I'm in Saqqedin, Canada, Steven, the place where they both live. We have the audience and the participants always gather. We can actually practice and start on practice as close as we can. Examples of women sharing what it is they can do, sharing how they can do that. There's no way you can ignore that feeling anymore. We're from all over the world. You can come and see me talk about it. What time is it now, Kenya? It started out about different people and about different things. A whole scene. A whole drama. Theater for everybody. Yes, everybody. Let's get what's really done. Have to do it completely quickly. And in you, my understanding of life, relationships, death, have already changed. To the Martinis Segal Center here at the Graduate Center CUNY, my name is Frank Enschke, and I am the director of programs. And it's a very important day in our year. Here is the opening of the Penn World Voices Festival. We really think this is at the heart and center of what we do. It is one of the most significant programs when it comes to playwriting. And I think the collection of international playwrights, mostly is unmatched when it comes to North or South America in a festival. We are thrilled to be part of the Penn World Voices Festival right now over 80 writers from all over the world are here as a guest of Penn, which is the Writers' Organization. And they have the Freedom for Write program. They get writers out of prison. And they promote literature, get off fantastic awards, and really is the most significant literary organization here in the U.S. And the festival is the most significant one. And we are thrilled as the Segal Center to be part of this festival with our plays, which we put together and create together with them. This morning, we had already Patricia Cornelius from Australia here. Patricia, is she over here? Yes. And it was a terrific reading directed by Katie Pearl. And now we come to a contribution from Ukraine. It's Natalia Voroshbit. And she already was here once at the Segal Center. It was the Royal Court at the least auction for the Brooklyn Beach project, a Brighton Beach project. And we are thrilled to have her back here. The translation of the play, Take Out the Rabbish, Sasha is by Sasha Dougal and directed by Sarah Yu. Sarah, where's she? Here she is.  So, really, thank you all for coming. We bridge academia in professional theater, international, and American theater. Though this festival is really right at our heart. Penn created this to open up the tunnel vision they feel not enough international work is being read or seen or heard. Over 95% of all books published in the U.S. are in English language, come from the English language, and the rest 5% half of it is from Germany or France because books are subsidized. So we hear very, very little. And as you know, this theater scene in New York, most probably better than I do, you know how little we actually see also on the stages. So this is a serious program to help, to foster, and also listen to masters of that craft from all around the world. With us tonight also this evening is Christian Parker from the head of the Columbia University Theater Program who will then speak with the director and the playwright with Natasha, Sarah, and Sasha himself. And again, thank you for coming. The last thing is, please, if you have a cell phone, take it out for one moment. I'll do the same. And see if it's off. It should be on silent and off. Okay, so thank you very much. And here we go. Sunflower oil into the pan. And you chop the onion and the bacon fat. But finally, mind, by then the oil will be hot enough, spitting.  Then add a little bit of flour and brown it. Pinch of salt. You want it mixed in well. And that's it. Ready for whatever you're making. Remember it from when I was a kid. Can we have those tomorrow? No. For tomorrow we'll have the plain ones. No fancy stuff. Even cabbage. How many will there be? About 60, I'd say. What if more people come? Well, I've done a good few more. There's plenty. A little bit more herring. It'll make you sick. And dying of hunger. Go on then. Different sorts of sweets are lying on the table. A deep bowl of minced meat. Batteries. Chopped cabbage. A candlestick. And a loaf of black bread. A basket of biscuits. Cellotape. A vase. An old onion quarter. Scissors. A plate of roughly sliced herring. A bill for household charges. You can even look at food. The saddest thing is that you won't see Collya, and he really wanted to see Collya. If he'd wanted that, he wouldn't have left us. Oh, Mom. If he'd wanted to see his grandson, he wouldn't have left us. I remember his reaction when he found out that it was a boy. That said, he said, no more women ruling the roost. It'll be equal now. But it won't. Won't be equal now. Collya won't have a granddad, nor a granddad. He's got a dad, but a hardly much of one. Why don't you talk to him? Maybe he'll come back. He's the only one who listened to him. What, Oleg? No. Not sure. Talk to him. She's right, you know. We really need you. Was there something missing for you? No. Nothing like that. Things were fine. Even if done everything's been fine. Done what? How can he ask? I heard him getting up. Five-thirty things always. I wasn't planning on getting up. I put his clothes out the night before. I heard him go into the bathroom and from there there's an all-mighty crash. I go in and he's just lying there on the ground.  No, I don't remember that. He's whispering something. He was still whispering. And I can't bother her. Who am I going to ring? Even now makes me feel... Well, a lot from the morgue turned up and they wrapped him in a carpet to carry him out. Never gave that carpet back. Put that fish away. Smells. Can't stand it. How could you do it to me? You'll spoil the dough. You weren't even having a row before it happened. It was all quiet. We went to bed.  Oh, so I'm to blame, am I? You were always both to blame. True. You were always on his side. She understood me. Well, no one understood me. Not you, not her. Don't involve me in this. All right? Who's involving you? You relax. You're supposed to be keeping calm. The cabbage is ready. What now? Put the sweets in those favorite bags. 60 bags. Put one of each in. There's eight different sorts. Toffees. Jelly proof. Boiled sweets. You always used to hide them from him. The sweets? We used to eat them all. We never used to leave any, behave like he was the only one in the house. It didn't matter how many you put out. He'd work his way through them, drove me crazy. Well, he was welcome to them. There you go. You come back? You can eat till you choke. What's that supposed to mean? He loved those plain toffees. Didn't I earn enough to have myself a few toffees? That's all you did earn enough for. You weren't wrong there. They didn't poffees you were. Well, now you'll get my pension. 2000. You should have dropped dead long ago. You'll be a rich woman by now. That's not fair. You were carrying him up to drinks. Sweets for all he was allowed. Stop howling and keep calm. The soup went off and instead of chucking it out, you boiled it and gave it to him for lunch. You've got some nerve. Sitting here and saying that? Is that true? It's not true. We'd get the fresh meat he'd get the day before yesterday. Well, what was I supposed to throw it out? Oh, cut.  Was there any, was there ever any love? Oh, marvelous. They'll be back before you can say the word. Sasha, come back. Come back where? Did my dog come in? I was joking about the soup. She hasn't eaten anything for nine days now. You must eat. I feel sick. Katya, sweetheart. Sasha, selfish all these born days. That's what it was. Not a real job. Never earned anything in that army. Went off on trips to see his mates. Had his fun. He was a soldier, an officer, a colonel. An officer. An officer.  My whole life was a battle. I fought for this place, for the Toyota. My two kiosks. So you could eat nice food and wear smart clothes. And what did I get? Fights with the tax people. The fire officers, competitors. Who's the officer around here? Me. I was an officer in the Ukrainian army. What army? Why? There hasn't been a war since anyone can remember. Just a bunch of big men all pretending to do something. Lazy, so and so's. No money, no glory.  No wonder they all laughed at you. You deserved it. Who? Oh, everyone. The ones in charge.  It's at home they laugh at me.  Well, go do your work then. You go and limit your work and they can... I won't say another word. That's it. Move the table. What for? Well, look where it is. Girls, you shouldn't. Don't go straightening yourself. Just drag it. Okay, that's enough. See that? Well, what can I do? Well, that's obvious. You can't do anything. You never could, never. Even your teeth I paid for. No, that's not fair. Not fair on who? Well, good was there in it. First ten years you drank, the next ten years you were miserable. You never had a life that there's nothing to look back on. Our holiday in Crimea. Oh, never went abroad because you weren't allowed. I was the USSR freestyle wrestling champion. You might be proud of that. Proud of what? A couple of big deers was all you got. Oh, I got. You never could say a nice word about me. Sasha, I'll say a nice word about you. Is that a lie? No. Always, always is favorite, anyway. We haven't got enough for 60 favorite bags. Well, don't put eight in each. Maybe we could buy some more? I'll clean out as it is. Twenty-two thousand. And then there's the grave stone. Oh, don't bother with a stone. Put it across there. Oh, right, right away. Did we forget to ask you? It would only be a couple of kilos of sweets. Six in each, definitely. It's all the same to me. Where did you put my medals? What do you think I put them?  