We're doing some paintings. We're having a cool concert. It needs to be very collective in the holistic approach for community and economic development. What I mean by that is that politicians come and go, and particularly at the local level. And if you live in local rural America, you understand the influence that these local leaders have. And oftentimes, they don't have a professional economic developer. You may have one that represents an industrial foundation that incorporates multiple counties. And I can assure you, if they're talking about doing an economic development strategy, or they're going back for some taxes to use for economic development, the likelihood of them thinking about art and culture as a part of that is very slim.  But when I was the last night at the hotel, I was reading through all the bios. And I'm sorry I won't get to stay for the rest of the day to really meet you, but talking about some impressive people. I mean, I was reading these bios and I'm like, my gosh, I'd love to come and sit down and pick your brain and have you teach me on how we can do things better, how we can connect with you, how we can leverage our resources, and how can I use these types of positions and agencies to elevate the conversation and engage with the advocacy to the policymakers at the local level. I can't stress that enough. When you're engaging in these projects, it's not just about the project. It needs to be tied to the business model. Because in a lot of our places, when you sit down through a county supervisor, county judge, you vote about places that are called county judges, or even a mayor, you say, hey, I want to come talk to you about creative placemaking.  When that comes out of my mouth, and I'm talking to a less enlightened, local elected official. That is not always what they want to talk about. Because then I spend the next 45 minutes to an hour trying to connect the dots of what that really means. Build that onion back. What does that mean to the local community, regardless of the size of the rural community? That's critically important, because at the end of the day, the result, the vision here, is that you're trying to make your community a more attractive place for investment. And the chairman is right. When we are traveling in our two regions, and we see the opportunities that are being created for additional investment, business investment, please let me challenge you all. When you're having your conversations at the local level, on your projects, on creative placemaking, please connect the dots with the business model. So that's the first point. It's gotta be a part of the economic and community development strategy. If you hear of a strategy being funded in your community, you need to raise your hand, buy some local champion, get with those individual community developers, or regional state reps, or whatever the elected official is driving that idea, and have a conversation to educate them about what this means and how you need to get plugged into that strategy, because you should be included in that strategic planning or research that's being done on how to create jobs. Number two, stronger partnerships and collaborations at the local level. And that's easy to say, but here's what I really mean by that. When these efforts are taking place, like, I don't know, this thing's being live streamed, so let me be mindful of that. Because I'm not always the most gracious about being the president now. I do love my job, and I love working as president, and we're passionate about what we do for a living. But there are communities that are not very good about creating collaborations and partnerships of not being inclusive. And I will bring up a couple of these examples. Even the, one of the super music blues festivals called Keith Diskett. Some of you may have come to Keith Diskett, and bridging the blues trails about the state efforts to really focus in on some international efforts that we're trying to do. One of the things that was important about that is about actually bringing everybody to the table to have conversations about why that's important to make investments in. Not only in the private sector, but the public sector, because the cities and counties were putting money in that taxpayer dollars into these efforts to help do that. But when your neighborhoods are crumbling, and you're worried about your schools that have been taken over by the state, and when you're at my footprint, 71% of the kids need remediation going into college. You gotta be mindful of that. And the other thing about that is, more directly, is that there are still issues of race in the south. It is real. It happens in the south, in the south, I don't wanna speak for other places. But as you can see in this election cycle in this country, we have a few issues with that. And we're scared to have that conversation. And we need to have that conversation. And so when I say partnerships and collaborations, we can't be afraid to do that. And we can't be afraid to recognize all of the cultural and arts and place-making opportunities that come, even in communities that sometimes are very scared to have that conversation engaged in the community. That's very important. Partnerships and collaborations. The other part of the collaboration piece real quickly is the business side of that, right? There is a direct link to the business community. This El Dorado project that I was talking to you about, a gap in the name of Madison Murphy. And Madison Murphy is from El Dorado, the county, a very extremely wealthy individual. Regardless of the project, as John and I was just talking, this was an amazing opportunity to bridge politics, to let arts and culture bridge the division in politics that we have, particularly in rural America. This is an individual you can Google. He's one of the biggest Republican contributors in the country. He's chairing this effort to make sure that these resources are raised because he sees the long-term potential of both the business side, raising the cultural awareness and engagement and participation is very important. And then third and lastly, the reality is that you gotta hold the investors accountable. What I mean by that is that we need more capital investment opportunities in the region to do these types of projects and they need to be tied holistically. And what I mean by that is that the resources that we're going after so it reminds me of this all the time. We are an underserved and under-resourced part of the country and we need more resources. But it needs to be tied to the overall holistic strategy for the community. It's not just about this particular investment opportunity. So advocacy, education, partnerships, collaboration and then you gotta just be tenacious to build on the resources. Just an responder, are you ready for your next question? Next question, all right. So, yes, I'm Sandy Curt, I'm from Kentucky. Yesterday you guys heard from another Kentucky and Joe Berry about a big announcement of jobs coming to the area directly linked to quality of life which was directly linked to creative policymaking which was directly linked to arts. In a small breakout session, I had the opportunity to share with everyone another story that was happening in the Promise Zone in Southeastern Kentucky which was Euro sticks, 90 jobs coming because the operating expenses in three different rural communities were equal in quality of life which equaled creative placemaking which equaled arts is what drove that decision. Now, both of us have got newspaper clippings, we're writing it down, we're sharing a story. But to get those examples since there's not that good qualitative source to be able to say economic developers, this equals jobs, okay? Hal, what is the best way we can get that story, these unique qualitative stories pushed out there and in the hands of people that can utilize them to be able to draw the quantitative analysis? Well, I think it's, again, thinking about your networks and thinking about those networks pretty expansively. So somewhere in this room, Jay Dick is hanging out but I can't see him right off, I know we all know he's here but if he's not here in a moment, he'll be back here in a moment. Use Americans for the Arts. They're a great resource, he's in your list of participants, one, it can help give you the larger context of the economic reality of the arts in your region and then you have a secondary story. But here for me is another piece and I'd be interested in Jamie and Jason's perspective and anyone here. We also have to understand that the newsmakers have changed, so you cannot send off a press release and expect that you will get any kind of coverage, maybe a two-liner, who cares? We did have a conversation that in small town rural America, those local weekly papers and again bi-weekly papers are desperate for stories and their stories will be 15 column inches as opposed to two, so leverage those resources and in the larger communities sometimes it actually takes sitting down, calling an editorial board and bringing in a collaboration of people, not just the arts people, but finding out who is the group, it's what Chris has said. So the economic developer with the arts person, with the policy maker, with the person who actually is likely to get a job or has a job and you go in and you talk about transformation, you talk about quality of life, because we've got to frame those kinds of stories because I don't know if anyone's looked at news steps on newspapers, but they are strong. There's like three people working for newspapers anymore, they pick their stuff off of news aggregating services. So you have to treat those news people very differently than you did even five years ago. And then look for other venues. So my reality now is that I work with the National Association of Counties. I suggest you talk to your county leaders, that's a really great story. That's something that county news would talk about and that goes to 40,000 places around the United States because I'm guessing what you're saying is it's a story for Kentucky, but it's a story for everybody because what you want I think is learning that goes on that people are reaching out. So framing it is important, not just in your reality, so for those people who care about numbers because I know Chris does, but we have to think that way because that's part of how you leverage it. So one of the places that NACO has gone now is with a massive amount of research on finance and on economic reality. There are some very deep realities, Chuck has brought them up. Foundation investment is somewhere around 5% in rural America. So when you're doing good, it is something to make sure Council of Foundations knows. The reality is that in America, about 50% of counties nationwide are still not back to 2008 status. And to frame this even more, there are over 3,000 counties in the United States. Of closing in on 80% of the population lives in about 130 of them. Do the math.  