That's great. It's awesome. So package source, obviously, is the NetBSD packages collection, which doesn't mean it runs only on NetBSD. It means it's maintained by people in the NetBSD project. It contains over 17,000 packages. It's been growing. It's still growing after all these years. The really cool thing about it is that it runs on 23 different platforms out of the box. So that includes any sort of BSD you may want to throw at it, like NetBSD, OpenBSD, FreeBSD, Dragonfly, BitRig, whatever. It includes Linux, even Windows. The bash for Windows thing that they're doing is basically Linux, and Cycwin, I believe, is supported as well. Some cool features that package source will give you. If you're on one of the mainstream platforms, you can use pre-compiled binary packages. There's something called package in, which is a lot like apt-get. So really easy installation upgrade and so forth. You can set it up unprivileged. That can be super helpful. That means you don't need root for building packages or installing packages or using them. So you could do a container-like thing if you wanted to, like poor man's docker, so to speak, by having a private package source tree per major app that you just package together and it doesn't need root access to do anything, which is cool. There is a separate site project that's called WIP, Work in Progress. So if you want to get started with package source after all that I've told you today, it's super easy to get an account for that. It uses Git unlike main package source which uses CDS still, and it's very low barrier to entry and it's really, really very easy to create packages. To go a little more into detail, a package in package source minimally needs four files. There are makefile, distinfo, disker, description, and the P list, the packing list. So the makefile is essentially a bunch of variables that are being declared, and then you include one include line that does all the work. The distinfo is automatically generated. It contains checksums for the file you're going to download. Description is something you need to write. Well, it's one or two paragraphs describing the package, and the packing list again is auto-generated by the infrastructure is a list of files in the package basically. And the installation of a package source package or the build goes in these predefined stages. So that's a structure that's basically set in stone, but it's worked really well over the years and it's a good structure. So I probably forgot a bunch of stages here, but first of all, the first stage is fetch where you download the distribution file, or you copy it from somewhere where you have it in your local rep-hole. Then you check the checksums to verify that you've actually got the correct file with the correct size. Then you build tools, you install dependencies that goes recursively, does the same thing for every package you depend on. Then you extract the source code, then you apply any patches on top of it if there are any. Then there's a stage called build where you do the actual, I've got configure obviously. There's configure then build, then stage install which is where you install it into a staging directory, the so-called destir and then the package stage, which takes whatever is in the destir or rather the subset that's in the P list and packs it together in a package. Then package install takes that generated binary package and installs it on your system. Now, we switch gears a little bit and go into the world of Go. So, it's a fairly popular programming language to put it mildly. In fact, it's so popular that tomorrow there's going to be an entire dev room about Go related topics in the DePage room in the H building. In the world of Go, there is a tool that's also called Go. The Go tool handles, among other things, fetching, building, and installing Go programs. Let's look at how it does that. Here's a simple example. So, I chose a random package that was the last package I was working on. Don't read too much into it. So, what's happening here is you tell it to go get something. I'm sorry, it's a little bit small. The three dots at the end is a meta pattern.  So, that means I want to install everything that's under this path downloaded and install it. So, Go.get will download that. You notice import paths look like URLs, that's intentional. Then it sees that there is a dependency in there, that we don't have. So, it tries to download that. There's this little bit of a special case because it's sort of a sim link, so to speak, from an import path to an actual Git repo somewhere else. Then it downloads that, and then it builds the things in opposite order. It sounds similar enough to what we did in package stores, right? There's this thing called the GoPath at the top. If we look at this GoPath that we've just created, you'll notice that there are no two directories called source and package. There might be a third directory called bin if there was a binary. So, source contains a source code for those things that we downloaded and it's arranged by import path. That's a standard way that Go arranges its source code. Then the package sub-directory has another sub-directory for your platform. So, from the same source tree, you could build for as many platforms as you want, and it would not conflict. Then it has, you'll notice it has one level of directories less because each sub-directory in source is conceptually one package corresponding to one file in PKG. Now, there is some mismatch between that because it does download, then discover something, then download some more stuff, then discover some more, and then build stuff recursively in the middle. So, that doesn't quite fit with the model we have in package stores. Now, there's two possible approaches to this.  In fact, that is what the people from the Go team have recommended to me, but I think that's unsatisfactory. That's clearly not what you want because at some point, there is some software that's written in Go that somebody wants to run and you don't want them to be special snowflakes. You want them to be packages such as all the rest of your system. In package stores, for example, they have a linter called package lint that's written in Go.  So, let's deal with it. Some more thoughts on this is most of the packages or the individual, say downloadable units in this Go ecosystem are small and do relatively little. In that, they're similar to Pearl packages or maybe the tech live ones or so.  Now, the binaries, once they're built, they don't depend on anything really because they're statically linked, except maybe Lipsy, but okay. So, once you've built your binary package, you can actually install it without having all the intermediate libraries there. So, that's kind of a nice property. So, we have a framework and package source called gopackage.mk that allows you to write these packages relatively easily. We're going to go through this Go OVH that we've seen before, see how that works. So, first step when you want to package this thing, we go to its homepage or to its GitHub in this case, and we download the latest release. Oh, look, there are no releases. Yeah, okay. So, instead, we search for the latest commit and take that date and take the SHA one of the commit, which is an endless hex string, and I'll stick that in our make file. Here's the actual make file for this thing, except there's one bit missing. So, you notice the version number is a little bit awkward, we've chosen a category, we have this weird tag thingy here, and then the more interesting bits for Go specifically is probably this block here. So, the Go source path is basically where in your Go path this thing would be placed. So, it's the import path you want for that package in the end, and the Go disk base is the directory name that your GitHub download will have, because if you just extract the file, it will not be in the correct directory. So, this does a little bit of gymnastics to move it into a newly created Go path, so to speak, to this sub-directory. Then you build and it looks like this. Again, apologies for the font size, and this year happens. Well, of course, there was a dependency, we don't have that package. But wait, you say, I have that package from earlier, right? I downloaded it, but yeah, you don't want that. You want your build to be hermetic in the sense that it uses only dependencies it has actually declared, so that in the end, your dependency tree makes sense. So, it's clear that it's a good thing that it's not finding it. Now, let's add the dependency. We add an include for the build link 3.mk of this package, which conveniently enough already exists. Then we run make and you see kind of unspectacular, not very spectacular it builds. So, what happened now? What did this include build link, something something actually do? So, build link is a framework part of package source. It was written originally for, I suppose, packages written in C or C++. Many of these use autoconf, and if you're trying to package something that uses autoconf, it checks for presence or absence of certain libraries. So, if you happen to have an extra library installed that the package may link against, it can add that as a dependency, and then it's not recorded in your package, but the binary does depend on it. So, that's a big problem. I think OpenBSD had a long history of sort of purging unwanted dependencies. Package source did this building thing instead, and it turns out it works beautifully for Go, because what we do we create a shadow Go path where we link in the entire source code and also the package files, like the entire contents of all the declared dependencies. Then we set the environment variable to tell the Go tool that it should look there for code. Networks just fine. I'll show you how the building 3.mk works. In this case, I show you the one for this package because we want to allow other packages to depend on it, obviously. There's a little tool called create-building that basically creates this thing on its own. So, what it does, this is the magic bit here, the building content filter. So, it takes the entire contents of the Go PKG sub-directory, which is where we install the source and PKG directories, and build links it in. The dependency method is built, so that means it will not be a dependency of the final package. It's only a build