The champions are gone and all we're left with is the medals. Even the country's disappeared. But the medals are still here. A fine inheritance I've been left by officer, husband. Where can I sell scrap metal? Where can they sell scrap metal? How much is it going for? Nothing? No way to know. They're in the wardrobe. Don't worry.  Come back and finish it off. Get your pension.  I won't nag you. Have as many sweets as you can. We'll take holidays in the country and Egypt in the winter. The only reason I was worried about you retiring was that you'd get bored and start drinking.  But there was some point to you. You kept yourself off the drink. But if you want, you can have a drink. Just a little bit.  A bit of wine. Or whatever you want to drink. Even that homemade stuff Nina makes. What use am I to you? Well, what am I without you? No one to irritate you. You're never irritating me. You'd say anything when you need something. What did I just say? I do understand that I was the wrong man for you. Oh, no. You were the right man. I didn't see it. There's no way back from this. Don't you see? Well, I don't believe it. It just suits you to say that. It's not a work trip, Katya. I see it all now. What? What do you see? Tanya. She said you would leave me. And now it's happened. The dough is rising and it swells over the top of the pan. It's worked up a treat. Sasha used to love my pie. When was the last time you baked pie? When did I have to find it?  Hey, Sasha just can't get used to him not being here. He's still here with Sasha. Talk to him. Navigate him. Me too. How am I going to get through tomorrow? Nine days it will have been. Then 40 days. And then a year. And each time they'll be here watching, talking about us, judging us. How much food I put on the table. How many people came. What we wore. Have you got something to wear? Oh, that black dress that I wore at the birthday party. It's a bit short. What would happen if we didn't do it? Didn't do what? Didn't do anything tomorrow. For the ninth day. What would happen? What do you mean? No peace for the soul. Your soul? Sasha's. What do you think? Should we book the taxi today? No, tomorrow is fine. Half an hour before and we'll pick up Grandma on the way. Well, Tolik is bringing Grandma to the cemetery. Oh, right.  Take the brother's house, Sasha. Epitaphs to suit any taste. You took so much of us with you. So much of you is left with us. How hard to find words to say. How pain leaves us bereft and sore. We can't believe you've gone away. You'll be with us forever more. You labored on with many a care. And now you sleep for eternity. So sleep without those heavy cares.  Standing, weeping over your grave. My bitter tears water the turf. I can't believe my beloved lays below in the cold, dark earth. The sun is shining, but not for me. I lie in the earth and I cannot see. Forgive us that we carry flowers under starry skies to your grave. Forgive us that we breathe the air. That you can never breathe again. You loved angels and a child's laughter. Never plucked the lilac sprays. You might have wished to overthrow the master, but you were a child with innocent ways. And so forgive him, Lord. The cemetery is to the north of the city. A new cemetery. There are many sorts of cemeteries. Old, mysterious ones. Happy ones. Sad ones. But this is a brand new, honest cemetery. One in which you realize that death is not the lot of a chosen few, but the careful reaper of all who will, without a doubt, come for you as well. Have you put the sweets out? Of course I have. They had a shock when they saw the memorial. I bet they did. And then I told them how much I'd paid. They had a shock. Didn't expect that. I'm really happy. God, you can't imagine. Like a load's been lifted. First time in a year, I feel like a load's been lifted. A year ago, we were right on the edge of the cemetery.  There's a girl over there, really young. And a child, Christ, born in 2010. That's terrible. They're dying very young. I'm always wondering why Sasha left us so early. Heart disease. He's murdered Christ, Mom. His spirit. He's killed. Well, what, by us? Us. At work. The command? Putting pressure on him all the time. Always making more demands on him.  As soon as something went wrong, he was threatening him. And they were also scared of being let go. It's not like he wouldn't have found himself work. He'd have been in demand everywhere. Doesn't matter. God sees everything. It'll be payback time soon. Oh. Whoa. It doesn't matter. Just put in another one. Whatever. He's spitting it out? Well, don't give it to him, please. No, I did tell you. I told you before I left. It'll be okay. Espumazin. Give him Espumazin. That was my little sweetie pot. He's spitting out his dummy colic. Espumazin is what he means. That's what I told her. She doesn't know how to handle babies. No, not this again. His granddad was alive, and then everything would be different. And all they wouldn't have gone off. How are those things connected? When I was learning to drive, I met a widow. And she said that after her husband died, her daughter's husband immediately walked out on her. Like, male solidarity or something. You should have called Kolia Sasha. No, I'm sorry, I didn't. Well, call the next one, Sasha. Oh, what if it's a girl? It doesn't matter. Yeah, that's true. I'll call her Sasha. Sasha. My own sweet husband. A year has passed since that terrible day. When you left without saying goodbye. Well, if that's what you decided to do, it must be you knew something. Like God must have called you up into His heavenly army. Light and peace. Rest in peace. Rest in peace. That's right. Just can't be straight. All this year we've been thinking of you and grieving every moment. Baby Koli is the only reason I haven't died of grief. Your grandson. Funny little thing. He looks like you. Next year we'll all come. We left him with his nanny today because it is damp here.  I hope you're happy with it. I tried my best. And this bit here is for me. God will let me know when we're due to meet again. But for the time being, I'm working. I've got another stall. I can hardly cope when old age isn't helping. But let's not talk about the sad things. It's very hard without you. Not a day has passed when Oxana and I haven't thought about you. But we have to carry on. You rest in peace. But we're still here. For the time being. We are on your sandwich. I'm going to change his name. Which one? I'll register him as Alexandrovich in honor of Sasha. Will you leave Oleg's surname? No, I won't. I'll give him mine. Give him Sasha's? No, that would be a bit odd. He's not a father. That grave over there hasn't been looked after at all. We could at least throw the old flowers away. Although not that odd, really. A boy's got to be proud of his name. His dad's name isn't going to add much. What good can you tell him about his dad? But Sasha, you can tell him a lot about his granddad. You can show him his medals and tell him how he defended you and Uncle Yuro shouted at you. Uncle Yuro was shouting at you because you were 13 and smoking. He was shouting at you because you'd started too early.  We'll sort out our own. And Uncle Yuro said, but she's not yours.  And Uncle Yuro was apologetic. Right up to when we moved. Let's have some more wine. You go to say a speech? In my head. Because I didn't stand up for you when you wanted that glass of champagne at the New Year and long when you came. I was scared to go back on the drink too. Because when you went on the drink, it was funny at first. I'll never forget when you took me to the circus. But by the fourth day of drinking, you just turned into an animal. Now I can see that glass of champagne even now. That's not supposed to ever drink champagne again. And I remember how cross I was with you when you chased off all my admirers. You were right though. They all turned out to be shits.  And just after you married mom, I spat in your soup.  But all the same, I'm sorry for it now. Poor, poor Sasha. I don't know how you put up with us or why, why people live with each other and put up with each other. Especially mom. All her jealousy and hysterics. And she was always putting you down. Sometimes I wanted to just grab a chair and swing it at her head. Forgive her and forgive me.  Neither a lover nor a father. Just a man.  Oh.  Like when a beetle climbed in your ear and Sasha washed it out with homemade vodka. Yes. Remember when a pack of dogs attacked some woman in the town center and Sasha saved her? And then the woman gave him a knife. Bollyya, she was, from Balda Street. Bollyya? Yeah, that was it. He was a man. Remember how he used to turn heads? An officer. Don't make them like that anymore. And his students enjoyed him. And his subordinates. He could be strict, but they respected him. Because he had a sense of humor. He loved playing jokes on people. He never refused me anything. I'd say, Sasha, I need to go somewhere. Get up without saying a word and go. Like when grandma was ill or you were. No questions. Any time of the day or night. I really miss him. In Crimea, you got into a fight with some men from Moscow. You know how they behaved down there. So he fought. I mean, he ripped them to shreds. That was it. They vanished. He brought them down. One against three. I thought he'd kill them. He was a champion sportsman. And he died. With dignity. Not in his bed. Not soiling himself. I had this dream. I didn't want to tell you about it. What? That he hadn't actually died. His death had been faked. Like one of those secret military operations. Instead of him, there was another man's body. Looks like him. And then a year later, he comes back and says, I'm so sorry girls. I had my orders. I had to do it. I couldn't get out of it. So I started yelling at him. How could you?  