And what do we know about them? Their resources are falling. Two thirds of the counties in this nation are spending significantly more than they were five years ago on public safety, justice, and opioids, and the result that comes from it. You have to frame this in a way that offsets it. We are giving people hope, a job, building more homes, because that is ultimately what's gonna offset some of the problems that we have with drugs. So you have to become a better storyteller. It's a great story, but reframing it and finding the partners that can tell it with you. I'll be very quick because it does really pretty much get everything. I just have three things. One was in the Department. It kind of comes out of the conversation that I got to be part of in the last week or so on immigration in rural and how to how to make rural places more inclusive. And so this is partly, these comments are partly in response to Bob's question, partly to your question, Sandy. And I think research is really important, showing what it means, what culture and arts mean to certainly economy jobs. Everybody gets that. They're always gonna want to know that. But what are other indicators that can resonate with the audience? You know, how to measure people, young professionals' desire to live in a particular place. There's ways to do that. There's best of all this all the time, right? I mean, they measure that stuff. And I think, and I know some of this is going, but it's already happening in a lot of the organizations already mentioned, but doubling down on that. From my experience in the last couple of state years in the administration, in a different community economic development policy roles, that movement towards data is, I mean, it's a whole other conversation about how I think rural is at a disadvantage in that conversation because of scale, all that. And we can maybe want to talk about that a little bit more. But, and I was in denial about the whole thing for a while, sort of personally, I thought, you know what, this whole conversation just doesn't apply to rural. We're just gonna have to make it, now it's gonna apply to rural. What we need to do is figure out how to make sure that the data, the metrics are informed by the rural reality. And that those who make decisions on that data understand the specific rural reality of less scale, you know, remoteness, et cetera. So research, one. Two is, you said this, but finding the right voice and the right channel, okay, comms 101 here. But here, in a lot of places, Chris, you talked about the business leader. A lot of times, the best voice on this is not gonna be someone who's in your regular circle. It is not gonna be an arts and culture advocate or professional, just a lot of times to really move the ball forward. So that collaboration, et cetera, even more important. The channel, and I'll jump right on to what you said that, you know, and you're from all these, you know, lots of you are from rural and you get this, but small newspapers and radio, they eat this stuff up, they've got holes to fill every day. Pre-content, be very strategic about the content, they will use the content. That's at the local level.  The final thing I'll mention about channels, and this is sort of right now Jason's comments, that in the rural sphere, very specific, but an important one for a lot of resources as we talked about, there is now a platform for stories like this. There is literally a call every month from the Community Solutions team that there's three or 400 people that have gone through the training that Jason talked about. Fats, who do work in the field or at headquarters, and we tell these stories. In fact, we're gonna tell some of these stories. The White House Rural Council was on the next call. We're the agenda, next call. But there is a, there's a, it's nice and rural. I've seen people who've had more. Yes, you have, yeah, you were, it's that, you know, the core, Lock-and-Standing participant. No, but now there is that virtual community that have been trained and we continue to provide content. So there, that's just a specific channel for the Fats. I didn't know, did earlier take any of them? Okay, you had another question back here then? There's one up front too. Yep, I'll pop back here. My name is Nancy Forrest. I come from about two and a half hours west of here from Madison County. The five on five? Yeah. Yeah. Yeah. And I don't even like to hear. This question is for Chris. I'm looking to find a translator between paradigms. Okay, say that again. I'm looking to find a translator between paradigms. You said earlier that projects need to be presented in business terms. Well, I'm the exact opposite of business terms because in my county, we are, the Bullseye is Pope County where Des Moines is sprawling and has sprawled into every county except mine. But mine has got crosshairs on it big time with a data farm moving in and people crowing about tax space and all the jobs that are going to be created and all the development potential that's possible. The paradigm that I want to find a translation for is as I sit in the supervisors meetings, which I do and have done since March, all they seem to understand is the dollar metric, the Jewsite. I'm concerned about the land and the land resources. We were not glaciated. Therefore, we have many more species, native species, plant, animal, micro-thermets, bunch of them that cannot be found even 30 miles north of us. That metric, that measure of rural is not part of the equation and how can someone who wishes to advocate for that component of what I submit is primal, absolutely essential, fundamental, rural. How can that bridge the gap and be heard? You've probably just touched on one of the most important but yet dangerous questions. That we are asked as not only policy makers and investors, but economic development. In the true real sense of economic development, there's about 13 different areas that involve economic development. Everything from workforce training to cyber location, to infrastructure, all these things. But what you just hit on is the real core of what drives your economic development philosophy at the local level. Because you have competing interests. You have the state, you have the governor to drive his economic development strategy. That's about numbers being held back accountable to your next election cycle. You've got your state agencies that are trying to move the needle on economic development, which always centers around job creation and how many numbers can we communicate to the voters about the jobs we've created. And then third, you've got local interest that are also driving that because they want to be tagged with that. They want to be associated with that kind of job creation and progress piece. So the core for me is, philosophically, I would be in the pro-world side with caveats. And what I mean by that is economic development is a good thing, but not at the sacrifice of local treasures and assets that make you unique at the local level. And as an economic developer, well, me and y'all in our world of economic development, there's something called the IEDC, right? That's kind of the largest group that represents practicing economic developers. And there is a total of ethics for economic developers. And part of that is an environmental piece, but we all come to it a little bit differently, right? My very nature is that, hey, we can create jobs, create jobs, but not at the sacrifice of the local identity, local treasures, assets. That could be both natural resources. It could be human capital. It could also be, as it relates to the assets that you bring to the table. But the other thing that I would say that I do you real quickly is that I would look for the opportunity to quite frankly turn this back around on you and using what you want to advocate for with culture and arts. Now, it sounds like we're really talking about land issues and natural resources on this particular example, but where those issues in the environmental piece will get filtered out as the course of this process and there's nothing that can overcome advocacy and letting your voice be heard, particularly at the local level with your elected officials. And that goes back to the question that I was asked earlier. You have to capitalize on your voice and advocacy and let policy makers, elected policy makers at the local level know there is a constituency base that is together, that is connected, that is vocal. And if you don't do that, that project will run right over every day of the week as it relates to creative quality place making. Because the reality of it is that if that voice is not heard, the desire for job creation will take precedent every time. So as a strategy to push back on that, I would recommend doing one day use this opportunity, this prospect, this growth as a way to leverage your own interest by creating more arts and culture related activities. This is where you can really say, look, here is a platform to make this kind of project a focal point for our community. It helps with our rural image. It becomes the creative place for people to do activities in the local communities. These projects can be tied to that. So I'd actually not go into all the details. I try to look at this as a way to take advantage of a potential economic development project and tie what I'm trying to do with the creative placement. Use their own momentum and the attention that they're getting and tie what we're trying to accomplish from the arts and culture side to that effort. And use it as a way to demonstrate what you're trying to do by making this a centerpiece for the community. Trying to make sure that this is an opportunity for people to take really a great chance to come together and have a dual benefit by taking advantage of a traditional economic development project. I don't know if that helped or not, but. Any other panelists? I'd just say that I think that it's important not to fall into the place of either or. It is unlikely in the face of what you are doing that you will eliminate the development coming your way. But it's how do you segment it? And how do you find those critical natural resources and think about them soon enough that you do get to celebrate them and that you get to invest in them? And so as Chris noted, and I'll tell you a piece from my reality in Lynn County, when I went on the board, there was the potential at long of Highway 100 going to the West. It had been discussed for probably 30 years. And I ran on that as something perhaps