dependency, which is what it is. Here, we have repeated this include. So, if you depend on Go OVH, it will transitively depend on Go INE, so we can actually build the thing. This has another very nice property and also very important property, the compiled source code. So, the way the Go tool works is a little bit like make. If any of the source files are newer than the binary file, then the binary file is stale. So, it needs to be rebuilt. If your compiler is a different version than the compiled file, the compiled file is also stale, needs to be rebuilt. However, you can't just rebuild random things that are already installed because their file checksums have been recorded, and also the directories hopefully read only. So, when you build link the tree in, then it can replace those compiled files with newer versions if it needs to, and it doesn't count because you just delete the shadow Go path once you're done. So, that is actually, that solves a lot of problems, and it makes it kind of lower the mismatch between package source and Go. Now, I would say, so this is basically where we are, but the problem is it's still relatively tedious. So, to give you an example, because those anecdotes are totally what we need. To give you an example, I'm working on something called caddy. It's a web server written in Go, very high performance, very cool project, encryption built-in, zero config, and so on, has hundreds of other Go packages that it depends on. If you package them one by one, then you're going to be like me two months later, still packaging things. So, yeah, this could be automated, right? That's the next logical step in this direction. However, it's not trivial. You've seen a lot of metadata that I've manually added basically, because there was no release, the finding the latest commit and date and so on, and putting that in. The comment which I have mentioned is a one-line description of the package. I don't know where to get that from. What's the license of the package? So, unlike Perl packages, there's no manifest that has these things recorded in a neatly consumable way, which is very sad. Then the long description, readme.md files sometimes leave a lot to be desired. You can't just take the first few paragraphs and say, this is my description, it doesn't work well. Then the whole canonical import path versus source code location that the tooling can help you. So, you saw the Go tool discover where the thing actually is. You can use that programmatically. The same way you could do dependency resolution programmatically, you can ask the Go tool, which other packages does this thing depend on, but please filter out the standard ones. Then you match that against packages you have already in your tree, so you can write the depends files. That would be maybe a worthwhile first step. Then some of those have extra dependencies for testing. Unfortunately, package source doesn't have a concept of what OpenBSD called regress depends. So, you can't say package x, y is only used for the regression tests. The way I've been doing that is, I put it in the build dependencies in the make file but not in the build link file. But it's probably not the greatest solution. Sometimes things that depend on C libraries, like you have Go wrappers that wrap a C library. Yeah. So, I've previously written such a thing for Perl packages actually was called C-Pen to port or C-Pen to package on the package source side. So, maybe I should tackle that at some point. Would be a worthwhile thing to do or thing. Because the Go ecosystem is large and has many interesting things that may not be, I would say may not be known enough in the circle of people who were likely to use C-NetBSD. But there's some cool stuff in there. So, as my last point I'm trying to make, and that I also promised I would make in the description of this talk, is as an upstream author, like as the author of a Go package, what can you do to make it easy to package the software that you have written? So, my first point is, give us releases please. Like a lot of the Go community does never releases anything, they just push on GitHub continuously. And if you do releases, please also do release notes because we like seeing what changed. Then, we've sort of tackled the whole Go get process. So, it would be nice if your software supported that. And so, I've seen things, I don't remember what project this was. It delivered an install.go and said, just compile and run this thing and it'll do the rest. This is not likely to work unfortunately. And the most horrible part is when your software during build, for example, this install.go, during build decides to download more stuff. That does not fit at all with the hermetic building that we would like to have. And that is just necessary for making any sort of reproducible package out of your code. So, don't do this please. And also, please some read me so really bad as I said, please put more sensible descriptions. What does your thing actually do? Maybe for just libraries, it might be more fruitful to look at the Go docker output because many people have crappy read-me's, but good comments in the code that might be an idea. And avoid circular dependencies, that's a good one as well. So, the Go get works on the level of package, like it builds package by package. Whereas, package source typically works on per dist file. So, basically all of, for example, golang.org slash x slash net is one entity for us. And there used to be a circular dependency, might still be in there. There's a package in Go net that depends on the metadata package from the Google Cloud libraries. And then there's another package in the Google Cloud libraries that depends on something from the Xnet repo. So, if you try to build first one, then the other, you're going to fail. So, you have to split one of the two to get rid of the circular dependency. And that's really crappy. So, please don't do it. And that's mostly it. Thank you. Here are some links. The first one is the link to this event. You can leave your feedback here. I'll upload the slides a little bit later. Then package source org don't need to explain golang.org. Also, package source SE is super cool. It's a browsable package directory of the things that are in there.  You can click on the dependencies, reverse dependencies. That's really nice. And I have one bonus slide. Maybe if there are some questions first. Are there any questions? No. Okay, here's the bonus slide. So, NetBSD is kind of cool if you're using cloud stuff because of its Xen support. It runs great on a bunch of Xen-based cloud solutions such as Amazon EC2. And starting from NetBSD 7.1 are a release candidate one. We finally have enough stuff to be able to run on the Google Compute Engine, which is sort of KVM-based. However, there are still a couple of bugs. It's not quite easy to create such images. So, there's semi-official support coming. This is something I've been doing in my day job. It's not released yet. That URL doesn't work yet. It'll be there in one or two weeks. And it's basically a script where you can enter a release and a platform, 386 or MD64. It builds you an image and then you can upload. And there's a readme that explains how to use it. You can upload that to Google Cloud Platform and create your own NetBSD VMs. Thank you very much. Thank you.


What's up guys EvilDeer here and today I want to speak to you guys about something that's been proposed to me a lot recently Well, not really recently, but just during my time making or working on this channel And that is a lot of people have asked me to launch an Esperanto Guild now That although I would love to take part in an Esperanto Guild I generally just don't have the time to actually launch one myself because when you think about it like I come home from work And then I make a video every day for this channel and then after that I'll have like maybe Half an hour to like do other stuff So I generally don't have the time to Invest fully into a Guild although I would love to join one and I would totally support one from this channel in any way I possibly can but I can't do it myself So in order to help you guys launch Esperanto Guilds within World of Warcraft I'm going to Suggest that you all first just put down your battle tags your name your servers Maybe classes down in the comments below of this YouTube video and then from there you'll be able to find each Other by just looking at the comments now Hopefully then we'll see like a cluster of people maybe on the same server You might not even know that each of you are actually on that server and we'll be able to build Guilds from there We might even have multiples and then again, we might have like nothing who knows It's it's worth a shot. So that's what I'm thinking So, yeah, just put your details down below now the second thing is obviously once you guys start chatting away with each other You're gonna want to use certain terminology and I've already on this channel dealt with World of Warcraft a lot. I'm probably the only Esperanto World of Warcraft let's play out. There's obviously a lot of you guys who played this game But I'm the only let's play out. So I think I'm probably the best person in order to establish kind of a Standardization when it comes to the terminology of the game.  I'm just gonna heal up quickly. So yeah What I'm gonna do now is in my previous series of like 20 plus videos that I've run On World of Warcraft. I've used certain words, but it's a teaching series So obviously not all of you guys have gone out and watched it Because you probably don't need to learn the language so for those who haven't what I'm gonna do now Is I'm gonna just give you a rundown on all the words that I've been using in the game And then from there will be able to have some form of standardization man. I am such a champ I'm taking this like like the king. I am all shivers. Oh, no, this is bad. Oh, this is bad This is bad. Yeah, I don't want to die. Yeah, eat it eat it Okay, so now what I'm gonna do is I'm gonna run through the three groups that you've got within this game So you've got healers DPS and you've got tanks. Okay, so the word for healer is sunny. Gisto sunny Gisto the word for tank is tanky store tanky store and Then you have also the DPS and DPS is Damagisto, I'm just gonna quickly heal up my guys around here because they're taking a beating now Obviously you have classes and the word for class is class on okay Now the first class is that I can think of is uh, it's hunter. Why am I thinking I gotta written it down here? I'm not that pro. So if yeah hunter is chassis store Then you have rogue and the word I use for rogue is stelisto stelisto, okay? Then you have mage and the word for mage is Maggiesto Maggiesto Paladin is cover leader.  