But at the same time, crying and happiness. I woke up in tears and it was all a dream. Burst into tears again. So unfair. Imagine if it had been true. What happens in films? I helped dress him at the morgue. It couldn't have happened. I went and drank to the departed. God rest the soul of... Alexander. Alexander. Still young? His heart went. Thank you. Here. Help yourself. God give you good health. Reminds me a bit of Sasha. Really? You look at Sasha and him. Only the weaklings survive. Shall we pack up? They ever dreamed about him once. He said, move the pension into another bank. I moved it of course. I was really upset. Is that all you've got to say to me? The man who looks like Sasha comes back and takes the plastic cup of vodka, caviar on bread and sweets. He sits down at Sasha's memorial and eats and drinks. Together with the man who looks like Sasha, we see a fresco of Sasha's life. In all the pictures Sasha is wearing a military uniform and medals. Wearing the fight with the drunken arrogant men from Moscow who are trying it out with his girl Katya. One lies defeated on the shore, another runs away, a third begs for mercy. Sasha is ringing the neck of a mad dog. The pack of dogs is dispersing. The woman who was bitten by the mad dog has a shopping trolley in which she has bones to make stock for her family. She reaches out to her savior. Blood trickles from her legs. Sasha carries the young oxana on his shoulders into the circus. Elephants and tigers step aside respectfully. Sasha is carrying his elderly mother-in-law into the hospital. The grim reaper steps aside respectfully. Flying angels part. Doctors and nurses rush to greet them with stretchers. Sasha is pouring a bottle of vodka into the ear of the screaming Katya. Black beetles run away from her in different directions. Twelve pupils listen carefully to Sasha in the sports hall of the Academy where he taught. Sasha has a tragic fall in the bathroom clutching on to his heart. You could even indicate it was a bullet wound, although it wasn't. It was his heart. But the man who looks like Sasha wants to believe. A stove? I'll show you. If there's a power cut or if there's no gas, you can heat the place with wood. It heats the whole house. Plus, it does hot water. Plus, you can cook whatever you want on it. Amazing. All the neighbors have had them put in. You wouldn't believe the waiting list there is for these stoves. Well, it's just people panicking, Mama. Panicking? With Russian tanks on the border and the gas supply about to be switched off and with winter ahead, we'll freeze. Cost me six thousand together with the setup. There was a weight off my mind getting it put in. Thank God. I took all the money out of the bank. When the crisis hits, we'll lose everything. I bought dollars. I ordered another carload of wood. It'll be here tomorrow. You're amazing. And I called out the man who clears wells. I've forgotten the allele. Yeah, I bought in four sacks of potatoes and two onions. All right, so we're fine. You can move in with Kalia. You can spend the winter here. Okay. And a hundred liters of petrol. Enough to get us to Warsaw if needs be. What? Well, there's no petrol and we have to flee. Well, how about if there are no hospitals and I have to give birth? I've worked it all out. Auntie Kalia who sells the candles in the church used to be a midwife. She can take you. What if there are aries? Well, if that happens then this will all be for nothing. Don't be silly. There's a cellar we can hide down there. And then? Well, maybe there won't be any aries. Let's keep positive. All right. Have you got any, Harry? I have. What's wrong? Nothing. You've been watching the news again for goodness' sake. The doctor told you not to. I haven't been watching anything.  Look how the woods caught. Remember Grandma's stove? When you were a child she used to... You used to sleep up on the... above the stove. Hush, hush, hush, baby. Don't sleep at the edge of the stove, little lady. Hush, hush. The stove is hot. It smelled of hot seeds. And the whitewash on it came off on your clothes. Grandma used to get hot pies out and make bores. All right, Grandma. She went through things so terrible we can't even imagine. What is the news? Haven't watched television all day. The doctor told me not to watch television. Oh, yes. Quite right. He's worried about me again. He told me I need to keep calm. Well, keep calm then. Are you taking vitamin? Yes. My blood pressure is up. I've measured it today and I can't even bear to say. This morning. Why? He wants to come back. What? You tell her, Sush. Why have I always got to? Well, you've got this war. The men and me, we discussed it and we need to be back here. Well, in order to do what? That's what I said. What? I'm an officer. I can't just lie there. How come that didn't occur to you before, officer? Well, I don't know. If I'd known. If I'd known. Mom's right. You should have thought of it before now. And who said there was no coming back from over there? Well, you know. I do know. If I ask, then, of course, it can't be done. Well, it can't really be done. But if there's a sixth call for mobilization, then it can. What's the sixth call for mobilization? Well, they've mobilized all the living now, the fifth call to the last of the living. But the war keeps on. So, Ikeban, ask us. Ikeban, what are we supposed to tell people? Like, wow, he's at his back. What am I supposed to tell Koya? Oh, look, here's your granddad. And where's Ikeban? It's fine. Lots of us are coming back. Leosha's coming back. And Sergei and Vova, all the officers are. Wasn't worth it before, but it's a different matter now.  My country. My family. I'm against it. I'll be straight with you. Why? Well, I don't want you to get killed. What difference would that make now? Exactly. Well, is that what you want? Neat. What? To send him off to war? You need a bit of money for that. Boots, uniform, Kevlar helmet. They're supposed to cost about $500 if you buy them from a trader. We were collecting for one. We couldn't afford that. Sasha. And if we had to bury you again, I couldn't afford it. I'm sorry. That's right. Discussion over. What are you talking about, you two? I made a note. Me, Vova, Sergei, Lyosha. You remember Lyosha? I watched him dying of cancer before my eyes. When we went into the army, we made a solemn oath to the people of Ukraine to be loyal and true to them always and carry out our military duties and the commands of our superior officers conscientiously and honorably and to support the legal constitution of Ukraine and keep any state or military secrets. Me and Vova. Vova took to the trip before he died. Sergei and Lyosha, we swore an oath to defend the Ukraine state and guard our freedom and independence. Me, Vova, and Sergei, he was a colonel as well and he died of a heart attack as well. And Lyosha, we all swore we wouldn't betray the Ukrainian people.   Well, recruiting office, what use are us girls to you? Without girls, there's no point.  We sent you off, have a heart. For this sixth wave of mobilization, they need to obtain permission from living relatives. I won't give it. I'll write you. I'll send you texts from the front line. You can send me pictures buying the grandchildren, parcels. You can worry about me and I'll defend you. We'll do it ourselves, Tasha. We've been managing by ourselves. You just rest. Let other people go. You've got a good excuse. The sixth wave of mobilization. There are no excuses. I'm not giving my permission. All right. Well, I'll go and ask L.A. Moran. Who? A woman. Who is she? Do I know her? What difference does it make? Definitely not. Sasha, I'm shocked. Do we need to know this? Is she your lover or something? I saw someone was bringing you flowers. You think what you like. But if you don't need me, then she can be the widow of a hero. And you're nothing. Sasha, is this blackmail? I'll be off. Stop! Did you cheat on me then? No. No, I didn't cheat on you. Well, nothing like that. It really hurt. So who is this Eleonora? Mom. I saw her. Forget it. She worked in the literature department. She loved me. She's the size of a bus. What? What did you tell me? Nothing happened. I was just saying to upset you so you let me come home. I've not settled there. Let me go to war. You're in a good place. You rest. We'll do the fighting ourselves. Good grief. Come back, she says. Come back. Women, huh? Don't get in a state. Do you need anything to take with you? No. Have you got money and visas just in case? We'll cope. Put on our song. To say goodbye, too. I have some memories of that summer in the Crimea. Around the barbecue with his work comrades. Swimming naked at night. She has big breasts and long hair. She's leading him drunk into a hotel room. He is leading her drunk into a hotel room. A young Apsada is jumping on the iron bed. He is talking about deep purple. Black Dr. Wine for breakfast. Jellyfish thrown up onto the sand. Soup made of tin vegetables and corn