foolishly that I thought that I could solve. And once I actually got on the board, I realized it was going to take out all that blood longer than I thought it would. There were some critical natural resources that were there that did need to be protected, but it didn't have to be at the exclusion of the highway. I was in office for 14 years and about three years before I ended, all the pieces finally came together for Highway 100. But also as a part of that, the Board of Supervisors bought an extra seven acres when we could from local people and added it to Morgan Creek Park. So we took hits on both sides. People who were incredibly pissed off in the environmental community. And on the other side, developers who were pissed off because we went on that side of town, we said, no, some of this has to be maintained as part. And we spent money to do that. So keeping in mind that your local elected officials have to be given the tools and the support to do good things. So help them see the possibility of success. That you're not there to just always say, no, no developing, this can't ever happen. It shouldn't be like this. I get it, I'm sorry. I was the land of KFOs, you know, confined animal feeding operations. Anyone who's from Iowa or North Carolina gets that. How do you balance that? That is challenging work. And it is not always the place that artists go, but anyone who is in museum work, I will tell you, asking those big questions is and should be the work of every museum via the historical society or organization in your county. Because those are the people that can drive those discussions. It will take more discussions than you think you can live through. And I believe it can be both, but it takes a lot of hard work. We can actually get a chance to get something out of this. Particularly if you know what's coming. You know what's coming. You know what's coming. I actually think this is a little bit different. This is what is about being engaged for long term. What is the vision of your community? What is the vision of your county? Where do you want your county to go? And it keeps the you, that's a bunch of people. And it has to be what is the process that you're gonna use to reach your objectives of what this kind of select. And you have to be engaged before they make the big decision about the big plant and the big road and the big water lines and the big movement of dirt. But it's being totally engaged and totally immersed. The challenge of that of course is we all have a lot of things to do. But in my experience as a child, I was a city council member. And... And it has been a while. Yes, it's been like 28 years or so. But it's really hard to say no to stuff. When people have these great ideas about how they're gonna do one of the things, sometimes they're not really good ideas. But the challenge is having a consensus around what's important in your county and your county. And being able to stick to that and work with that. Many years ago I was on a committee that looked at greenways in Eastern part of Pennsylvania. And Congress stood up and said, I want no more development in my county. I thought that was pretty radical. And the way he stuck to that, I was totally impressed by it. You later lost it on watching, but it kind of made more interesting for the state development agencies that I was trying to run. But it really is a process. It's a project, process of engagement. It's a process of addition, not division. And it's a process where it is a long-term commitment to a vision and to being able to stick to that vision over a very long period of time. And it's not easy to do. One more question. I'm gonna get a couple. Hi, my name is Slim, I'm an artist. And I really, well what would you say, this is kind of a conversation we don't really have in Chicago. And I'm really interested in specifically in how art can contribute to public safety and things that really matter to people, because I've done a lot of public art commissions and I'm just so tired of public art commissions that are about something rather than actually engaging with an issue and doing something. But I've started working on a project that has really caught fire. The mayor is behind it, the alderman's behind it, the business people are behind it. And it's to combine art with pedestrian safety and cyclist safety. But what I'm finding is that everyone's, even the Department of Public Affairs, everything, they're all looking to meet it. Yeah, come up with the ideas, come to the meetings, work for free. And I'm a self-employed artist and all of you right now sitting here with you in the room, you're getting paid for sitting here. Right now, I'm self-employed. I am not getting paid. I paid myself to come here. And I just want to know that you need the ideas of artists and I just want to know where, how we can be sustained and examples of how artists can be sustained as we are helping you with becoming the idea of farms and the things that you're building economic development on, the backs of, how do we sustain ourselves? So two things. One is specifically on the issue of public safety. At Art Place, we've actually commissioned a field scan and seated a working group that's looking at the intersections of arts and culture with public safety. And we've done that with LISC, the Local Images Support Corporation, because they're the national TA provider for the Department of Justice, Burn Criminal Justice Innovation Brands. So you can find all that information on our website or email me at our place america.org and I can put you in touch with it. In terms of the larger issue, one of the things that I've found to be fascinating and how it's ramped up over the last several years is the number of city governments that are actually putting artists in residence. So city governments were actually hanging artists to be that creative force and one of the ones that we love talking, a project that I love talking about is in St. Paul, Minnesota. An artist called Amanda Lovely went into residence at the Department of Planning. And one of the first things she took a look at was how the Department of Planning does community engagement, right? And we all know how they do community engagement. They host a meeting at City Hall at two o'clock on Monday, right? And the first of the pot hole and the gappy dog shows up and right on one happen. So what Amanda did, was she took a look at the city fleet of vehicles and she said, give me a van, right? And so she took that van and she retrofitted as a popsicle truck. So now whenever any city agency wants community input, they send the popsicle truck out into the community and if you answer three questions, you get a free popsicle. Then she was paced for that, right? She was actually in, that was a partnership between Public Art, St. Paul, and the city government. Minneapolis is doing a similar thing with intermediate arts where they're working with the mayor's office to put artists in residence. Mayor Garcetti in Los Angeles has put in artists in residence, specifically in the presentation, to take a look at issues of pedestrian death, Intervision Zero, work that LA is doing. Where I currently live and work in New York, we have artists in residence in veterans affairs, immigrant affairs, youth and community services and design and construction. So I think it's happening. I think we absolutely need to value and recognize artists as workers, the fair wage conversations, absolutely living wage conversations need to attach towards second. So yes, absolutely, there are examples of it and I'm happy to connect you with more, for if you want to share that with the mayor or with the department of local affairs as well. I'll just, yes. Put that onto that, that there are efforts to actually clarify what art should be paid for showing up at public meetings. I actually think you should pay people to come to public meetings, by the way, but that's just personally for me. We need to actually take artists to do some of those things. One of my hopes is that Rupri, as they build out their kind of assistance and folks like Neko who are interested in also teaching people about these practices, that one of the things that is included in that is, here's what it costs and artists should be paying. And so that is something that will hopefully happen through all this. I'll just say from the A.A. side, we are always looking at exactly what the artists are paying as part of any of our town projects and we're not gonna fund some of those pay artists enough. So that's just a simple way that we operate and we're hoping that more, as people can begin to understand what this work is and treat it seriously, I've been using the term like breaking the fever, that this is just sort of like this fluffy thing over there that you don't really know how to do, that there are true costs that there are people that know how to do this and there are real practices, that that clarification includes what it costs to pay an artist. Hi, I'm Nancy Van Milligan. I'm from the Community Foundation of Greater Dubuque and you guy, I want to be served eight more of these guys' poundings. Oh girl. Yeah, she is. And Chris, I want to say to you, I've been to Clarksdale and seen the wonderful creative place making that you've done there and I've stayed at the shack up in. So for all of you who are interested, you might want to check it out. My question is Chuck kicked this off and talked about access and equity and you've mentioned inclusion and participation and engagement and I've heard it all the way through at the Community Foundation, we're trying to do some really deep work around diversity, equity, inclusion and racial inclusion and immigration and find it to be very hard work and there are very few models and the models that we have looked at are typically urban. The Twin Cities have done some great work. We work with Gare, Seattle. In our city, we do inclusive Dubuque and have some great things that we'd be happy to share with you but as we go on into our counties, one thing we use is the heart to soul which some of you may have seen Jason's breakout session and that's really good at a specific community level but we'd really love to work with some others or find some resources about how to take the scale at a larger, like a regional area or how do you bring people together, engage, get them to participate and really talk about these tough issues. So I guess I'm just throwing that out as a comment. I hear a lot about it and it is so hard to do and it would be great in our smaller communities and smaller towns and regions if we had a way to learn from each other and learn from the place and take this to the next level. Yeah, I'll just jump in really quick. I'm sure I have a lot to say about this topic. I think one way we're viewing that at the endowment is that there's, this is an issue that goes far beyond what the arts can solve itself and I think the whole conversation about creating a place-making is how could arts work in service to many of these other issues and I think that the arts that in this particular issue are an amazing way to kind of build social bridging across society. It's a place where we can find common cause and be like, it creates spaces where we can create understanding amongst ourselves. That sounds fuzzy, but it actually does happen. And so I think, again, that clarification of what are those arts tools where can the arts be useful in those conversations is something we certainly want to spread around and be serious about it. I do think that there are a lot of organizations that are, you know, there's lists and lists and lists of organizations that are professional at how to create a safe space to have those conversations. There's nothing worse in going into one of those conversations when the crowd's not prepared to have a conversation. I've been in some of the different parts. I also want to add income diversity to the type of diversity we're talking about, especially in rural America. So yeah, I mean, I'm happy to share lists of organizations that kind of work professionally and also happy to share lists of kinds of artists that have experience and being in those spaces and handling them in a professional way.  