Sorry, mate. Oh I'm not another rogue So yeah, Paladin is cover leader. Then you have warrior, which is Batalisto Batalisto Okay, cool that guy's off my butt. Well, he's not really but he's just not doing much damage. Okay, then you have Def night, which is more to cover leader more to cover leader Then you have monk which is Monaco and I love that word because it's got the H with the hat in it You know that letter that's like friggin disappearing from Esperano. Yeah I love that letter. So it's Monaco Next you have priest, which is Pastro Pastro Then you have wallop, which is sort of chisto and Charmin, which is Shamano Shamano Let me just heal up my guy again And then finally druid, which is druido druido. Okay, cool. Now we've covered the classes We're gonna talk it about the different species that exists. Obviously human is just simply homo Next we have a guy I'm gonna protect this guy with my life Next we have Dwarf and dwarf is Nanno, then you have gnome, which is Ganonmo You have night elf, which is Noctelfo I'm just gonna get on my mount so I can follow this guy and protect him. Next we have draenei Now this is the word I created so it's got no historical backing But like I said, I'm the only guy who does let's play so it's it's all cool The word for draenei is Draenio, then you have Worgen, which is Homlupa You have Paladin, which is Kavalido Oh, sorry. I already said Paladin and that's not a class. That's actually a Whatever, I'm just distracting myself Pandarin is the word I wanted to say and the word for pandarin is Pandulo, Pandulo. Okay, and Next you have Orc, which is Otokoff Otokoff, this rogue has got no chance. What are you trying to do my friend? He's got like a healer and everything on him. Oh No, you don't oh no, you don't Okay, next you have Tauren, which is Bovula Then you have Troll, which is Trollo and you'll be using that word a lot because it's also the verb For you know, like the slang meaning to troll so ne Trollu. Don't troll Next you have Blood Elf, which is Sungelfo and then you have Goblin Which might cause a little bit of confusion because we have Kobolds in this game, but whatever so yeah word for Goblin is Koboldo now when you're talking about your level say your level 23 you use the word Nivello, okay, however when you're talking about a level within the game like level as in location Why am I just standing here? You use the word level and level is a created word. It was created by the Facebook group That's a Facebook group I run of gamers and we kind of came to an understanding that that will be the word for Level as in the sense, you know like a level within a game not like the level that you are Obviously a lot of people are not gonna be happy with that but whatever that's what I'm going with and if you don't like it too bad You can you can eat that you can eat it don't actually physically eat it because that will hurt Next also in the World of Warcraft, okay You've got things that are like you've got instances and you've got dungeons and then in other games You've got levels and you've got all these friggin words in English But I'm gonna use for instances dungeons and levels the same word and that's gonna be level Okay, and the reason I'm going down that route route is because generally in a game if you use for instance If a game has a level, okay, it generally doesn't have dungeons and if it's got For instance instances, it generally doesn't have levels So it's not something that you can get mixed up very easy So I'm just gonna use for all three of those words the word level on you can use love it into if you want but to me a Love it into really it's not. I was gonna almost speak Esperanto then it's not suitable in the situation Cool, awesome. I'm glad you're happy with that next when you're talking about threat within a game So you've got threat from the enemy. The word is minazzo minazzo and if you want to heal someone the verb is sanigi and Finally, if you want to shield someone the word is shieldy now if you want to join and Us just put down your details below, but you can also join the Facebook group Turminoi put a video Ludwig And from there we can create new words as needed or we can come to a consensus about what words we should use But yeah, that's the words I've been going with all this time And I guess that's that's a good base to work with from there So that's pretty much it if you've liked this video give it a like share it around a few friends subscribe to my channel If you haven't already and I'll see you in the next video and if you're not there I'll find you whatever freaking game you play I will hunt you down and I will do really really bad things to your corpse


Rwy'n meddwl, Diolch. Yn gwaith, cyfaint. Yn ystod yn y ffap hwn o'i bydd y partyn o'r partyn o'r llei Cwyrnol. Mae ymgyrcheddydau yng Nghymru, ac sydd wedi'i gynnig pethau o mynd i ddefynasol. Hefyd nid o ddyprinio ar y barthyn ym y nogion ar hyn yn diolch. Rwy'n iddyn nhw'n ddweud, y peth o'ch llei Cwyrnol ym Ysgrifffordd Llywodraeth yn gweithio ar y fap hwn, felly ar y cwestiynau'r ddweud o'r cyffredinidol ac mae'n hynny o'r rhaid o'r cyfreuniau i chi'n gweithio yn dysgu'r cyffredinidol. Y dylai ddwylo y gael yn eu cyrraedd am y ddysgu'n gweithwyr, yn ymgymell eich bod eich argyfawr ar gyfer ac mae'n o'r cyfrwyr ymlaen gan y gweithwyr yn y cyfrwyr ar gyfer y gweithwyr. Rwy'n credu i chi, oherwydd, y gweithwyr ein gweithwyr yn y gweithwyr i'n cefnodol. Felly, ddych chi'n ymwneud fydd ymddangos, ac yn gweithio'r gwrs pwn o'r gweld, rydych chi'n dda i ddechrau efo'r ddaeth a chyfodol ti'n gweld, rydych chi'n dda'r cyflwyn. A hynny, y byddwch chi'n gafodd cymdeithasol yn y Pwyllfa Cyngor, rydych chi'n ddweud hynny'n gweithio ymddangos. Felly, fydd y gwirionedd ymgyrch o'ch cyflwyno'r ddechrau gweithio yma yma o'n cyflwyno'r ddechrau gwaith, mae'n ddysgu'r ddechrau gyda'i rhai, ac mae'n gnerdd y cyflwyno'n gweithio'r ddechrau, ac mae'n ddysgu'r ddweud yw'n gweithio, mae'n ddau'r ddau'r ddau, mae'n ddau'r ddau. Mae'n ddau'n ddau'n ddau'n ddau'n ddau, mae'n ddau'n ddau'n ddau. Y teulu yn gyw Battlewydant, a weithiwch i'w archwilio'r YouTube yma o gyf yr athawyd rydyn ni'n byw'r cyflawni. Y cywydden nhw'n fydde i dda wedi bod yna'na rydych chi, ac yn aeb efallai hwnnw mae'n ffranc yn argyrchmarth fel ydych chi. Malkyn yn oeddych chi'n gweithio am 40 oes maen nhw, ac rhaid i'n cefnolio'r cywyddoniaeth. Yna'n bod ar hyn oedd i'n gyd yn oed i'r Malkyn. Dwi'n drws! This is a brief synopsis about the parliamentary art collection to begin. It's the national collection of art relating to the history of parliament. It contains images of important parliamentary events and parliamentary figures, parliamentarians who've played an important role in making parliament what it is today. And it covers also Mr Brных's historical subjects Roedd ydych chi gael gynnwys yng Nghymru, ac mae gennym dweud o gynnwys ar y dŵr y Llywodraeth. 80%, bobl 80% dŵr y clyw, erbyn gyda'r ystyried o'r ddechrau Cymru. Roedd o'n gwneud yn cyfaint o'r clyw. Roedd y dyfodol ym mwy o'r ddweud o'r ddweud o'r Llywodraeth, yn y ddweud o'r ddweud o'r ysgol. Roedd yn cyflwyter o'r ddweud o'r ddweud, eu cynnwys i'r ddweud o'r ddweud o'r ddweud. The major holdings we have date from the 18th, the 19th and the 20th centuries and we have significant contemporary holdings also. The idea of the talk this morning is to look at two distinct areas of building up and developing the collection. I'm going to be looking at the Victorian period, that's the period 1841 up until the mid 1860s and then jumping forward 90 years or so to the period 1956 to the present day. That's quite a lot to achieve in 45 minutes and we're going to have to be very selective. But let's begin with the Victorian age and beginning with on the left Port of Duqueen Victoria and on the right Prince Albert. These are copy portraits by the German artist Franz Winterhalter. They were painted in 1859. These particular ones were commissioned by Queen Victoria as a gift, they were given to Prince Dulip Singh. So the early years of their lives were spent hanging in the palace in India. In 1911 they were acquired by the House of Lords and nowadays they hang in the robing room in the House of Lords. The building of the Victorian palace began after the fire of 1834 which of course destroyed many of the earlier, some of the buildings dating back to medieval times that formed the early palace. The idea of providing suitable works of art for the new building was hotly debated. There had been a feeling since the 1930s that there was a need for government patronage of the arts to avoid Britain falling behind its European neighbours in particular France and Germany. And in 1841 a select committee was set up to consider the promotion of the fine arts in this country and that led in turn in November of that year to the setting up of the Fine Arts Commission that would look after and indeed get heavily involved in the works of art for the Victorian palace. Prince Albert on the right was to be the chairman. He was a man of intellect, taste and ideas. He had travelled widely in Europe, he had studied the great art collections. He had come to Britain, he had married Queen Victoria only a year beforehand and in 1841 he was the chairman of this new commission. He proved a very astute choice and there is no doubt that his presence added considerable importance to the schemes of art at Westminster. We are going to hear a bit more about him later on in the lecture. What was the role of the Fine Arts Commission? Well it was pretty wide ranging. They had the task of filling the walls and interiors of this major public building. This was a building that would illustrate the nation's rich history and the works of art would need to be of a status and quality to fit in with this major public building. They would also need to build on and continue on the long standing tradition of outstanding fine art commissioned for