porridge. And in a cafe, a saw, grotesque and sublime. The electric mosquito repellent is invented. I don't feel good. I didn't say anything positive to him again. If you want, you can go and catch up with him. I don't want. We've got this solid fuel stove. That's a very good thing. And an old well. Where will I put Koli's little table? Over here, away from the stove. I won't fit there. Well, here then, maybe. If we move the sideboard. Oh, it's here. Strange. Very strange. Not me. I don't even eat sweets. Oh, these are well past their cell by. I'll leave them here. I'll throw them away. The bin's full. I'll take it out. I'll take the potatoes. Down to the shower. But somewhere far off. Somewhere out there. A new old army is trading. Just in case. I'll let Sasha go to war. Commands are issued. Line up. At ease. Caps off. Catenco. About face. Lift your chest. Spellies in. Shoulders back. At one. At two. At three. Attention. And two. And three. Machine guns to the ready. And fire. This is for you. Okay. Hi, everyone. So I thought I would just start by saying, first of all, what a wonderful touching and funny and moving piece of work. It's wonderful play. One of the things that struck me when I was listening to the play and watching the work of the actors was that the play felt so much to me like it was at its core about anxiety. And I'm wondering if you could talk a little bit about the origin of the play and the initial idea for the play. Do you mean anxiety in the play itself, right? Yeah. As a theme of the play of anxiety. Well, the thing is that I've already seen a lot of reading of the play. And it's probably hard for me to relive what I felt when I watched it for the first time. I have seen many versions of the play and it's kind of hard for me to feel exactly what the same scene as I felt for the first time. But since it's a piece of play, it's partially autobiographical.  We were talking about it. And then after a few years, the war started. And I thought about how good it was that he died then, otherwise he would have gone to war now and he would have died again. That's why for me it was... Well, for me, this play had autobiographical character because my stepfather died. And he... And I felt like... Well, he died before the war began. I was glad that he died and did not participate in the events which waited for him afterwards. One of the other questions I had was about translation, actually. And one of the things that I noticed in this play is that the tone changes between being very emotional and it's a bit heavy. And then all of a sudden there's a lot of humor. And I wonder about that process for you, watching it being translated into another language. Well, if I could talk about translation, I would speak English now. I wouldn't need a translator. That's why I can't talk about it at all. I know that, in principle, in my opinion, I wrote the entire piece in a ironic way with humor. And it's a rather funny piece. Usually they laugh from the very beginning. It's difficult for me to talk about the play and translation because, unfortunately, I cannot speak English fluently and cannot really express the nuances of the translation. But I would like to say that the play itself was designed to be ironical right at the beginning. And it's funny, actually, from the first word. And it meant to have an ironical character throughout the whole piece of it. Sarah, can you talk a little bit about your encounter with the play and maybe a little of what conversation you had together about it? Thank you for reading. Thank you so much. Thank you for your beautiful play. Yeah, I would say that came across very strongly to me, the humor in it. And it was something that I think when we first read through it, you know, the actors want to be respectful and it's about death. And I think the tendency is maybe to be more serious. And we, you know, I think tried to push that humor as we worked on it. And I just was struck by the depiction of that kind of relationship with death. That the presence of a ghost could be annoying or funny instead of scary and sad. That was really refreshing to be able to play with. Well, of course, we tried to catch the irony in the very beginning and the humor in the very piece. And it was interesting to see the fact that the presence of a ghost in the beginning was... I mean, at first it could be annoying, but then it became more humorous and more version... I mean, the version of the character itself has changed a little bit. I wonder if you talk a little bit about sort of generally maybe either the reception of this play in Ukraine, but also just sort of the climate or the ecology maybe of new plays in Ukraine right now in Kyiv. Well, after the war began in Ukraine, a lot of people are trying to reflect on the theme of the play. After the war began in Ukraine, a lot of people are trying to reflect on what's happening and to depict it in the playwright of the temporary theater. Great. Maybe we should open up for questions if there are any from the audience. I know that we should probably keep this relatively brief. Yes. If you don't mind, I'm asking Russian and English. I really liked it. Thank you very much. It's a great comedy. It's clear that it's a comedy. You said that you saw the play in different languages or... Yes, in different languages. In English, in Russian and in Ukrainian. Okay, I just want to say I thank Natasha for this. And I was wondering because she mentioned that she saw the play in different languages. As I'm a playwright myself, I'm crazy interested about the differences and sort of like how you catch what is going on on stage even if you're not fluent with the language. What can you say? How in English... I always translated it in Russian when I was listening. Did you write it in Ukrainian or in Russian? I always translated it in Russian because it was strange for me in English. How do you feel about it? Just listen. Well, it's easy for me because when I don't understand the play I can easily listen to it. I don't suffer. And when I understand it, I always suffer. Okay, she said that I might translate that. So I asked her how she feels about listening to this play in English. Because like for me, my mother tongue is Russian so I was constantly translating this play in Russian. And I was wondering if she wrote it in Russian or Ukrainian and it was written in Russian. And I was kind of like catching the irony in Russian. And I felt that it doesn't work in English which is not your fault. I loved what you did. I was like, what is it? All the pronunciation of the names were like... And Natasha just said that she loved to hear it in English because she doesn't suffer if it's in the foreign language. Thank you. Other questions? Anyone else? Yes, I wonder if these conversations went in your head after your stepfather's death, the ones that they were having with Sasha. Yes, of course. It resembles the voice of my mother and what I usually try to depict what I know and what I live through. And I'm not very good at making up fictional characters. Any other audience questions? Just your question, was it done in Ukraine? Was it in Moscow? What did audiences think? So for the first time the play took place in Scotland and people had no idea about the situation in Ukraine. And the only thing they could see was the relationship between men and women. And so they were surprised why the relationship between men and women is so strange in Ukraine. And it was a direct hit. The audience understood very well what was going on. Because Estonians... Oh, I'm sorry, I made a terrible mistake. It was in Lithuania. There was another situation in Estonia. Lithuanians are very afraid of Russia and war. And they believe that Ukraine is a buffer between them. And they listened to it very carefully, but they didn't laugh at all. And when I asked them why they didn't laugh, they said, we were angry. You just don't understand Lithuanian nature when we are silent. In fact, we really laughed. That's the difference. Well, and also there was a version of the play in Lithuania. And Lithuanians, they're afraid of Russians. So they were a little bit tense when the play was going on. And then Natalia would ask, well, why wouldn't you be laughing when the play was going on? And they said, well, actually it was very funny if we just didn't express ourselves. And in Russia this play was played by a very good director. And the play actually sounded very strong. But when I saw it in Berlin, I cried because the accents were completely different. And I realized that Russian theaters shouldn't put a play about Ukraine, because it turns out to be very offensive.  