I think we saw some colleagues here who are connected with ELE, the Intercultural Leadership, in some ways the work of alternate roots, PAI, the First Peoples Fund, and now on. And I would love to try and broker a relationship among the community foundation community and ELE to see if we can bring some of their national work together with the community foundation. So if someone can post it that, I'm happy to work with Nancy and make connections with those other folks and see if we can do that as a concrete set. Perfect. You did just right. Woo! It's the only thing I'm playing on that, that I mentioned the conversation as part of the last week or so, and that has been community solutions team. So Janet, that group. They're kind of hosting a conversation around the support by Andy E. Casey Foundation. And I almost, it looked like sort of a scope. They know it's a really important issue. People are trying to figure it out. I think there's some stuff posted there. So there's already a NASA network kind of on that side too. So like, you know the most part. And another place that, because we spent a large number of hundreds for a time talking about art, we are sitting in the College of Public Health, Robert Wood Johnson Foundation has done an enormous amount of work in this space. So their culture of health work, I think provides a platform for those kinds of conversations. They look quite directly at social equity, the social determinants of health that are very significant. And even in aggregated information, if you look at it in the rural area, there are things that just deep out at you. So I would look at that. And honestly, Nancy, one thing that I would challenge is that in the River Foundations that are looking at disaster philanthropy, I know that piece of that question is something that I would challenge philanthropy in general to look at. Because the other piece that comes with disasters that makes them so exponentially worse is the equity problem. When there is a disaster, it by far impacts people of color, people of lower socioeconomic status can not respond. They do not have the same resources. So when we talk about building resilient, healthy, thriving communities, you can't divide without having that social equity question. So some of it is going to some of those other partners in driving the question. I think what we're seeing is this is really about different ways of collaboration and different ways of having conversations. We're gonna move to Jeff, but I know Chris has to catch up with me. I said I might take him. He has to tell his driver that he could go, but I could take him and then he could stay here for at least another 35, 40 minutes. So I know we have so many questions, you guys, and I know we have about five people lined up, and so I know if anybody has to catch the lights, I'm so sorry, but if we can keep you guys up here a little longer, is that okay? And then we'd like to give you a couple of minutes just to sum after that, but Jeff's got a burning question over here. It's not a bull impersonation, it's kind of gonna go quick. First things first, the issue of cash GDP versus long-term wealth in two sectors is critical for rural America. I wanna say that we have five or six professors from seven or eight universities, the one that Lincoln awarded this year from the secretary. We must build a miracle metrics that get our hard understanding of the cultural impact to overall wealth, income as a flow, wealth as a stock, culture of wealth as a stock. We're trying to build that. It's called a comprehensive or a wealth framework. Number two, to the issue that was just raised by Jamie, as part of our work with next generation, we are creating immediately after this a rural, intercultural council. I think it's absolutely critical that we do this. I wanna ask this question and I appreciate all the kind conversations about what group is done. We do hope we can go deeper on these issues. They take resources. I'm gonna be very direct. Can you give us some suggestions as a community for how we build sustaining resources to advance this community interaction, not project resources, sustaining structural resources for rural community and arts development? Do you have specific thoughts about that? This is the burning issue in this room. Chuck, I'm gonna bring up something that I know we've already talked about. I'm sorry that Ryan isn't here. I thought I saw Bill Menner still here. How many people in this, Tony's here, great. How many people here farm or have farms? Okay, the farm bureau has to be a part of this conference. Unless they only want to do the insurance business. And that has become a large part of their business. So if they want to anchor the farming community and if they want to welcome as Bill Sack has been an incredible advocate for getting young farmers back on the land, then artists have to have a conversation with people in the farming community. If we value this way of life, if we think it is important, if we don't want to see corporate farming grow to the point where it, like the ones become too big to fail, then we have to have those conversations. Because farmers in this country actually have quite a lot of money. Not all. Small family farmers, not so much. Large corporate farms have a lot of money. Income as a percent of assets is the lowest about that it's ever been in history. Yes, I get that. But I'm talking about a portion of the farming industry that we don't often talk too lit about. All farm prices are lower than they were in the Great Depression right now. I get that, but trust me, corporate farmers are still making up their mind. That's not on its face. Okay, we can maybe have that discussion later. I still think it's worthwhile to have those conversations because even to what you're bringing up is illuminating that we're not having the appropriate conversations with and about sustainability in our lifestyle. And so some of that has to be with partners. We're not always conversational. I don't know anything about farming, but I do know something about communities. The challenge I think that we all have is in developing, this is really about developing capacity for local communities and to the capacity of local communities to have a sustainable participation in the US community as an asset that helps them grow, helps them attract communities, helps them attract kids, keep their kids, and a part of their local economy. And in that process in developing that, it really is about engagement. It's about an engaging community and really is about developing strategies and plans that you can stick to over a long period of time.  I think that one of the examples that we, that I like to look to, is Jennifer O. Tennessee, where they started with a store called the festival and they had somebody with big ideas that they didn't go out on a ticket to the world, they went out to the office, incredible facility, and they went and bought a lot of money from this guy, who was the A. And they failed from back then. They gave up. They went back and they reworked it and they went through bankruptcy and they kept their vision and kept their partners together and kept their community together. Their community was committed to this idea of being the storytelling center of the world, the international storytelling center. And keeping to that commitment and keeping to that community, that they moved from being bankrupt, they moved through bankruptcy, they paid off all their debts. And last weekend, they had 30,000 people in Jennifer O. Tennessee listening to storytellers from all over the world. And that's a secret here. It's not us. It isn't the federal government. It is the energy and creativity and imagination and the principle of the local community. And it's really our privilege to be able to interact in that and to invest in that. And to make sure that we're not investing in projects, but we're building capacity, capacity to sustain operations, to sustain visions so that our communities are rich places.  And sometimes they call it being, sometimes they talk about federal mandates. Well, yeah, sometimes. But that's, from my point of view, the secret source here, is being able to bring those two pieces of the puzzle together in a way that helps make sure a community is successful and to be able to help encourage and stem like that. But the real energy here is not, it's the real energy here is what you see, what I see in all the communities throughout the Appalachian. Well, I'll be really brief. The, from, so Chuck's question, how do you support this infrastructure on a sustained way? I don't know of sort of the perfect pot of money out there that this fits perfectly for. To Linda's point, there's private sector, there's philanthropic and then there's public resources. All three of those should be looked at. They all have an interest in this. It meets their different missions. The more that, and this is really to Earl's point, the more that the case is made that this meets a mission, whether it's the public mission, a private economic growth mission or a philanthropic mission, the more successful that attempts to get the resources to build this. I mean, I wish I had like, oh, I know where this is and there's a whole bunch of it and you just need to ask in the right way. I don't know that there is that right now, but there definitely are different resources that exist to support a piece of this. So, not wholly satisfactory, Chuck. Which is not uncommon in our conversations. You know, Chuck, one thing that we can't think about it, we've been thinking about this for a while at DRA. You all have kind of motivated me, even during my fourth quarter here, to make sure that we do a better job of institutionalized this. Because I firmly believe as a practitioner that the creative place makes incredible, powerful and effective tool for local rural communities to improve their situation. I firmly believe that, at my quarter.  