the early Palace of Westminster buildings. Since the medieval times. So it became an important period of state patronage of the arts and it went on more or less for a 20 year period. It was about Britain, it was about British artists. All the artists employed at the Houses Parliament had to be homegrown talent. I mentioned that because there was a heavy German influence. There were concerns, especially when Peter Cornelius, one of the German Nazarene school artists, had been invited over from Germany to London to give informal advice to the Fine Arts Commissioners. Just so we get an idea of what the Germans were doing in parallel with what was going on here. This is the residence in. This is part of the lavish decoration for King Ludwig I of Bavaria. These are large wall paintings illustrating German history in this particular instance. It's the German Nibelungen lead that early 12th century mythological and indeed early German historical scheme. They were being painted by the German artist Julius Schnorf on Carlsfeld between the period 1828 to 1834. These were well known in Britain and indeed Schnorf on Carlsfeld carried on and painted between 1843 and 1867. Exactly fitting in with the schemes of art at the Houses Parliament. Albert was well aware of what these German artists were doing. He knew very well the Nazarene school. He knew the artists such as Overbeck, Cornelius and indeed Schnorf on Carlsfeld. But it would have been unthinkable for German artists to be brought over to Britain either to supervise what was going on or indeed to paint and be commissioned to paint in the building. So how did the Fine Arts Commission find talent in the country? Well, they held a number of exhibitions. There were four, 1843, 44, 45 and 47. The wife of the secretary of the Fine Arts Commission, Lady Eastlake, made the following observation when she was attending the 1843 exhibition. She said, between 20,000 and 30,000 people attended the exhibition each day over its two month duration. And the artist Charles Westcope, who did paintings in the building here, one of the Victorian artists, went slightly further and said, all England went to see it. All the omnibuses were covered with placards advertising it. So it was rather keenly followed and it's clear that people from all walks of life went to the exhibitions. And it fitted in perfectly with the Victorian principle of using art for educational and, indeed, morally uplifting purposes. What the Fine Arts Commission were doing was creating a scheme of decoration for a building that was on the one hand a royal palace and on the other hand the functioning houses of parliament. And the approach they took in general terms was they placed British political history within the wider context of British national history. And they devised a scheme for the interiors by 1847. Bear in mind they were set up in 1941. So six years on they had a complete, if you like, blueprint for the art for the building. Now what did that mean? What we were talking about in terms of numbers. Well, they had planned over 140 paintings. These are large format paintings that are part of the interior. And they had over 120 sculptures, large format statues. It was a mighty vision. It was a temple of art. That was the plan. The exterior of the building. This is the midpoint of the south elevation of Victoria Tower. The entry point for the Queen at State Opening of Parliament into the Royal Palace. The art on the building and indeed the art in the building and the architecture of the building were meant to be part of a carefully conceived whole. This was the idea of the union of the arts. Fine art, sculpture and architecture working together. And the statues on the outside of the building came under the control of the architect. The architect of course was Charles Barry, later Sir Charles Barry. And they were funded as part of the fabric of the building. If you count them there's over 200 statues on the exterior of the building. And they're kings and queens from the Saxon period onwards up to Queen Victoria. And in fact in the middle of the slide here, you'll have to take it from me, is the statue of Queen Victoria who appears on almost every elevation of the exterior of the building. This is very much a royal palace. It was designed as a royal palace. When we look at the inside, this is the House of Lords debating Chamber, the most important interior within the new Palace of Westminster, opened in 1847. I hope you can make out what you can certainly see the three large format fresco paintings on the end wall. There are 18 statues, metal statues around the window line of the interior. And it's statues that we're going to look at in a bit more detail. The idea of the Fine Arts Commission was a distinguished persons of the United Kingdom to whose memory statues might with propriety be erected in or rejoining the Houses of Parliament is what they talked about in their fourth report. And they provided a long list of 120 names and it was the first real indicator of the commemorative function that they wanted statuary to perform in the building. As you might imagine, there were many royal, parliamentary and military figures in that long list. But there were also leading lights from literature and there were exponents of architecture. They had Sochrysifer Wren, they had Inigo Jones and amongst the artists they were looking for statues of William Hogarth and Sir Joshua Reynolds. I don't think there was ever any intention that all 120 would ever make it into the final line up of statues. But it was very clear that they wanted a variety of figures from a variety of disciplines in the country to be shown. By 1845 they had made a significant start. This is the main entry point into both the House of Lords and the House of Commons. It's called St Stephen's Hall. In its former life, prior to the fire of 1834, was where the Royal Chapel, St Stephen's Chapel had been located. The chapel had been the first permanent debating chamber for the House of Commons from the mid 1500s up to the fire of 1834. The idea that the Fine Arts Commissioners had in here for the statues is that this would be a line of major parliamentary figures, parliamentarians, who had risen to importance, risen to eminence in that period between the mid 1500s to the fire. So you've got some very key people. You've got the first Prime Minister, Lord Walpole, Lord Clarendon, Lord Summers, Pitt the Younger, Pitt the Elder and Charles James Fox. The commissioners picked the main, not the main, but key sculptors of the Victorian period. People like William Culdemarshall, John Bell and John Henry Foley. These were people who had impressed the judges in the 1844 sculpture exhibition in Westminster Hall. Work began immediately and this was a scheme that ran really between 1851, the first two in fact, that were completed of Hamden and Lord Falkland, made it to the Great Exhibition, where they were shown and that then led to the other statues from the scheme being commissioned. The whole lot were finished and in place by 1858. The Fine Arts Commissioners were moving ahead quickly in these early years of the work. What the statues do is to give a real sense of what the Fine Arts Commissioners were hoping to achieve. They're monumental pieces on a heroic scale. This was done on purpose. They stand proud of the internal architecture and they punctuate the space either side of some Stevens Hall. You can't walk through the hall without noticing their presence and that was the idea. They're meant to echo the debates that happened in the debating chamber all those years ago. Moving from the entry point of the House of Parliament over to the State Departments in the House of Lords. This is the Princess Chamber. It serves as the anti-room to the House of Lords debating chamber that we saw a few minutes ago. It's part of that grand suite of rooms through which the monarch processes at State Opening of Parliament. These were rooms designed for state ceremony. I've picked this one because it's got the highest density of works of art planned for any interior within the Palace of Westminster. There are 52 individual works of art that were planned for this interior and indeed all 52 have been done. I make that point because it's taken 160 years to get to that point. The final elements when the scheme were only finished in 2010 will come to them in a moment. The scheme has the statue group of Queen Victoria centrally placed and apart from that it's got three schemes relating to Tudor history. I'm going to begin with the statue of Queen Victoria just to involve again and give you some idea of the involvement that Prince Albert had. The statue group were carved by John Gibson and just to show how it actually worked. When Gibson was down at Osborne House making preparations and he had a session with Queen Victoria to model the face, Prince Albert entered the room and said that he was most anxious about the work that I was going to be doing for the Parliament House. Then they fell into conversation and Albert commented, this is Albert talking. Now there is one thing to be lamented in this country, our nobility are ignorant of the art of sculpture in my country at the university. When I learnt Greek I was taught the principles of Greek art for one illustrates the other. I have drawn the forms of beauty and proportion. Turning his attention then on the clay model that Gibson was working on, this is Gibson talking now, the bus to which I was working up from memory, he looked at, Albert looked at and he said to me, will you permit me? He then took the modelling tool and worked away, changing many parts, he worked for ten minutes at it. Gibson then went on to complete the marble statue at the studio in Rome. It was then shipped over, it arrived by the Thames to the Palace of Westminster in the mid 1850s, where again Albert was closely involved in inspecting it. I've got a number of quotes, I'll maybe pick one or two. His Royal Highness remarked that the chin was much too full and large for the Queen. And the drapery hanging from the arms was much admired, but it was remarked by Albert that the oval form it produces is much too alike under the arms. And then in examining the crown the Prince observed that the usual form of the flurdily is much more graceful and more intelligible than the ornament you have