I think so. Why would they beat them up? Well, there is absolutely no kidding at all at the end of the play that the hero plays. And there is a piece about the fact that the Ukrainian monsters, the military monsters, want to come back from that world, they are already waiting for blood, only a wise woman could stop it. A piece about this. It was a very talented play and for me it was a big trauma. Well, I guess I'll try to translate piece by piece. I was satisfied with the play in Russia and how it went. It was very emotional and very good. But I was actually crying when it was playing in Berlin. Can you explain a little bit about what happened in Berlin? No, I just saw this play in Berlin and I didn't like it at all, as a director of the piece. Not at all, as I wrote it. I think that Russian theaters can't put this piece as it was written, due to the fact that it... How to explain it? In general, they can't put it as it was written. Probably because of politics. But I was disappointed with the play in Berlin because I felt like because of Russian policy, it wasn't made the way it should have been. And I felt like I was disappointed in the way it was represented. Pasha, come here. Come here, sit here. She doesn't keep the cheats. She asked, what's the difference between cheats from the show? Cheat is shorter, right? I said yes. Sasha asked me what was the difference between the play and the reading. Performance and reading. And I said that cheat is shorter. Is the reading shorter than the play? And I said yes, it's much shorter. But it seemed to her that the reading was longer, actually. Maybe that's a good place for us to stop. Any other last questions or comments? Oh, sorry. There's always one last one. I just appreciated that theme of the mother who is so angry at the father and has all of that and yet the child who just loves the dad. And I thought that just came across so beautifully and that would come across anywhere, I think. So it was really interesting. Beautiful. Thank you. My question is for the director, which is the kind of theme of hauntology, which permeates the play. The challenges of representing that realm between the living and the dead and the choices that you made, if you could talk about that in terms of directorially, how you work with the living and the dead on stage, particularly when you're working with restrictions in terms of, this is theatre and wonderfully so, but it's not Hollywood special effects, for instance. You're working with a kind of script in hand performance. So what are the challenges there for you? To me, again, something that I really appreciated about this play is that it is very much a play in the stage directions and in how it's written. It's not written as a television show or a movie. It's not asking to do those things. And I felt I'm very interested in awkwardness in general because it's sort of not allowed in sitcoms and it is allowed in theatre to have silence, to have awkwardness, to have strange pauses. And I felt like what we were sort of trying to do with Richard throughout was to have him make some problems for them that had created awkwardness between them, that created humor, that sort of again broke down that, I think sometimes that sort of Hollywood over-reverence and fear that we have about dealing with the dead, it's hard to make a dead person ridiculous when they have to be very, very realistic as in a film or have special effects. So I think theatre is a great place to kind of explore that boundary in different ways in this play. I felt like I was asked for that in a very refreshing way. Just one question. When I don't need a mic, I can say loud enough. Oh, it's perfect. Oh, you're recording, no problem. Hello, okay. Earlier you said that by the play not being played in Russian, you actually didn't suffer listening to it. What I'm trying to understand is as a reader, or as a reader we try to duplicate or replicate the feelings that you feel as a writer that we can actually feel that while we read it. What do you think would be important to know about the culture or the language so that when we actually read that, that we can actually feel and understand that play the way you actually wrote it? I feel like it's much more... I feel like it's much more difficult to express feelings and nuances in English during the reading. And when the actual video of the play was made, the filmmaker actually came to the Ukraine and he studied the situation and he studied the characters and playing details. Yeah, so it's nice when the director or the project itself has money to actually go to the place where the play is made and to get immersed into the culture and see what's happening and understand the humor itself and then manifested by that to the audience. Hi, thank you. I'm just curious because I've performed in many different countries and with translations, you know, plays the same play that's been translated in many different languages and the wonderful and fascinating thing for us as actors is to see different cultures react completely differently to the same text. And so my question to you is, is that something that filters in to your thinking when you're writing plays that are clearly being performed internationally? And if or if not, what is it that you would like... what's the basic thing that you would like international audiences to come away with having seen your plays? You're absolutely right that every place, every country will react differently to the play because of the historical and personal background. But, of course, at the same time, I would like to talk about the historical and personal background of course, I would like to tell you about the events that take place in Ukraine, about political events. Of course, I would like to tell my own personal story about what happened to me in the past and my personal experience, but I also would like to deliver a personal story about what happened to me in the past and my personal experience. But I also would like to deliver a message about the country and what's happening in Ukraine now and what is the situation is like. All right, well, thank you all very much for sticking around for some great questions and thank you to the Segal Center and to all of you and to the wonderful actors who read the play. It's fantastic.


Hey everybody, I'm Lance Coyke, and with all the fitness advice you find on the internet, gaining muscle can be a big ball of confusion.   How much protein is enough? How many meals per day? And what's that acceptable rate of weight gain? In this video, we'll take a broad look at muscle hypertrophy, and to still out the four major must-do factors for muscle gain. You can't gain weight if you don't have enough energy to make new cells. The concept of energy balance describes our calories ingested versus calories expended. If we're in a maintenance phase, our calories in equals our calories out. If we're in a fat loss phase, our calories in is less than the calories we burn. And if we're doing a muscle gain phase, our calories in exceeds our calories burned. When losing weight, we're essentially starving our bodies of easy-to-get calories, forcing them to burn stored fat. When gaining weight, we want the opposite of starvation. We want excess. Protein is the single most important macro nutrient in our diets. Proteins are responsible not only for creating muscle, but also for maintaining normal cellular function.  Yes, we've established that a surplus of calories is necessary to gain weight, but we also need a surplus of protein to guarantee that we'll build muscle instead of just fat. The biggest confusion around protein is how much do I really need? Nutrition labels used to assume a daily intake of about 50 grams while assuming the reader was targeting 2000 daily calories. A more contemporary recommendation is for 0.8 grams of protein per kilogram of body weight for sedentary adults to prevent deficiency. This is inadequate for older adults and active individuals. A better recommendation for those targeting optimal health is 2.2 grams of protein per kilogram of body weight, aka 1 gram per pound of body weight. You could likely get away with a slightly lower intake if you need to, for whatever reason. You should space out this protein evenly between meals to make sure it's all absorbed. Over-eating is generally unhealthy, so why do we do it when we're trying to put on muscle? We need the money to spend. Having nutrients lying around allows us to reallocate them on new tissues. Your training turns excess calories into muscle instead of fat. If it were up to your body, you would just lie around all day wasting away all of the muscle that burns through your calories. You don't need a car if you don't need to leave your home, and you don't need muscle if you don't have anything to do. Hard weight training is essentially torture. It's a way to interrogate your body, forcing it to keep its muscle around. This stimulus gives us the hormonal response to build muscle.  It's easy to put on weight, but difficult to put on muscle.  If you don't eat enough, you won't put on weight.  Now, to be clear, I would be surprised if you didn't gain any fat when bulking, but I generally don't recommend eating to gain weight, quote, at all costs. The goal of putting on muscle is generally to look better.  Sometimes the goal is to simply be heavier, in which case it's okay to air on the side of too much food intake. Some examples include American football linemen, sumo wrestlers, or seriously stubborn hard-gainers. Here are the four must-dos when building muscle. Eat enough food, eat enough protein, train hard and often, and don't get fat. Thanks for watching. If you learned something, hit the like button and subscribe to be notified when I release new videos. If you need something else to watch, I'll leave a video here about, you know, shopping for food and stuff.


Hi, I'm Jeff Down, CEO of Redback Connect. I'm passionate about building great corporate culture so I can develop amazing teams so that we can deliver fantastic customer service. Hi, I'm Peter, the CTO of Redback Connect. I'm passionate about innovation. My team is responsible for the new and existing services at Redback.  Hi, my name's Sarah and I'm passionate about helping organizations to design and deliver the best webinar programs possible.