We're gonna go back and we're gonna see how we can actually dedicate a full-time FTE to this effort. It's obvious that I've got the ability to do that and we're gonna go back and do that. We're still going to, and we've talked about this in some of our community solutions, trying to institutionalize that as well. But one of the things we're gonna continue to do in working with the governors, just like with the ARC, the governors are a big part of our structure, of making sure that they understand that we wanna continue to make this a priority for our investment. So as projects are being reviewed, one of the things I get to do as FCC is set those federal priorities, which is step one in getting DRA investment. And this is going to be, that we're going to put EEC to make sure they think it continues to be a federal priority for DRA. So those are two things that I think I can contribute. Sure, I mean, I think from our perspective, what number one, how rad is that that he wants to hire someone? It's like, yes, from my perspective, as community and rural development grew as a field, I got more professional as of the last 50 years cultural policy was on the side. And that everything we've been doing through the semper is to try to bring how those two worlds align. And that is not gonna happen overnight. And I think that the resources will start to appear more as the people who fund and understand community development and rural development well understand, again, I'm just gonna repeat myself, like, what are the standards of practice? How does this work? And what is its benefit? And the more that that is clear and that people know what that stuff is, the more that you'll be able to easily get someone say, this is exactly what this is and how it works. People will be more, the coalition of people who are actually trying to do community development the right way, which is, I don't have any numbers on that, but it's not everyone in America, I've worked in economic development too, I know they're just like, let's just bring in the business kind of job fishing stuff. But the people who are trying to do it the right way, those are the people who are trying to convince that this stuff matters, and the more the bigger the matter, the more the funding they're gonna put into it. That's what sustaining looks like. And I think the feds are pretty good to go right now and that's pretty rock and roll on the state level, it's getting better and locally, I think many places do get it, but the more the people on the outside of the arts understand that this stuff is important and how it works, the more they're gonna start putting it into it. That's what sustaining looks like to me. So my goal is like 50 years from now, every community and all the person just knows how to do this stuff, like knows what it means to hire an artist. That's success to me. And just the thing I'll add is the philanthropy token on the panel, I'll speak from a fundraising point of view, which is I think we need to hold philanthropy accountable for the outcomes it's trying to drive and get them to be tactic agnostic, right? So if the thing that magically created the 90 jobs was an arts intervention, they shouldn't care that it's an arts intervention, they shouldn't care that it created 90 jobs and we should go after job creation funds. And so I think separating outcomes and tactics is really important in terms of the fundraising and I'm happy to talk more with anyone about that. I think that exact same thing is true, so I'm gonna fix it. I'm gonna work with those. It's true for like economic development offices. I mean, one of my jobs was to work, I was the first ever creative economy person hired into a state economic development office. And it was like, there was a lot of like, what the heck is that stuff? And I was like, well, Massachusetts just passed a billion dollar in life science's job. There's actually less jobs in life sciences than there were in the design field in Massachusetts and we had no billion dollar fund for design jobs. But it took showing that we had the same number of jobs, how those companies grow differently from a different kind of company and creating actual like economic development tools that actually work for our field. And those tools don't exist in a lot of places, right? The tax credits, all the things for economic development that are built are for manufacturing and other fields that we know how to support and have supported for a while. So the more we can tell people, hey, this is how my business grows differently. And I love this, this RAPLM in New Mexico that's trying to support creative businesses. She says, we keep being so modest. We keep saying, well, maybe my creative business will grow to be 30 people someday. Why can't it be a 3,000% business someday? And why are we not talking about what it would mean to do that? And so we got a lot of ways to go but there's some seriousness which we've never talked about. Great, and we have two, we're highly aiming and then we're going to need to wrap. And I know that everybody, there's a lot of questions out there and we'll figure out a forum of how we can get those questions distributed so we can get more responses.  Thanks to you too. Can you guys hear me? Thank you guys. She's been out there for a long time.  So those of you who know me know that I do a lot of research for living. There is very limited funding available to conduct the kind of research that you're talking about that would actually advance case making, that would advance place-based policy, project efficacy, this kind of experimentation and even less when it comes to understanding the rural differential when it comes to culture. So again, very specifically, where should we start looking for support to create the kind of evidence that's needed to shift practice because there's very little. We have a research fund out. I mean, we did create a research fund a few years ago. I would also say that from the evidence-based side of the meeting, say, the subject for a while, we are doing a project to try to evaluate the 325-hour-tall grants. And it's part of that we're actually trying to figure out what are the tools, indicators, evaluations, systems that people could use on the ground to show proof of success with these kinds of projects. Because we know everybody has trouble with trying to show that. So our place is working at night, because he's working on that. There's a journey of many funders looking at, and this isn't, again, not true, not just for the arts, people working on place-based, but how does any place-based investment truly show that it's achieving some kind of outcome that someone could care about? That's a difficult thing. How does a $50,000 arts investment, how do you truly scientifically prove that that was the thing that moved the needle somewhere on crime or something like that? So we're working on that, is what I can say. I think there's a serious effort now trying to figure out what that stuff looks like. I think when we get on the other side of that, sort of selfishly looking at how can we do it ourselves first, we're gonna have some conversations about what do we produce that's useful for the field itself that people can replicate and they use, and then what else can we, where do other investments need to happen? That's gonna be about a 10-month process for us to even get through the first phase of that. So it is coming soon, what would say? The thing that I might add is I think it's important for us to remember that not all research is created equal and that there are at least three kinds of research that I've seen regularly sort of muddled up together. And I like to think of them as the, how did we do the wait, what just happened, and the why, what we want, right? So the sort of how did we do is project-based evaluation, right? My project is trying to do something. I wanna know if I did it and how well I did it, right? That's one kind of thing that's very much between the funder that's funding the project and the entity that is doing the project, right? That's gotta be the basis of that. So wait, what just happened is where I think a lot of our research lives, which is looking at the externalities of the project. Someone is trying to do something. I'm creating a storytelling festival. I am doing that in order to share stories and create a community of storytellers. It happened to have a giant economic impact, right? So there was this externality that happened. And we need to do that. That's in some ways a purist research because that's going out there and sort of investigating what happened. And then the why won't you love me is the kind of work I think we need for our 5.5 colleague, which is there's something I wanna do. I know it is the right thing to do and I wanna make someone fall in love with it and give me resources to do it. And that is a very specific kind of storytelling that I think in the art space, we get a little mixed up because artists, when they're telling an art story, care about the story, right? They wanna polish it, they wanna make it a jewel and they wanna make it perfect and then share it with the world. The kind of storytelling we're talking about that's case making, that's advocacy, that's lobbying actually has to start with the audience. Who am I talking to? What is it they care about? And how can I connect with that to get them to do the thing I want them to do? So I think we also need to be clear about what kinds of research we're talking about because different kinds of resources will then get unlocked in different ways to roll it out, et cetera, et cetera. So I might just add that. Great, and we have one more question with Amy and then we'll get a little time to, do you guys any closing comments and then Chuck's gonna react.  