used. And indeed his Royal Highness went on to sketch the form as he felt it should be. I could go on. The idea was that these were notes taken by the Secretary of the Finance Commission, passed on to Gibson so that Gibson, when he came to London next time, would be able to make amendments. Well, Gibson never came back to London while Albert was alive, so the House of Lords can enjoy the statue as originally intended by Albert. The line of portraits just above the headline of Queen Victoria are figures taken from Tudor history. They were done, they were painted by students under the supervision of their Professor, a man called Richard Burchard. Again Albert was involved. Albert decided in which order the individual Tudor portraits should be hung. And he gave a powerful steer to the whole commission idea. A letter written from again Eastlake to one of the artists noted the following. He said the Prince is desirous of reviving the accuracy and delicacy of execution of certain portraits of the Holbein kind. Again this was a complete scheme. By the mid 1850s students working on two paintings each had completed the scheme. This is an advance of the setting up of the National Portrait Gallery and one of the problems was identifying the source portraits that should be copied. If we look at the high level paintings in the Prince's Chamber, we come to the defeat of the Spanish Armada. Why is that shown in here? Well, obviously it's an outstandingly important part of Tudor history. But in the old House of Lords debating chamber, tapestries which had been commissioned in the 1590s after the 1588 defeat of the Armada hung there for about 200 years. They were enormous. They were over 26 feet wide. They were 12, 13 feet in height. And they perished in the fire of 1834. But not before they had been recorded in engravings. Because there had risen to importance when debates went on in the House of Lords and when the nation was under threat pears could clutch at these tapestries saying this was the moment the nation was saved. And the intention was to include them within the new works of art commissioned for the Victorian Palace. Only one was ever done. And in fact the one that was done is the one in the photograph directly above the statue group of Queen Victoria. The other five were incomplete. In 2007 the very generous donation of money from the American benefactor Mark Pigott OBE enabled the remaining five to be painted. And over a two and a half year period the tapestries which were then prints were then converted into large format. They didn't look very large in the slide here. But each one is about 12 feet tall by about 15 feet wide. So fairly major piece of gap filling historically and completing the original scheme of the mid 1840s. I've got the detail of the final painting of the series. The series were painted by Anthony Oakshet, the artist Anthony Oakshet. And he pulled together a team of very expert artists, four artists working for him. And they were completed in a building owned by English Heritage near Bedford and then shipped up to London. But in the final painting of the series this is the moment when Sir Francis Drake's initiative to send fire ships in amongst the Spanish fleet. Works. You can see them, I hope, in the middle of the painting they're the ones with what look like clouds hovering nearby to them. They're being floated into the Spanish fleet. And at that point the Spanish fleet is the tight formation they've been able to hold as they float down the channel is then broken. And that is, although nobody knows it at the time, that's the end of the threat posed by the Spanish Armada. I've got a further slide showing the paintings being painted at this rest park, the English Heritage property in Bedford. And it gives an idea of the scale of the five paintings. Going back to the 1860s, it had all been going very well from the late 1840s through the 1850s. And it came to a very dramatic halt in December 1861. That was the date when Prince Albert died. Within a few years the Fine Arts Commission had disbanded. And the artists who were working at that time on paintings found themselves working on the very different circumstances. And the grand vision to cover the walls of this fine building came to a very premature end. Out of that 140 paintings that I mentioned earlier, 67 had been done. Bulk of them, in fact, in the Prince of Chamber. It left many of the walls empty and they were covered instead. The wall compartments were covered with the patterned wallpapers designed by Pugin. It was the end of that 20-year period of state patronage of the arts. There was one unexpected benefit by not completing the schemes of the interior. And that was that generations who came later could commemorate people who they felt were important as part of the building. This is a statue of Gladstone. Gladstone, of course, had served four terms as Prime Minister. When his body was given the honour of lying in state in Westminster Hall, people who filed past it, decided that money should be found, donated, to make a large marble statue. The marble statue was placed, this is carved by Pomeroy. It was placed in central lobby, the midpoint of the Palace of Westminster. There was a statue there already of John Bright. John Bright had to be moved in an early example of political jockeying with the art collection in the building. I'm going to leap from the Victorian period through to the 1950s. Why am I doing that? I'm looking at periods of continued work on the development of the collection. That's not to say that nothing was done in the period between 1860 and 1950. In fact, it was quite a lot done. This is going back to the slide of St Stephen's Hall. The paintings that you see between each of the sculptures were part of a scheme that had come out of a select committee set up in 1907 to look at areas of the building where the art had remained unfinished from the Victorian period. The scheme of paintings in here were finished in 1928, and they went under the group title of the Building of Britain, jumping through 800 years of national history. There were significant purchases that were made also over this period. I'm going to pick one. I've got to be selective for time. This is the House of Commons in session, shortly after the active union between England and Scotland in 1707. It's the earliest painted view of the interior. The interior we're looking at here is St Stephen's Chapel as covered over. The medieval religious paintings at this point have been covered over by wooden panelling supplied by Sir Christopher Wren. It gives an also false ceiling had been put in to halve the enormous height of the medieval chapel. It gives a unique view of the first United Parliament, which met for the first time on the 23rd of October 1707 with 45 Scottish Members of Parliament joining their English counterparts. At this point I am going to jump to the mid-1950s, to July 1954, when a committee was appointed by the Minister of Works after consultation with the Speaker to examine the works of art in the House of Commons and to make recommendations about their display, their selection and indeed their acquisition. It was chaired by Viscount Hinshinbrooke, and it took stock of the collection. The committee looked at the large format history paintings that we've been looking at. They looked at the statuary. They looked at some of the notable pieces that had been acquired, but otherwise they were generally critical of what they found hanging on the walls. This is taken from the committee minutes. The House of Commons art collection contains few works of character and artistic merit. There's comparatively little to be gained by simply rearranging the collection and new works must be acquired. Improvement should follow a preconceived plan and we suggest parliamentary figures whose portraits should be secured and displayed. I think the point was that a lot had happened in that 90-year period. History had overtaken the collection in Parliament and had moved on. The idea of relying on individual donations or loans adding to the collection in a piecemeal fashion had failed to keep the collection up to date and it lacked any real cohesion or focus. The committee pointed out that many parliamentary figures worthy of a place on the collection were missing and they compiled a list of nearly 200 eminent parliamentarians going back into history whose portraits they thought would merit joining the collection. But they made the point that it's too much to hope that the House could secure a portrait of everybody listed sounding a bit like what the Victorians were up to as well. We have however indicated 78 people on that list whom we regard as being particularly important. The committee led to a burst of activity and really an injection of energy into the collection. On the one hand it meant that a formal committee, the advisory committee on works of art was set up and it's continued ever since. The focus has remained on parliamentary history and the acquisition policy has been developed and reviewed over the decades to ensure that the collection reflects the interests of Parliament. So what's been achieved? That list of 78 people it's good to know that over a 50-year or 55-year period just under 50% have been acquired for the House collection, 37. I've got some examples. I've picked out some high profile ones to show you. On the left is William Cooper, first little Cooper. It was painted round about 1695. What's his claim to fame? He was a commissioner for the Treaty of Union between England and Scotland and he then served as the first Lord Chancellor of Britain following the Act of Union in 1707. It's a portrait painted by Thomas Murray and it was generously donated through Lord Gavron to the House of Lords. On the right is Sir Robert Walpole, first Earl of Orford, genuinely regarded as the first Prime Minister and he dominated the politics of his generation. He's shown wearing the robes of Chancellor of the Exchequer and the portrait is painted in 1742 by Stephen Slaughter, the final year of his premiership as Prime Minister. It used to be on loan to the House of Commons in the mid-1950s and was subsequently acquired by the Works of Art committee in 1960. Moving on chronologically, we come to on the left, Edward Thurlow, Lord Thurlow. Painted in 1784, he was Lord Chancellor for 14 