Hello everybody, welcome back to C++ programming. I'm rid of the knell in the last video We were checking out data types and the kinds of information and things that we can store and manipulate in our C++ Code and in our in our program now in this video. I'm gonna actually Create a new file go ahead and save this one as 0 3 underscore operating on data dot CPP Hey, you can see that exists in my file here awesome. Oh, okay Sorry about that guys. Let's go ahead and include iostream Let's start using our namespace STD and Let's create our main function And Get all that rolling for us awesome Okay, now in the last video you saw we had some integers and Characters and boolean values and stuff like that. We had types of data. So let's have an int Number and that can equal 20 Doesn't matter to me. We're gonna have an int other number That can equal 30 Let's have another variable which is pretty cheesy We can just have an int sum and that can equal number plus the other number Now if we echo out what that sum really is Turn zero at the end of our program here. I go over here to my Terminator If I g++ o3 I run a dot out we get 50 because well, that's the sum of 20 and 30 And we're using the plus sign We're using an operator here. This is the plus sign of the left. I was obviously sorry a a Symbol and a sign an operator to add But what if we had other things? What if we had the difference could equal number minus other number? And then if we displayed, okay, what is the difference? That's just changing the name of the variable here What if we if we run this compile it? Run it and we get negative 10 because 20 minus 30 is negative 10 That's what this subtraction sign is doing. This is an operator This is the minus operator You're typically used to seeing this in math and in any other realms of the world because it's really it's really easy It's pretty simple all it is is an operator and I want to get to that idea across to you guys We actually have other kinds of operators. You see this equal sign right here. We're saying that the number Equals 20 we're assigning a value to this variable the equal sign is an assignment operator We can actually even use We can say We can use other kinds of Assignment operators we can say number plus equals other number Now what this will do is it will take the initial value of number and Then go ahead and add The other numbers value to it That's essentially what it's doing. What if we run this if we display what that number is If I upload my terminal We're gonna get 50 because that's the sum 20 plus 50 that works just fine for us. We have multiplication, of course as well Actually, let's just display that out because you know, of course, we can do that. It doesn't we don't have to have any assignments At any other time if we run this code compile that run that 20 times 30 is an equal 600. What if we actually divide it? number divided by other number What's that do you zero it's 20 doesn't fit very easily into 30 and Well, we could of course change these You notice that this is doing integer division where 20 cannot fit into 30 Normally we would have a decimal for this but because we're using types integers There's no way it's gonna give us a decimal value for this We can fix this later on once we get into typecasting and showing how to change one Type to another but I'm not really getting moving to that just yet. What if we used a 100 divided by 20? We just change the values of these numbers And that is we should have five and that's exactly what we get cool So those are operators. We have multiplication division addition subtraction We have exponents when you actually use two of these two asterisks that works just fine for us and Yeah, we have the same sort of thing with assignment operators. We can also use Number like I had earlier number plus equals other number We can of course say number minus equals other number or from all application number Times equals of the number or divide number divide equals other number plenty of operations and things that we can do with this Simple stuff though. All it is is an operator and Actually when we're using see out you can see these symbols here. That's an operator You might not recognize it because it's different from what you're used to but it's still an operator that allows to do One operation whether not to be addition whether or not it be subtraction or even a more abstract function like display something on the screen So these symbols in their succession or however you want to think of them. They are operators They do things and that's a that's a key term to understand and remember operator. Okay, I Think that's all guys. This is of course a pretty simple topic Especially if you're used to programming and tight in Python and other languages and simple stuff. So we're good here Thank you guys for watching simple programming simple tutorial. See you in the next tutorial You


You are cordially invited to a holiday soiree in New York City on the eve of December 10th 2019 We want to formally invite you to come to our first pop-up ever in New York City on December 10 It's an end-of-the-year charity fundraiser. We're hosting in collaboration with Ibrea foundation Check out our video in the link description down below of our trip with the Ibrea foundation in the United Nations and All proceeds go to providing brain education to underserved women and children in Harlem What's gonna be there we're gonna have brain-based exhibits music art food DJ and even raffle prizes and guests will be able to directly Experience the brain education techniques that we along with the Ibrea foundation share to improve our communities physical and mental Well-being is there a fee? Yes tickets are $35 and you get one raffle ticket with it. So speaking of raffles. What are some things people can win? We have very cool Donations made by the New York Jets the New York Philharmonic City winery in New York and also skin spot New York City And the list keeps growing as we add more donations from now until the event. Can I bring my family and friends? Yes, this is an event for all ages and anyone interested in Experiencing brain education with the people you love to hang out with where can I get my ticket? tickets are available online at Be pop-up dot event bright dot com and space is very limited because come on people We're talking New York City the venue is small so we can hold a limited amount of people So make sure you get your tickets now and guess what what we're keeping track of all the ticket sales So the 20th person to buy a ticket from today and the event We're giving away a free take-back your brain t-shirts So we'll see the winner it will email you and we'll send you a shirt if you're the lucky 20th person to purchase a ticket from today These shirts are super comfortable super soft And they say take back your brain on them and you can wear them in support of this movement We're trying to create to bring mental health awareness to youth and our community But most importantly we'd love to see you hang out with you meet you in person So if you're in the New York City area, especially, please please come out We'd love to meet you and hang out with you. See you there You are cordially invited to a holiday small ray in New York City on the eve of December 10 2019


A company having its operations in other countries of the world is generally known as an international corporation or a multinational corporation. The foreign operations of such companies are affected by many factors such as foreign exchange rates, differing interest and tax rates of other countries, complicated and complex accounting systems for incorporating the financial aspects of foreign operations and interventions by governments in the other countries. Now the principles of corporate finance are equally applicable to the international finance. In international finance, foreign exchange occupies a substantial portion and that is the reason that the foreign exchange markets provide valuable information and opportunities to international corporations for creating value for their shareholders. There is a certain terminology that we need to understand before starting the concept of foreign exchange. The first term in this regard can be the cross-rate. This is the rate that is the implicit exchange rate between two non-US currencies when both are quoted in terms of some other third currency that may be the US currency, Euro Currency. This is the money deposited in financial center of another country, for example, Euro dollars. Now Euro dollars are the US currency denominated dollars that are deposited in banks outside the US banking system. Guilds, these are the debt securities having their guild edges and issued by British and Irish governments. London Interbank offered rate or LIBOR. LIBOR is the rate that most international banks charge one and other four overnight loans of Euro dollars in the London market. Foreign exchange and or forex market. This is the market where the currency of one country is traded with the currency of other countries of the world. If we talk about the list of or types of participants that play their financial role in the foreign exchange market at the global level, this list includes importers who need foreign currencies to settle their import bills, exporters who receive foreign currency and they want to convert this foreign currency into the currency of their home country, portfolio managers who buy or sell foreign stocks and debt instruments, forex brokers who participate to match their buy and sell orders. The list includes also traders who make a market in foreign currencies and finally the speculators who try to earn profit while with the help of changing changes in the foreign exchange rates of different currencies of different countries in the world. We can define foreign exchange rate as the price of currency of one country in expressed in terms of the currency of another country. There are two types of exchange rate quotes. One is called as direct or American quote and the other is called as indirect or European quote. In direct or American quote, it refers to the number of dollars to buy one unit of a foreign currency, whereas the indirect quote refers to the amount of foreign currency one needs to have in order to buy one US dollar. Let's take an example to understand this course. For example, we need to have Japanese yen to buy with available 1000 dollars and the exchange rate per dollar is equal to 118.62 yen. So we need to have one like 18,620 yen to purchase 1000 dollars at the exchange rate of 118.62 yen per US dollar. And what amount of dollars we need to buy a Porsche that cost 100,000 euros whereas the exchange rate of euro per dollar is equal to 1.2452. This means we need to have 124,520 dollars to purchase a Porsche that cost 100,000 US dollars.