Okay, hi, my name is Amy Demmer and I live in Grand Marie, Minnesota, which is on the Canadian border. And we live in a really remote town and we are very, very fortunate that our community has messed it in the arts for nearly a hundred years. So we are an arts destination and we have the highest per capita number of artists in the state of Minnesota live in my Cook County, which is 3,300 square miles and there's 5,000 people there. And they're busiest in February. We are now, we are the richest economy and we are now busier in February than in August because of our creative educational opportunities that people love to come and visit. So we are really fortunate. We are land blocked by the Sea of Lake Superior, the boundary waters, the Canadian border, one road in. So 5% of our land is developable and the rest is public. So what's happened with our investments and our quality of life and our artists and our entrepreneur businesses is gentrification. Gentrification, so we're talking rural and we're talking gentrification in my community. And so the question is, what do we do when we make these investments in a community and how do we think a hundred years down the road? We heard Nick, sorry, we're talking about 30 years. We want people, they're gonna be moving out of the epicenters of urban areas. We want them to move into rural. But how do we maintain a place where our artists can afford to live as well? We have the highest number of artists per capita in the state but the lowest average wage is $18,000 a year and we have the same cost of living as the Twin Cities. Average home prices are $300,000 to buy a home. If you want running water, you have to pay $200,000. So this is a major thing that my community is tackling with. We are so lucky at EPA. We've been working on a year-long planning process to create the next generation of arts economy and to attract and retain artists into our community as our number one business diversification strategy and investment and I'm so grateful for that buy-in but I still continue to think about and struggle with as we look to all of these communities and rural areas that are investing in arts and the quality of life in our people which we know is good and it comes from who we are and where we live and who we want to be but how do we protect that for the future? Jettification, equitable development, whiteening round go. So what I would just say is I would love to follow up with you more deeply after the panel is over but there are a number of places that are actually now creating equitable development frameworks. So PolicyLink has done one. The environmental protection agency actually has an extraordinary one that they offer through a TA program. The Elephant Street Bridge Project in Washington, DC is working with the Urban Institute to attach indicators and metrics to that. So I would love to follow up after this with some very specific resources and I won't try now to attack the larger issues. That's the answer and the other answer is what you're doing. That's to be able to sit down, think about, work through the issues today that are gonna hit you in the next five or 10 years is great and as opposed to these are things that are happening next week. It's actually also the other issue we had over here about it's being engaged long-term, committed to a division and figuring out the mechanics of how you're able to achieve that. So congratulations. That's a challenge we all would like to have. Wonderful. Well, why don't we just go to any closing comments that does anybody have anything they wanna share before we bring Chuck up to wrap? This has been amazing.  Don't give up. We are absolutely dedicated to continuing to help you all build up the work that you're doing and also try to build a national support system and policy framework for your work with them. So keep on, can I, we're live streaming, I should.  I'll do it anyway. I'll do it anyway. I'll just say this has been an amazing couple of days. I love that this conversation has started and I look forward to continuing with everyone. The arts are really important in all of the Appalachian economy. It's not necessarily something that smacks you in the face every day but there's places like Maine to Ohio that has 20 galleries and 300 arts, working arts. We have the Jonesburg experience. We have the Black Mountains in the western of Carolina with the Made America group and of course incredible work in Pennsylvania and also in New York. And the challenge that we have in moving forward is keeping this conversation and bringing this conversation up from underneath just a holler, but in new forms like this. The commitment to work at the State Act and the State USDA Development Directors are really important partners. The engagement of the land grant schools who do the research are important partners. And there are a lot of elements out there to build on. And what I would say and what I would hope is that we continue the conversation. We build on the assets that we have. We build this movement the same way you build local movements. It's all about taking the steps, having a plan and working that plan. So it's great to be here. I really appreciate the opportunity. I'm gonna go next because I have to duck out. I do wanna take the opportunity to thank, first of all, all of you who have made the time and the space in your worlds, in your job and with not earning money. I also wanna thank Chuck and Theresa and all the folks at Rupri again because Chuck has been a visionary in this and he has also been generative and iterative in this work, seeing the future of it, staying committed to it. And that I think is oftentimes unique in our environment. Naco is really pleased, I think, to be able to do some of this work and with the Americans for the Arts and with others. For me, it is such a gift to be able to go over the course of a career and still find myself involved in the arts. And so I just applaud the work that people are doing. I wish people got speed on their travels home. And I have to tell you, this is the stuff that gives me so much hope for what can be in spite of what this next month will be. Thank you again to Arturo, Rupri, University of Iowa, the ARC and USDA. So, you've heard this like seven times, I can do it in a minute, you should take it in five minutes. It's about, in this work in the last seven years I've got to travel to 40 states doing rural economic, community economic development. The best trips are those that I get to go out for a couple of days and be in a couple of regions across the river to the other state or just across the hill to the other region. And the difference in rural places can be kinda startling, that place that's stopped isn't moving forward, it's looking backward, versus that place that is moving forward, where there's energy, where there's hope, where there's a plan and people collaborating working toward the plan. And there's things happening and on paper, before I got there, you look at those two regions and I looked at those two regions and their economic history, their assets, their educational, their demographic, they're pretty much the same place until you were there and they were two totally different places. And the question obviously, what's the difference and really the difference, it is people. And it's not, it is people in general, it is really in these rural places, it's usually one or two or three people who make that choice to be a social entrepreneur, to take risks, to bring all of the tools that they have, Ken Ken Mustard, all their time of talents in collaboration and sharing and generosity to move the community forward. And there's a lot of those people in this big room right now. So thank you, keep doing what you're doing and then, I'm sorry, the last thing I want to say. Sorry. Sorry. Yeah, no, I'm sorry. Is that, I mentioned in my little personal story when I opened it, it's happening, right? I mean, this conversation about the future of rural places and the cultural asset as an integral and essential part, it's not like a dream, it's happening, it's happening. Today, you think even five years ago, having this as part of a big part of the conversation on rural community economic development, frankly, it was not, nothing I would have thought of or dreamed of. It just, it wasn't there. And the degree of participation from the federal government for rural development and from NEA and from others, it's real, it's there. In the Obama administration and in the White House Rural Council, we have positioned the work, the place-based work so that it can continue, it's up to you whether it does. And not only is it happening, but it matters, it matters so deeply, not only to those rural communities.  Hey, now he's out of here. That, you can go up there. But that, that hard conversation that we're all observing and part of that's happening right now, it's important every place in this country, I will argue it's more important in rural places in what, what you're doing is a critical piece of it. It is happening in, it can only happen in your communities. So thank you so much for being part of that and leading it. And thanks. We've already stepped to the pole. I think it is so wonderful that we have a man like that in the domestic policy council of our country every day to make this happen. It is so important. Two last things. Thank you for those of you that have started to work together. Look at those white sheets. They're cards, they're ideas. Unfortunately, there are more white sheets over here that aren't built. David has requested that we all do something I think is very cool. David, you and your community, we wanna thank you so much for your great work all week. We're gonna live with this event for another year because of the great work of how. Let's give them a great round of applause. How would we know if we're successful? In 10 years, some of you can say, I participated in the Next Generation Summit the first time in Iowa City. If we build a movement, you will have a place that will never go away as a family. There is no way, Matt and I and our teams, the University of Iowa, USDA, DRA, the Group ARC and our many funders can thank you enough. For those of you that we weren't able to support, but you came on your own, thank you. There's so many of you. Our commitment is to work very hard however we can with the limited resources we have, with the little boat we have and it's really big ocean to keep happy. It's just been a tremendous, tremendous honor to serve you. I help us understand how we can do that better. We don't know right now. We want to be there. David has a great idea in closing. Since this will be the landmark moment in the movement you're building, David would like to chronicle it. The bus is waiting for this. Could we all go fairly immediately to the first floor and David will take a picture of this community together down on the first floor where you came in so we'll live forever. Then we can come back and have face-to-face round table discussions. Did I miss anything? The bus will wait. Thank you, thank you, thank you. Say Travel Sound.