years under four different Prime Ministers between 1778 and 1792. He was a great political survivor. He presided over the longest trial in history, the impeachment of Warren Hastings, which ran between 1788 and 1792. William Wyndham MP, who was one of the prosecutors of the trial, was heard to say, how well he equits himself on these solemn occasions with what dignity, what loftiness, what high propriety he comports himself. This is a portrait by George Romney. It's one of the key pictures that's part of the House of Lords collection. Again, it was loaned in the late 1950s. First it to the House of Commons, then moved to the House of Lords and finally allocated to the House of Lords in 1998 in lieu of inheritance tax. On the right, we have William Wilberforce. Painted in 1833, the final year of his life. Wilberforce was a former campaigner in Parliament for the abolition of the slave trade. He died three days after the abolition bill was carried by the government on 26 July 1833. This is an oil version painted by George Richmond, which was acquired by the Commons Collection in 2003. Moving into the 20th century, we've got two key historical figures. They're both Prime Ministers. On the left-hand side, we've got the portrait bust of James Ramsay MacDonald, sculpted in 1926. It's a powerful character study of the first Labour Prime Minister. Ramsay MacDonald was Prime Minister in 1924 and then again in 1929 and 1931. So this is sculpted between those first two periods of his premiership. He then became Prime Minister of the National Government between 1931 and 1935. It's carved, it's sculpted by Jacob Epstein and it was given to the House of Commons by the MacDonald family, by the family of Ramsay MacDonald in 1988. On the right-hand side, a fine portrait of Neville Chamberlain. Painted in the lead-up to the general election in 1929 and the portrait was featured on the cover of Time Magazine in 1933, in which Chamberlain was described as that mighty mover behind cabinet scenes, lean taciturn, iron-willed. In 1931 he served as Chancellor in Ramsay MacDonald's National Government that we've just heard of. He became Prime Minister in 1937. He had many courses, the one who declared peace for our time after meeting Hitler in 1938. His policy of appeasement was then short-lived and on the 3rd of September 1939 he declared war after Germany invaded Poland. The portrait is by William Orpin. It was bought by the House of Commons committee with financial help from the Speakers Art Fund. Orpin is one of the most fashionable and financially one of the most successful portrait painters of the 20th century. One of the obstacles in building up a collection at the House of Commons used to be the 10-year rule. What was the 10-year rule? The 10-year rule meant that living-sitters could not be represented in the collection until 10 years after they had died. It was in 1925 by the First Commission of Works in agreement with the Speaker and the Lord Greg Chamberlain. It stipulated that no portrait of any living person or person deceased less than 10 years shall be accepted for exhibition within the precincts of the Houses of Parliament. The rule was designed to ensure that time is allowed in which to judge an individual's achievements in perspective before commemorating them within the House. The 10-year rule was a significant problem for building up a modern collection. It meant the House had to rely on portrait of parliamentarians coming up on the art market or indeed being offered as donations 10 years after that person had died. In 1991 a solution came about in the shape of the One Parliament Street building shown here painted by Julian Barrow. The building had been taken on to provide much needed office accommodation for members of parliament. As it was separate to the main building the Works of Art committee pushed for a different policy to apply so that living images or images of living parliamentarians could be displayed. That was on the basis that 10 years after they had died they could then be considered for moving to the main parliament building. The proposal was agreed by the speaker and it had immediate benefit. It was now possible to establish and build up a contemporary portrait collection. And indeed it was the first time there had been an opportunity to commission portraits of living sitters. So at this point we move on. On the left hand side we have the official portrait of Baroness Thatcher, those who walked round the corridor outside the Booth Road room will have seen that picture, I hope. The portrait was commissioned from the artist Henry Meigh shortly after Lady Thatcher left office and completed in 1992. Lady Thatcher was the longest serving British Prime Minister of the 20th century. She was the first woman to hold the office of Prime Minister. When the painting went on view for the first time an interviewer talking to Lady Thatcher suggested the portrait looked rather severe. To which she replied, when you've been Prime Minister of 11 years you are no pushover. On the right the portrait of Tony Blair by the artist Phil Hale painted in 2007. Tony Blair became the Labour party's longest serving Prime Minister. He led Labour to three consecutive general election victories and he stepped down as Prime Minister on the 27th of June 2007. This is the only formal painting of Mr Blair to be painted while he was in office. The sittings were given in the final months of his tenure of office in 2007. The chairman of the works of art committee in the Commons commented as follows when it went on public view. It's a virtuoso piece of painting. I believe it's one of the most important additions we have made to our collection of contemporary portraits at the Commons in recent years. The policy that applies to portrait commissions is that parliamentarians are approached while they are in office so as to maximise the relevance and the value of those portraits to the parliamentary art collection. We take great care to match the artist to the sitter and to go on to nurture that relationship to ensure the portraits go beyond mere likenesses to show the character of the man or woman. I hope this gives some example also of the variety of styles and approaches that we try and achieve over a well-balanced contemporary collection. Moving on, Dr Ian Paisley, on the left, Margaret Beckett on the right. With the portrait of Margaret Beckett she has had a very long and distinguished parliamentary career. She served first of all in Harold Wilson's government and under James Callaghan she became parliamentary under Secretary of State at the Department of Education and Science. After the death of John Smith she was chosen to be leader of the Labour Party, the first woman to do so. In 2006 she was appointed British Foreign Secretary. Again the first woman to hold the position and after Margaret Thatcher the second woman to hold one of the great officers of state. We're also proud to announce with the portrait it's by Anthony Williams and it won the Ondatschi Prize earlier this year at the Royal Society of Portrait Painters. In the House of Lords similarly active in building up a contemporary collection of key parliamentary figures. On the left, Baroness Amos, on the right, Baroness Heyman. Lady Amos first of all the decision had been taken by the committee to commission the portrait of Lady Amos in 2003, shortly after she became Secretary of State for International Development. She was the first black woman Cabinet Minister in Britain. Later that year she went on to become leader of the House of Lords and the portrait painted by Paul Benny was completed and unveiled in 2005. Lady Heyman on the right hand side of the screen the first elected speaker of the House of Lords in 2006. Before that the role of speaker of the Lords was part of the Lord Chancellor's responsibilities. The Lord Speaker presides over the proceedings in the Chamber as well as representing the House on ceremonial occasions. And Viscount Falkland, the chairman of the Lords of Works of Art committee in 2007 noted the portrait marks the transition on the wool sack from Lord Chancellor to Lord Speaker. Moving then finally to the final slide I've got. One of the other significant developments post the early 1990s was instead of looking in on the work of Parliament and notable parliamentarians Parliament would also look outwards at the whole of the United Kingdom and to the geographical areas represented by Parliament. And themes for building up a collection themes such as outstanding areas of geographical interests, cultural diversity, flora and fauna and the industrial heritage were proposed. And the opportunity was taken to target artists who were working around the United Kingdom and allow their work to be showcased within the collection of both the House of Commons and the House of Lords. And efforts were made to achieve a balance between the different geographical areas of the country. Now you'll have realised that the two items on the slide or indeed the two items, the two tapestries hanging in here, I hope. They are entitled Parliament 1 and Parliament 2 and they were designed by Philip Sonson and they were woven by his colleagues at Westein College between 2000 and 2001. The composition is made up of layered images which take the motifs of maps on the landscapes to represent the influence of Parliament on the landscape and the population of the country. You can see on the one behind the screen here references to tithe maps. Philip notes them as being important historical documents that reveal the original demarcation lines of fields and they provide an accurate record of the developing landscape. The idea came to Philip Sonson when he was standing in the room here back in 1999 at which point the floor and the ceiling had been put in but there were no walls and he could see through to Big Ben and the Parliament building beyond. And he wanted the designs to be images of open space. He said the identity of England is widely seen to be rooted in images of landscape whether it be in the paintings of Constable or the poetry of William Blake and Rupert Brooke. And if you're wondering why they are blue in colour lots of shades of blue the intention was that blue would evoke space and distance and on that note having come full circle to port colours I'm going to finish the lecture. Thank you.