Alright, hi everybody. Thank you for coming. My name is Martin. I'm from Quantstamp I'm a senior research engineer and the head of new initiatives and I will be telling you about the properties of bridges that I really like So before I do that, we should all understand what a bridge really is, right? So let me do that. So when I say a bridge I kind of sort of want you to understand this type of an architecture We have two chains my mother chain for now all intended purposes This will be Ethereum and then we have another chain and we want to get our assets from one chain to the other chain So for this purpose, we have something that I call a custodian This is where me will lock some assets some ether then we have an off-chain component called a communicator that is going to be watching what I have locked in the custodian and it's going to instruct some liquidity pool on the other chain to Send me the assets that I want to have bridged the way how this really happens differs case by case Some bridges issue some debt tokens some bridges work with real liquidity pool on the other chain and just send me the assets Then this was the deposit on the withdrawal the process is exactly the opposite So the communicator is actually going to be watching the debt issuer where I will be burning my tokens the debt tokens and That then is going to instruct the custodian to send me back to eat that I want to have a bridge back Okay, so this is the mental model that I want you to maintain when I speak about bridges So now I'm going to give you the properties the menu of the properties that I like About bridges when they have them. So first of all, we develop bridges because we have other chains Many of the other chains are sort of trying to speed up Ethereum, right? But you know if the bridge takes ages to bridge my assets from one chain to the other one Then this is not really the user experience that I want to have so what I really want from a bridge is the speed Then the next thing that I really want is finality That means that once the assets are bridged from one side to the other one or from the other side back This is final. Nobody is going to reorg. Nobody is going to bring those assets back. They are just not going to disappear The next thing next thing that I really appreciate is Atomicity so that would mean that there is no moment in time where I do not hold the assets I have them on one chain and then as soon as this bridging happens atomically. I suddenly have them on the other chain There's nothing in between what a world could stop where an asteroid could hit the earth and I could lose my assets because you know I have nobody to call or something like that, but this is actually really hard There is something called atomic swaps, but you know, that's a really really complicated protocol So, you know atomicity is something that I long for but it's really hard to accomplish Then you know very obviously I want my bridges to be secure Because nobody really likes losing assets if you do please talk to me after the talk You must be a very special kind of a human being But we usually want the bridges to be secure Then what we long for in general in the web 3 space is censorship resistance That means that anybody should be able to use the bridge Then we certainly also want availability Meaning that it doesn't matter whether it's 10 a.m. Or 10 p.m. Or 1 a.m. Or whatever I should be able to use the bridge right now if I wish to do so Then I also want liveness Liveness means that if I instruct the bridge to move the asses from one chain to the other chain at some point This is going to happen the bridging will never get stuck On the other hand sometimes we also want possibility Because if one of the chains is in troubles, you know There is a hack there or the bridge itself has problems Then sometimes it really helps when we can stop the time when we can freeze everything and do some crisis Resolution or something like that, right? Next thing that I really want is liquidity. So, you know, I might be a very rich person I might choose to today bridge 100 million dollars And if I choose to do so I would really like to be able to do so and that can happen only if the bridge is sufficiently liquid The next thing that I like to have is what I call expressive power So I want to be able to bridge my native assets That means ether but I also want to be able to bridge bunch of stable coins and other tokens, right? Maybe NFTs. So all the ERC 20s ERC 721s ERC 1155s What I'm really saying here.  But sometimes we don't really have the option to do anything about that because we're interact interacting with two chains The transactions have to be paid for on both the chains, right? But it would be nice if the bridges were not adding any additional cost overhead to that Then privacy is also often desired imagine a mixer Where you know, I send money in on one chain and they magically show up on the other chain in a different account And nobody can connect the transactions together and then last thing that I really like is transparency on the stability That means that if I'm watching the bridge at any point of time I can convince myself that bridges actually function properly that it is not, you know Sending money around without any reason without it being instructed to do so So this was the menu now the main point of this lightning talk is this is actually really hard There are always conflicts between all these properties that we would like to have for example speed and finality They are conflicting if I want my bridge to be final or the bridging process to be final Then the finality has to be reached on two chains independently, right? But that's probably not going to be path a fast Similarly, if I'm talking about availability and pausing well once a bridge gets paused It's not really available, right? It's not accepting any transactions. I cannot bridge at this moment Same thing with security and liquidity sometimes You know bridges are really liquid But we don't really like to have all the assets sitting in some smart contract that Potentially could be exploited on one or the other chain, right? So therefore bridge operators very often limit the liquidity they take the assets They move them into some escrow's cold wallets and similar things So there are always a bunch of trade-offs you have to pick and choose what you are going to implement This slide is actually, you know screaming with QR codes So this QR code leads to our talk from each Denver about security incidents in bridges and this particular QR code leads to a paper about security hacks and incidents and bridges That's everything I had to say if you want to talk to me during Defcon or anytime later This is my telegram. Thank you


In the past, third-party cookies and other mechanisms have been used to track user browsing behavior across sites to infer topics of interest. These mechanisms are being faced out as part of the Privacy Sandbox Initiative. The Topics API allows a browser to share information with third parties about a user's interests while preserving privacy. The Topics API enables interest-based advertising without tracking the sites a user visits. The browser observes and records topics that appear to be of interest to the user based on their browsing activity. This information is recorded on the user's device. For example, the API might suggest the topic fiber and textile arts for a user who visits the website needing.example.


Wonder if products can actually be icky. We're gonna find out with the icky products that I've picked up recently that I'm just not impressed with Hello, my friends I have a handful of products right here that I've been testing for a while that just Don't make the cut and a lot of this is drugstore, but there is a little bit of high-end in here I just really recently have become very in tune with exactly what I like and Did a huge purge on all of my makeup and as I buy stuff. I'm like I if I don't like it It's not gonna stick around so I'm gonna go ahead and show you those today, and we're gonna get started immediately Into this video starting off with the revamping of the wet and wild color icon shadows I am so disappointed in this They I don't know if they completely change their formula if they just tweaked it what they did But I cannot get the payoff like I used to out of the the other ones that had the black packaging And I'm so disappointed even like my very favorite was the little one that was the quad and it was called petalette And they've redone that I don't think I have it right here, but I have tried to make all of these work I have like all of them. I actually purchased almost all of them They just fell so short and I'm so disappointed in these No pigment in the shimmers whatsoever I mean you can't put them on your finger and get a swipe across and find a good pigment on there And it's really hard to build up the mats. They're not as smooth and creamy as they were and oh my gosh I hope that they ditch this and go back to the old stuff because this is just so disappointing The next thing is from Koki cosmetics, and this is their HD found it skin perfect HD foundation Now they have another one that I love that is always in my top 10 at the drug store, and I will make sure that I Throw it up on the screen for you guys. I can't remember what it is But this one it is so drying on my mature skin So everything shows up on my texture all my lines and it doesn't cover the way I want it to it gets very patchy It has a lot of breakthrough Really disappointed in this one as well if you're wondering why I hardly have any eye makeup on today It's because there's a really great video that has preceded this video that is all about these lashes So definitely go check that out are also from elf. I Adore the original putty primer and if you are kind of an oily skin gal You might really like the matte one that they came out with but this luminous one I am not a fan I am just not a fan and you can really see that I've really tried hard to make this work but for one thing it's like almost like a yellow cast and It really just it does definitely make you look luminous, but it's not a nice luminous I mean there's so many products out there that have a subtle sheen to them that don't have a yellow cast this has a very yellow cast to it and It just it just doesn't seem to go with my skin tone and it doesn't seem to do anything other than just Kind of make my makeup look a little bit like I'm oily and that's not a luminous is supposed to do It's supposed to just give you a nice glow about you So this one was kind of a disappointment for me as well two products I picked up from Physicians formula complete bust as far as I'm concerned. This is their mineral wear diamond dust This is brand new as well This is I can't even tell what this is because I go and I put my finger in here and I'm rubbing and I'm rubbing I'm rubbing and it hardly picks up anything and it's got all these little glitter particles in it instead of just being Shimmer, which is I'm feeling it. It kind of would feel to me like it would be Just kind of shimmer not shimmer, but you know just pearl or whatever you want to call it on your skin And it's just not it's there's hardly anything there and what is there is super fine Glitter, which I don't like wearing glitter. I just like to have a little bit of a sheen There's the word so I'm really disappointed in that one You can't hardly get any product up off of it either and this mascara is their new butter blowout mascara This just wouldn't build and I don't know if you're gonna be able to see this on camera or not But that wand pulled out so much goop that it's just gross And I can't just wipe it off and go in with it because by the time I'm done wiping it off It's still gooped around there and it just didn't build on itself It didn't make it my lashes long or anything else. So this one was another yucky one for me And then I have three products from flower beauty and I was so disappointed in these Okay, the first one I may