Hello everyone welcome back to another Adobe Premiere Pro CC 2021 tutorial in this one. I'm gonna show you how to overlay an image I'm also gonna show you how to move it resize it rotate it Reposition it and I'm gonna do that in about two minutes at most. So let's start the timer now very quickly here I'll show you what I've gone I've got some background footage of just some drone footage some aerial footage and then I've got a video or part of An image of a drone right here. So this is the image now the first step I'm just gonna delete this the first step is of course you want to drag and drop your video and your image into the project panel from there grab your image and Drag it onto the v2 or the video track 2 and there it is. It's right in the middle I'm gonna go ahead now and extend out the image so that it's the same length at least in duration as The video now the next step and this is where you can do a lot of your magic is you can just double-click on the image And you'll see a few options first you can just decrease the size So I'm gonna go ahead and decrease the size and you'll notice that it is decreasing Uniformly meaning that the size reduction is the same height as width-wise So it stays in proportion if you do not want that you can unclick this uniform scale And you can make it wider or taller or whatever and not keep it uniform But let's just keep it like that for now second thing. I'm gonna click off of it. I'm gonna go ahead I'm gonna double-click on it again I'm gonna move it up here, and you're gonna notice here that I'm moving it around This is the other option all you're gonna do is double-click on it And then just really just drag and drop it to wherever you want it to be so that's another thing You'll want to look at also you can rotate it now you double-click on it like I have here You can go to your effect controls panel and over here There's a rotation option if you just sort of slide it one way or the other You can actually rotate it just like I am here, and you can actually animate that rotation If you really wanted to get fancy, but I could show you that right at the end here other than that So we've got rotation. We've got position. We've changed the size so that we've rescaled it Let me show you how to quickly animate it as well. Why not right? We're here We might as well do it you've got your image right here at the start What you can do is you can go back to your effect controls panel left-click on the stop watch And you'll notice here that my playhead is at the beginning and then let's say after like five seconds or so Whatever something like yeah five seconds. I want it to go to move it over to this side you'll see here that it has a Little bit of a trace here and what happens is I've gone ahead and animated it because when I clicked on that animation switch watch Starts where we said it was and there we go. We've got it animating over time So those are the main ways you can overlay and adjust your images I've got a lot more tutorials coming up guys if you have anything you want to learn. Let me know. See you soon


This is stock number 90206A. We are here at Summit Automotive in Fond du Lac, Wisconsin. You're new and used RAM headquarters. Remember we are the guys with the trucks on 41 today. We are taking a look at this super clean 2015 RAM 1500 crew cab Short box this truck has the 3.6 liter v6 motor From this HD video you will be able to tell that this RAM is very clean all the way around inside and out Bright silver Metallic is the color we shoot all of our videos in 1080p So if you have HD capabilities on your computer Tablet or smartphone device turn them on right now because it's like you're right here looking at the vehicle with me Comes with the 20 inch factory alloy rims with the chrome covers and it has brand new Goodyear Wrangler SRA 275-60R20 tires on it. We put these tires on in our safety inspection So they are brand new headlight lenses are nice and clear. I didn't see any dents or dings on the hood Passengers side fender is in nice shape as well And the passengers side rim is no scuffs or scrapes Those tires are brand new too And as you go down this side of the truck you can see just how clean the body is how reflective and mirror-like that paint is We take these HD videos. So if you are far away or even if you're close by You just can't make the trip down You can still see the truck here the truck and have confidence in the vehicle that you're looking at before you even get here the cab is an excellent condition and Very very cleaned on this side of the truck all the lower rockers look really good as well And the back rim is in nice shape too Back tires brand new as well And it does have the plastic wheel well liners which keeps your frame and underbody Looking great for many years to come See those rockers look pretty good as we come around to the back of the vehicle The rear bumper is in excellent shape no dents or dings and that does have a full towing package Which includes a receiver hitch four pin and seven pin wiring The tailgate is in nice shape Has a backup camera no major dents on that And it has a very nice spray and bed liner The bed itself is in excellent shape That tailgate shuts nice and solidly And as we come around to this side of the vehicle very clean down this side A couple tiny little scratches on here, but nothing too major Back rim is in excellent shape as well That tire is brand new too Didn't see any dents or dings on the doors does have heated power mirrors with the built-in directional signals Inside the big horn package gives you the gray cloth interior. There are no rips. There are no tears on these seats And they are in excellent shape Considering this truck has close to 100,000 miles on it power driver seat Weather tech floor mats throughout and it does come with power windows power locks and power folding mirrors Comes with the auto headlamps and as we hop inside the truck here Can see that this one has 98,400 miles Compass outside temperature display and digital speedometer Comes with a heated leather wrap steering wheel That is in really nice shape cruise controls on the right Bluetooth and information center controls on the left. You got radio controls on the back Comes with the 8.4 touchscreen radio What's cool about this radio is that even though it doesn't have nav You can get nav added to it for 595 bucks. See your sales professional for more details This is also where your backup camera shows up So Climate control factory brake controller heated steering wheel and seat buttons stability control You can turn your front and rear bumper sensors off push button four-wheel drive eight speed automatic transmission Passenger seat is very clean as well No rips or tears on that this truck smells very clean I don't think it's ever been smoked in and the headliner is in really nice shape as well Comes with the power slide rear window map lights and your homelink buttons for your garage door security systems and lighting systems Has the 911 and assist buttons in the mirror those are features of the vehicle You never have to pay a subscription for we'll take a quick look at the back seats and then we will check out under the hood Back seats just as clean as front seats. No rips.  It does have a load floor. What's a load floor for? Well, you put it down like that. You have a nice flat surface if you got pets They can lay on it if you got muddy boots or dirty tools you can put them on there and not wreck your seats Underneath here is more storage and a bungee cord bonus factory floor mats back here very very clean And it does have the in-floor storage right here That storage bin is removable for easy cleaning. You can put ice and drinks in there and it's like you have too many coolers wherever you go Thanks for checking out the video today. I'd personally like to thank you And uh, hopefully from this video you'll been able to tell just how clean this truck is all the way around Under the hood we have the 3.6 liter pentastar v6 motor engine bay is very clean runs very smooth This truck has been fully safety dan inspected by our service shop has a fresh oil and filter change All the fluids have been checked and topped off truck has been gone through mechanically 100% has four brand new tires and is 100% ready to go to see more pictures of this truck or one of our other 450 new and used cars trucks sevs mini vans wranglers half tons three quarter tons one tons Do you name it? We got to go to our website www.summitauto.com full pictures and descriptions of every single vehicle on our lot Videos of every single used vehicle that we have all at summit auto.com Thank you so much for checking out the video if you want to check out more you can go to youtube.com Summit auto remember to like subscribe and share on this video and all the videos that you see there In fact in a second you will see link to subscribe to our youtube channel on your left It linked more half ton truck videos like this one on your right If you have not been to our website on the bottom a link to this vehicle on our website click those check us out We really look forward to helping with this super clean 2015 ram 1500 crew cab short box big horn. Thanks again


I'm excited to see it's called Spotlight, and I thought we could talk a little bit about that film because I talked to some Boston Globe reporters who thought the film was so well done, they got to see it, but I thought if you could explain it a little bit to people. Sure, it's essentially the story of the Boston Globe uncovering the child abuse scandal that the Catholic Church was wrapped up in, this was around 2002, 2001, 2002, and it was a groundbreaking piece of journalism because not many people were willing to confront openly the infrastructure and the institutions that were supporting a long lineage of abuse. Can we talk a little bit about the lawyer you played because he wasn't as excited about the movie even though he hasn't seen it? So I wanted to hear... Okay, let's start with the fact that he's a lawyer, so he understands the law and I have to be very careful about what I say so that I can save some of the money for the rest of my child's education.  So this guy, the way that he's structured narratively, again, is sort of an antagonist. At certain points, because he's a go-between between the church and some of the victims and the way that you always try to do it, I think, is all of us, we consider what we're doing from day to day ultimately is going to be good for us, whether or not we're using long-term judgment or short-term judgment. Every choice that we make is something that we think in that moment is going to be good for us sometimes. It's for the good of the community sometimes. I think I get all of that, but for you, how do you balance playing someone who's a real human being? Well, so that's it for me. The best that I can do with my career is to humanize the characters that I play. That's the absolute best I can aim for and achieve. Most of the deliberation goes into the projects that I want to be involved with and the characters that I have a chance to play. If I can bring three dimensions to them, a complicated, and this is a complicated story that takes consideration. You have to take time to consider what this problem is in order to really undermine the inertia of the force of these institutions that want to keep you from changing the system. When everyone's culpable in this particular... Everyone is culpable. That's the point of the story, is it takes all of us to contribute to this kind of institutionalized abuse.