It's not just the building, it's our experience with the people at the University of Maryland and their dedication that impressed us so greatly. And when this opportunity came up, Ron and I looked at each other and we said, you know, we have to be able to do something other than for ourselves. And we decided that this was a worthy project and we wanted to be a part of it. I hope that we can make a difference. I really do. We're going to do our best in the years that we have left, but I hope we can make a difference. It all boils down to one thing, we care about people and we want to help. Helping people is what's so important to both of us. The patient care at the University of Maryland I think deserves a lot more conversation. And the people at the University of Maryland, the employees, the lay people, everybody there is just so wonderful. When you walk through the corridors and you ask a person a question, they won't say, oh, it's over there. They'll say, here, come on, I'll take you. They are just wonderful people.


Hey guys, it's Nate, aka The Foot Accountant. Welcome back to the channel. We're talking LaLiga Weekend League Rewards Market today. We're getting this Thursday, obviously, so it is Rewards Day. So we're getting lots of Weekend League Reward, red picks, a lot of packs are being opened up, and of course those guys that did get elite or higher in the Weekend League are getting their elite player picks, which are going to make some interesting market movements for these team of the season LaLiga cards today on FIFA as they get supplied on to the market. So right now, I want to talk about what happened today or what happened technically yesterday with the guaranteed LaLiga SBC, what we saw happen with a lot of these cards, and if you haven't bought any of them yet, what you could see and basically what we're expecting with the market today with rewards and also the content SBC stuff that's going to be happening today as well, because it's just Thursday, right? Last day of LaLiga team of the season. And this is a massive day. This is like the biggest day of the week with the red Weekend League Rewards with the packs that everybody's going to open, and then the upgrade packs. Thursdays are like the culmination of the entire week during a league and team of the season. This is the biggest day of the week with rewards, with the upgrade packs, and stuff like that. So I want to talk about these card prices today. The first one I want to talk about is Carval Hall, because this card, I think, is going to make it into a lot of people's teams. One of the most investable cards out of this team of the season, which I think will have the highest rise, maybe not this week, but at least in a week to come. As you guys have known, a lot of these guys reached their lowest out of the Weekend, right? And we've kind of just had some upgrade packs, not a lot else going on, and they've kind of risen up, right? So when we got the guaranteed SBC, Carval Hall was like 280 to 290 all day kind of chilling, right? The guaranteed SBC came out, he bumped up to like 310,000 coins, and now he's been chilling around 300K the entire time. Basically what happened today was people did the LaLiga SBC, guaranteed, and what happened was they didn't get the card they wanted, so they went out and they bought it up. That kind of caused a quick little inflation in the market, right? Look at this Suarez card. I just looked at him on FIFA, he was 1.49 mil. This guy was 1.3 under 1.3 during the week. Today he was 1.3 in the morning, instantly to 1.4. Look at this buy, the amount of the buy-up, man, after the SBC came out, 1.44 all the way up. He was actually 1.6 mil right in this time frame today, 1.6 million coins, and he's kind of tailed off since then and dropped a little bit lower. So a lot of people, when they don't pack these teamless season cards, they just end up going out and buying them. That's why I've told you guys a lot of the time that buying these cards before the guaranteed SBC is definitely the way to go. Griezmann was like 9, he was in the 900Ks I think today. He was over 900K for a very short amount of time I believe. Yeah, he was up here. He went from 790 up to 890. I did see him over 900K at one point. Benzema was almost a mil. Sergio Ramos is over a million coins. Diyoung was at a million coins. This Diyoung card was like 890. Now he's up to 970 and he was over a mil earlier today. These cards with rewards on Thursday after the rewards. Again, what we do see a lot of times when rewards are opened is we see not a massive amount of panic but a amount of listings, a very large amount of listings that come onto the market for these new cards in the first hour or so of the Week in League rewards. Diyoung right now is 960K. I'm recording this a few hours before Week in League rewards. You might see a little bit of a slide off as we head into Week in League rewards and if you're going to be awake when those rewards come out that is a decent time to be looking around the market for some of these team and season cards in that first hour or two of rewards because what happens is these guys get packed and people sell them from their elite packs. Fakir right now is 596. This guy was like 550 earlier this week and even like yesterday I think. Now the guy's 590K. He was 650 at one point. A lot of these cards, if you haven't bought them yet, I think your buy time for these, the LaLiga team of the seasons is going to be this morning during rewards. If that is an opportunity that you have to get on and to look at these cards around the rewards time frame, Carvajal is 300K at the moment. You might see this guy dip 10, 15, 20K really really quick at the start of rewards during that first hour of rewards when they come out and then when people don't pack the reds that they want with the LaLiga cards that they want or in their elite pack they go out and they buy these for their Week in League teams and we see them rise up in price. Now I want to talk about when do you want to sell these cards too because if we look back at last week with team of the season Premier League these guys actually reached their highest after week in the Thursday right because Thursday a lot of coins are coming out of the market right. A lot of the elite packs I mean the elite tier market is going to be getting a lot of coins that's going to rise a lot of stuff up right. These guys actually reached their peak Thursday night into Friday morning was the peak for most if not all of the Premier League cards last week. Is that going to be the same for LaLiga this week? I think for most cards it is. Some cards could still go higher Friday after the lighting rounds come out. I think Carvajal is just going to have a lot of hype because of all the center back options that you have of course getting green links to Ramos, to Varan and then to the new Militao that a lot of people have done too. I'm a really big fan of this right back even after LaLiga Tats is over depending on what the next team the season looks like which is supposedly Bundesliga. We'll talk about that in this video too. I'm just a big fan of Carvajal really good card in game. I'm going to be rocking him this weekend in my team and I think a lot of people need him to complete whatever sort of LaLiga side they might have put together with some strong links so I really am a fan of this card but I think for most of these cards if you're going to buy them and you're just going to flip them if you're going to use them in your team I would say of course you need to play a weekend league with them right if you're going to buy these guys for the weekend anybody from the squad I think you want to buy it either right before rewards or during the first hour of rewards because after that they're going to rise up as people start buying teams and then you're probably if you're going to use in the weekend league you want to sell it on Saturday at some point because I do think that some of these cards depending on the price and depending on the amount of hype that the Bundesliga has on Friday some of these cards could drop a little bit on the market so that's kind of my thought around these if you want to buy somebody like Odegard or Kazorla or even Terstegen a lot of people are going to get these guys in their red picks and in their elite packs like a guy like Odegard I would expect to go down a little bit and then take a little bit longer for him to rise just because he's going to be so common in those elite reward packs for team the season elite plus polls but I want to talk about the out of pack specials as well right I guess technically Premier League team the seasons are out of pack special cards now I do expect some of these to rise some of the members and already Mane is up De Bruyne is up Van Dyke is up a little bit Vardy is up a little bit Trent is still low Robertson is still low Rashford is up a smidge but the hype isn't really with these cards again I mean it's with La Liga mostly but there's still people out there that have Premier League reds that are still going to try to do some strong links with those cards and that's why I recommend it to you guys hey make sure you don't just shy away from the only La Liga link investments this week maybe look into some Prem stuff as well because I feel like Premier League still has a chance to do well this weekend some of the out of pack special cards rose today as people bought stuff after the guaranteed as I said yesterday too a lot of people just base their week around that guaranteed totts SPC and you start to see stuff going up after that that is exactly what some of the higher tier more meta cards definitely rose today you know like ribberies up a hundred thousand coins this Venetius this Mende is up 50k if you look at the La Liga links a lot of those rose today so if you bought before the guaranteed SPC that was a GG with those as well if you see anything that is kind of trickling back down or getting low before we can make rewards that could be a viable option for a buy and a flip but other than that I think you can still look across the market and look at Premier League La Liga cards special cards out of packs some of them are still low and honestly I think you can also start to take a look at Bundesliga specials because I don't like buying Bundesliga specials that early but but with Bundesliga coming this weekend oh Emerson's 120 we love that with the Bundesliga coming this weekend I do think there's a possibility to start seeing some of those Bundesliga specials maybe not people rising as investing in them but something I mean that's just something we need to get start to get thinking about is what cards are we going to see rise with the Bundesliga coming out with those types of cards but again La Liga specials I'm going to show you my transfer list I've got a lot of high ratings that I sold today