have talked about this like in a monthly favorites I might have talked about these but these are their new quads. I just I'm not impressed with these same thing as the flower Same thing as the wet and wild. They're just not that great And these do have a little bit more pigment than those do I will give them that but they're very chalky And they're hard to blend and I just I wasn't impressed with them at all I just wish that these companies would stick with what they originally had I get that they have to continue to you know, try and do better and you know get something new out Otherwise people get bored and they just don't go back to their stuff But honestly, you would think that with these big companies that they would find things with that were a little bit better This one is her new color corrector and I was really excited about this But this is such a stiff product and it accentuated all of my lines underneath there It looks terrible on it doesn't I it's just chalky and it just it doesn't wear Well, it just looks really bad on my skin So this one I was really disappointed in for how how much more dry it made my under eyes Which if you have those dark dark blue circles like I do you know that you cannot go in there with anything that is chalky Otherwise it just looks so bad and that one was not good and then I was really sad about this one This is the flower get real little serum foundation to this is it's just more like a tinted moisturizer But every I mean I think I got three different colors and they are so yellow and I don't understand that about flower beauty because Their other ones are yellow too, and I have to go in and I have to color correct that as well But this gives no coverage. It's just basically a tinted moisturizer. It's not a foundation I wish that they hadn't called it that if they called it a tinted moisturizer That probably would have been better, but you know and it doesn't look terrible on my hand right there As a matter of fact looks kind of pretty well It's a little bit dewy, but it really it gets very patchy and it just oxidized really fast It just was one that I would hard pass on also these little duos that are the blush duos from elf These are nothing like those eye shadow quads that are so good the little bite-sized ones. These are so Chucky and stiff and hardly any pigment in here, and I just I did not like these at all I felt like I had to work and work and work with them The little highlighter part of it is just not good either. This this was a total fail for me I just could not get on board with this and it was so many people's favorites last year in their drugstore finds just for me It just did not work at all at all So yeah, and then from Pixie Beauty Pixie sends me so many care packages of such great products And I got sent this one too, but this one is just this is a weird product And it is the the C plus brightening perfecter So you're supposed to wear it like underneath makeup almost as a primer This is not a good primer and it is definitely not a good moisturizer either Look at the cast that it leaves on there and it does leave that white cast on there And then as you work it in if you really work it into where you don't want any of that in there It starts to leave a yellow cast almost on the skin And it's like okay. I get that you're supposed to be brightening I get that yellow is brightening, but I don't want that on my makeup and the other thing the way that it feels It just feels a little bit too heavy to go underneath makeup So I didn't really understand what the whole thing was as far as that one went So yeah, that one was a hard pass for me as well And then the last thing I know I'm gonna get some people that are really ticked off at me, but These Pat McGrath lipsticks now. I'm not exactly sure which ones these are I'll throw them up on the screen if I can't find it for you. This is the matte trance lipsticks So okay, so these are the ones that are supposed to be matte and I love her packaging Yeah, it's real pretty but the texture of these is so weird It's like slick and so it even though it's a matte product It's not it doesn't stay because it it comes off so easily I don't even know how to describe it other than it's just it feels like slick Vaseline That's just a really slippery formula and I like the colors pretty colors as a matter of fact I mixed the two together to get a custom color. It's gorgeous But I do not like this formula and it's the matte trance ones and I'm gonna try some others of hers But as far as these ones that cost you an armor leg now granted I only paid like $12 for these because she was having a little clearance thing at the end of the year But still $12 is $12 and I don't like this formula at all because it just doesn't stick around So that is it for what I'm going to bag on today. I'm done With what I wanted to show you I probably could dig out a ton of stuff to show you But we're just gonna leave it at that today. I hope that you did enjoy the video Please give it a thumbs up Was there anything that you are really just not happy about this year or that purchases that you've made? I have recently done a ton of drugstore What's new at the drugstore and I got a get ready with me coming for that with some really great products that you're gonna love So stay tuned for that. We'll get the bad out of the way and then we'll get the good So, I hope everybody's doing great. Please stay happy. Stay healthy. I love you so much and I'll catch you in my next video Bye friends


Tarzan of the Apes, from the novels by Edgar Rice Burroughs, with Mr. James H. Pierce as Tarzan and Mr. Johann Burroughs as Jane Porter. This is an American gold seal production. While seeking his daughter Jane, who has been carried off by an ape, Professor Porter and his party are captured by cannibals and trapped in the sacred temple cave by the witch doctor. Jane has been rescued from the ape by Tarzan, who takes her to the cannibal village to look for her father. Inside the cave, the whites discover that the witch doctor, supposedly in a trance, has disappeared. Now, are you ready? Hold your breath! Your positive, darling, that you let the witch doctor hear in this spot? Of course, Mr. Clayton. Absolutely, Clayton. We left the black here with Francois de Gardin. And now they're both gone? And if they're not in the cave? Exactly, monsieur. There is another way out. True. Is evidence that Francois must have liberated the witch doctor? Francois sacrificed his life, monsieur, before he would turn Frank Orr. But the witch doctor was tired and Francois was guarding. That explains nothing. But we now know, definitely, that there is another way out, and we must find it. Yes, of course. The south reviews are becoming more noticeable. Better get back on the higher level. Monsieur has right. Let us go. I feel sure that the exit must be from that gallery. Since, monsieur Clayton pointed out, the air is purer above. On that opposite side of the cave, it is much cooler. That might indicate water. And you infer from that, Professor? Since there is no water actually coming into the cave, that water might be outside. And therefore, the thickness of the rock, at that point, cannot be expected. Every thing points to the exit being on that side. Come, we begin our search. Oh, Lucero! Oh, Lucero! Monsieur, it is Francois. This is here. Can you hear me? Yes, but we cannot tell where you are. Please, can we come from behind you? No, from the other end of the tabloids, for myself, I cannot tell. Francois! Continue speaking! Tell me what happened! As soon as you have found the witch doctor came out of his trap, by gestures he indicated that he would lead me outside. I went thinking I could come back and lead you out. Now, I cannot find my way back in. Which way did you get out? By the stairway behind the altar, close to where you left me. Go up about 15 steps. You come to a corridor. Yes, yes. We know where that is, but then to the left or to the right? You would have learned the secret. I think I found torches stuck in the wall. Are you sure? You are right. Quickly then, light one. We may be in time. Francois! Tarzan watched the natives as they examined the body of the black Tarzan, has killed and thrown down at them. I wonder what they'll do now, Tarzan? Look for Tarzan and Jane. You think we are safe here? Perhaps we'd better go over toward the hill, back of the cave. I wait for Cheed, then I... Then, then what Tarzan? I kill. I think Gomengane Devilman. The witch doctor? But he went into the cave with Cecil, Daddy, and the rest. Yes, but I think Devilman get out. Now Devilman makes this noise to call Gomengane. Almost look as if you were right, Tarzan. They're all looking toward the cave. All right, if Tarzan go to top of hill, try to see if father and the rest are where Tarzan can talk to them. And leave me here alone? Oh, no, you're not. I'm going with you. I don't want to be left alone. There is a chance to talk to father. I... All right, look. Gomengane all going away. Yes, and that weird noise. He's either dying now, or it's going farther away. After Gomengane all gone, we go to cave. But Tarzan, I don't like to wait with Daddy in there. Perhaps hurt, perhaps meeting me. If we go now, we must fight Gomengane. Then they stay. We want them to go, not stay. Yes, yes, all right, Tarzan. You generally are. Jane loves Tarzan. What? You would remember that word. Don't you know, Tarzan, that sitting on the limb of a tree a hundred feet above the ground is no place to ask questions like that? No, I don't know. Well then, you'll just have to take it from me, that it is. But Jane, I want to know. I see you do. Now Tarzan, be a dear and don't ask that now. And Daddy would say, don't be so precipitous. It's a delicate question. It requires tact. Tact? What is tact? Sometimes it's thinking one thing and saying another. And always it means not saying what you'd like to say in the way you'd like to say it. Tact, no good. Tarzan loves Jane. You mustn't. But Tarzan do. But Tarzan mustn't say it. That Tarzan is tact. Jane like tact?  But that is tact. I do not say I love Jane. I just love her.  Embarrassing? Yes, Tarzan. That's another word you don't know. But as I said, a hundred feet above the ground in the top of a tree is not the place to ask a girl if she loves you and is equally unsuited to lessen than English. Oh, look Tarzan. What? Light, more native, away on top of the hill. No, not lights from Goldman, Gany. Lights from father and others. Then don't you think we should go there now without waiting? Yes, Jane. Hold on to Tarzan. Tarzan, go quickly. Oh, I wonder what my friends at home would think if they saw me being carried through the treetops like this. Like this? This is the only way to carry Jane. Yes, Tarzan, you have the unhappy neck of seizing upon the wrong part of a sentence. To emphasize, I was not referring to the manner in which you carry me. But merely to the fact that I'm being carried through the treetops. I see. I hope you do. I'm not uncomfortable. In fact, I rather like being carried this way. But you don't have to be constantly referring to it. I think we can go down now. Are you? I'll never get used to that, Tarzan.  Did you ever lose your hold? No. Come now. Take Tarzan's hand. The ground is rough. Big stone. Yes. Bolder, Tarzan. I think I'm sure it was over there that I saw the light. Yes. This way we have to climb. Now, I'll lift you up, Jane. A crack in the rock, Tarzan. Do you suppose it leads into the cave? Can't tell. Look, Jane, more light. Yes. They're way down below, Tarzan. Can I take a chance on calling out? Wait. Maybe we see who it is first. The opening is such a small one. Nobody could get through. But I know I can see. I can see it dirty. Tarzan, am I hearing things? Please let me go. No. No. It's Jane. Is it left in the rock? Why do you not to get through? No. We can barely hear you. How far are probably more than one left there? Do you think the professor and the others out of the cave? Or will the witch doctor who has made good his...