just to get them out of the club before rewards I have a lot of a La Liga specials man I got Valverde I got Rod Rite, Rodrigo Griezmann a couple of his informs and I have a bunch of Emerson's I've got for an average of like 105,000 coins on most of these I got some Nelson's tomatoes at like 250 bought these this morning I have I got five Venetian juniors today right around 320k like right when the SBC dropped there was a little bit of panic selling on him I got a Griezmann for 199 I really like the the cards that have a team of the season this is something we saw really that there was really prevalent with Premier League team of the season a card that got a tots the lower rated special cards below that team of the season rebounded really well the first weekend they were in packs and also the second weekend as well so that's why I bought some Griezmann I like that one and then yeah that's basically the gist I got some right back capas as well I feel like the right back position other than Carvajal is kind of not kind of weak I guess because if people are going to be linking right they've got the left back from objectives and Bercice and there's not really too many elite left backs you have like a road to the final Alba but this I think a lot of people would use this regular instead of him and I feel like Carvajal is just a lot more enticing for a lot of those people's links like to the new militao and stuff like that which is I just like the right backs because I think those there's a decent amount of rise in the right backs and also in Venetius Junior I think there's a lot of potential with that one but again today on the market what you can expect to see is a rise in these team of the season cards again these are kind of dropping a little bit you know there was a lot of the hype and buy up right after the guarantee today which I have not opened mind yet I have it in the store right now it's over here but there was a lot of hype and buy back today and then there was also just that's just kind of like subsided a little bit so watch for maybe a little bit of you know panic before awards just a little bit and then price is going up after weakening rewards if you're trying to like sell your cards like let's talk about again sell times for these out of pack specials right like I got all of these Emerson's I've got all of these valverdez the Griezmann's I'm probably gonna take the coins on a lot of this stuff Thursday night into Friday morning just so I can be liquid for Friday again to be able to make some moves with Bundesliga team in the season I'm probably gonna try to ship a lot of this out I really think that I am trying to ship a lot of this out by Friday morning because I do think we're going to see a nice market rise today because again this weekend this game is a weekend focused game a lot of people are on solely on the weekends maybe a little bit during the weekend that's it and the hype really returns for the weekend league and for the new content drop on a Friday and Saturday and Sunday with the new team of the season coming out so definitely definitely consider that some cards might go higher Friday night you could definitely see some of that but I'm going to take the coins on most of my stuff I think probably on Thursday night after rewards today after we do see a decent market rise the only thing that would hinder a market rise today would be the new upgrade a premium La Liga SBC upgrade pack that would be coming today I know a lot of people have drained coins and done a lot of these La Liga upgrades and the 81 plus double upgrades this is the best set of two upgrades we've had during the midweek in my opinion in between Premier League and between this but the good very craftable upgrade that just requires 11 rares is coming out today so that's going to be a big hit today as well you're going to see a ton of people opening packs a lot of these team of seasons are going to get packed and it's just kind of like the last hype day or La Liga you'll see people that you know get cards from rewards and go and try to do some of these packs with what that also means is I doubt many people will be going out and doing as much of the guaranteed 82 plus from La Liga so if you got rare cards right if you got gold rares from La Liga and you have not taken the coins on those yet how much are these cards selling for right now how much are these selling for right now what is oh wow these guys are dropping a little bit maybe or is that just an undercut yeah these guys are dropping a little bit bro so these are like 100 200 coins cheaper than what they were at their absolute peak I think on like Tuesday night is when they a lot of these guys hit their peak so it looks like the La Liga rares are going to come down if you have not sold yours yet I think I would get out before rewards because you're going to have tradable pack supply come on the market and then more people are going to be doing the the new SBC instead of the 82 plus one because it'll be cheaper and it'll give you a 25k pack with three with all players La Liga so that's something to think about and I also want to talk about Bundesliga and start to talk about Friday for the end of this video at the moment I think Bundesliga rares are following a similar trend as what the La Liga rares did right I think these guys like 1.3 1.4k for most of these Bundesliga rares and this is gaining more and more hype in the community I hear more and more people talking about buying rares all right buying rares and going on assigned on rares to make coins and also to do upgrade packs this is my thought with these cards if you are buying rares you're buying Bundesliga rares I would do it on the weekend league during lighting grounds I know that's when a lot of people are going to be buying but you might see the prices drop a little bit during that time frame just a little bit if you do it on like a Friday or Saturday especially and the only reason that I would do it is I would do it if you're going to build packs I think that there's going to be so much investing in these cards in the next for this Bundesliga week I hear more and more people like seriously I'm hearing Nepenthes talk about this of course you have guys like run the foot market who did this last week with thousands of cards unassigned people saw what he was able to do with crafting upgrade packs and tons of people made coins from this last week so they're going to try to do it again right it's like a lot of people investing in 83s I know this is upgrade packs so it's a bit different but I would not be surprised if Bundesliga rares when the upgrade packs come out on Monday if Bundesliga rares don't go too much above 2,000 coins so yes you would still make some profit if you're buying it like 1.2 or 1.3k but I would say if you can get these rares on the weekend for like less than 1.2k like if you're trying to get some bids like a thousand coins I would love to pay a thousand coins for a lot of these if you can get them then on the weekend league like 1 1.2k at the very most I would say because then the only problem is you're just running the risk that EA would change up whatever they're doing with the upgrade SBCs and then you'd be like kind of screwed with your rares right but I just think there's going to be so many people that are buying rares that what's going to happen is when Monday comes around and the SBC comes out for upgrades you're going to have all these people that flood the market with rares and it's really not going to cause the price to go up that much just because so many people are doing it I still think the price would go up and if you want to go unassigned with thousands of them to make packs I'm fine with that I'm considering doing that because on the weekend what am I doing anyway I'm not really trading I'm just going to be playing weekly with the squad and playing games I mean that's all I really have time for on the weekends and maybe trying to mess around with a few of the new tots cards if I was trying to do that I would just probably buy one or two of them and you can buy them from the active squad section so that they don't go to your unassigned they'll pop up right in the squad so you know maybe I'll maybe I'll join some of you guys and going unassigned with the rare golds or at least stocking my club this weekend but I feel like if I do that and I feel like the best and safest way for you guys to do this is only do that if you're going to if you're going to be making acts with the upgrades and you're unassigned to make packs that's the thing where you can save some money that way doing it if you're investing to make profit you'll probably make profit I'm not going to say don't do it I'm just saying you know buying buying this card it basically double what it usually is you know it's usually 700 coins buying it for double if EA decides to change something up then we are all absolutely screwed so um buying those cards for above a thousand coins that's my only thing I don't like about this and I'm spoke about that almost every week and I spoke about it too long today but regardless those are my thoughts on Bundesliga and again I mentioned Bundesliga right start to think about cards as I mentioned a lot of times what happens on the friday when we have panic selling right is you see guys that get team of the seasons that have really juiced stats that come out with a new tats card you see their special cards get panic sold a little bit um and then they have a really nice rebound after because what happens is people see like Timo Werner maybe gets a team of the season card this is his next best card available on the market in FIFA 89 rated inform right 240,000 coin card I got one today for 232 or something like that on my transfer list um this is the type of card that if Timo's team of the season comes out and it's 1.8 million coins first day and this card is 250,000 coins on friday morning this card might end up going up 100k because it just brings hype if people are trying out the new Bundesliga cards um you're we'll talk all about that stuff really in depth tomorrow but this is what I would say as you're watching the rewards market today look around at the Bundesliga specials notice which ones go up and then start to think about which ones could be good flips for tomorrow on friday and we'll talk about all that tomorrow with the new league coming out but again foot champions rewards good luck if you're opening those today I hope you get insane reds I'll be opening packs tonight on stream link is down below in the description I'll have my guaranteed pack tons and tons and tons of upgrades and then we can leave rewards as well if you guys enjoyed this video smash the thumbs up on it comment down below if you have any questions and subscribe to the channel if you're new it's been Nate the foot accountant catch you guys later peace out