Hello everyone and welcome to today's episode on Psych2Go, where we're going to discuss the origins of moral psychology in a little bit of a different format, so strap yourselves in. Today we're going to discuss the distinction between intuition and reasoning as illustrated by Jonathan Haid in The Righteous Mind. So, I tend to prefer to do my psych talks behind the wheel, so thank you for taking the time to hop in the passenger seat as we fly around Brant's hatch here. So, what is intuition and how is it distinct from reasoning? Now, it's important not to conflate these two things because they're based on different processes and serve different functions altogether. Now, intuition, that's that initial, very visceral reaction that we have to stimulus that we encounter in our environment, and it leads us to feel either that feeling of approach or that feeling of, you know, avoid this completely. Now, after the process of intuition occurs, reasoning follows along right behind it, and in the same way a press secretary would justify the words of the president, the reasoning comes along to justify the initial intuition. Now, this can obviously be good or bad, but once people have that initial intuition, quite often it becomes very difficult to change it using reasoning. So, this is where people can often get into rather heated arguments where reasoning doesn't really seem to be helping the situation very much. Now, this is often because you're using reasoning to try to change someone's intuition, and it doesn't really work that way. Because again, that intuition is initial, it's visceral. There's not really a lot you can do to control it, and your intuitions are largely going to come from your environment growing up. So, let's see if we can maintain our lead over this guy here, because he is right in the gearbox pretty close. I might still be able to clock in under two minutes, so what is it that this purpose of moral reasoning serves? Well, really it's to keep track of each other's moral transgressions and ensure that we can maintain a sense of collaborative group cohesion. So, more on this topic from Jonathan Hayes' book, The Righteous Mind, which you guys should definitely check out. We'll leave a link in the description, and thanks again for joining me on this episode on Psych2Go.


Hello and welcome to NewsClick. Today we are going to discuss with Dr. Satyajit Rath, who is one of the people who has been following this issue and also is technically competent to talk about immune system, reaction of the immune system to COVID-19 and various other issues. Satyajit, recently one issue that has come up is that a lot of the COVID-19 infections are airborne, not just through what are called big particles, which are easier to stop and so on, but through what is called aerosol, small droplets, which stay in the air, can float for a much longer time, do not drop to the ground very rapidly and also operates through what's called the air conditioning and ventilation system, which can therefore affect large buildings, where a lot of this actually are sort of shared through the air conditioning system. So the virus can spread to the air conditioning system if a number of people are in a closed hall, even if the hall is large, which is large gatherings, this seems to have an effect. So do you think the aerosol issue is really something which we should take much more seriously now? Okay, so this is obviously exploded into the media and public discourse over these past three days or so, ever since a couple of Australian authors I think led a 200 plus researcher letter to clinical infectious disease, suggesting that we, suggesting more accurately rather than we, that the WHO should be much more focused on the aerosol issue than the WHO has been so far. WHO has been more or less denying that aerosol is a major cause of concern and is really focusing on droplets and surface contamination through droplets. So to be fair to the WHO, the WHO has not actually denied that aerosol issue. The WHO has simply said that the evidence with regard to aerosol as far as the WHO's own technical committee is concerned is somewhat equivocal at the moment and therefore they are not taking a position on it in formal recommendation terms. But let me get both ourselves and our listeners to step back a little. You see, the fact of the matter is that the virus spreads from one airway to another airway. The way it will spread is that the airway will put out virus in droplets of a whole variety of dimensions. When you say airways, you mean the human being? Oh, airways of the human beings, presumably airways of the bats as well, but that's a couple of years ago, so let's not worry too much about that anymore. But the reality is that you're going to have all manner of spread to be statistically possible, whether it is through large droplets, small droplets, whether it is through droplets directly inhaled or droplets falling on some surface and then transferred by my touching the surface and then my touching my nose. These are all just variations on the theme. So the first thing we must remember is that this is not some completely different method of transmission. These are all just variations on the theme. The second point is none of this has a breakpoint. Everybody talks about dogas duly, the two meter distancing, but the two meter distancing is not because transmission remains exactly the same, whether you are two inches away or dogas away and then when you are two inches beyond two meters away, transmission falls to zero. That's not the case, although when we speak about this in public discourse and we say, keep two meter distances, we begin to make it sound inadvertently as though that is the case. And I think this is a good time to remind ourselves that as you go further and further away from each other, there is a gradual decay in the likelihood that infection will reach. That's because actually much larger volume will take place. You draw a sort of hemisphere around you, so the volume reduces for you in terms of your ingestion, the further away you go. That's one point. The other side of that is that when I sneeze, there are very large droplets which don't even travel six inches. Then there are smaller ones and smaller ones and smaller ones. There is a whole distribution also. So you're always going to have some likelihood. The real question about recommendations of a cutoff kind is, at what point do you recommend the cutoff? And that point needs to exclude a lot of possibility and yet be practicable. That's always going to be a shifting zone. So we need to keep the reality of this continuum in mind rather than getting head up about, are you three inches on my side of the two meters or four centimeters on your side? Exactly similarly, think about the aerosol problem now in context because what we now have is, do aerosols matter? Now, if you are in the marketplace in India where you're buying vegetables from outdoor vendors and somebody sneezes, there is an aerosol but the aerosol dissipates in the open air and in all likelihood never achieves enough concentration to manage very strong transmission. Does this mean that nobody will get infected? Not at all. Let me interrupt it for a second. So the issue is one is of course that the transmission itself takes place. The second is what is the concentration which you ingest so to say through your air base and so therefore the degree of dilution in open and closed spaces could be very different. Number one, add to that the basic energy saving pattern in air conditioning where air is a substantial proportion of the air is recycled, which then exposes you over and over again. Now keep something else in mind, it's true that large droplets don't travel very far but because the droplet is large, there will be many more virus particles in the droplet. It's true that a small aerosol droplet will travel far but individual aerosol droplets will inevitably have fewer viruses. So there are these trade-off continuums all around in a variety of ways. So the question here is not is aerosol transmission possible? Of course it's possible. The question here is not should we worry or not worry about aerosol transmission? Of course we should consider aerosol transmission just as much as we should consider surface mediated indirect transmission. The question here is what are the practical situations and strategies to function as advice with specific reference to aerosols? That's really the issue and that context closed door crowded recirculating air conditioning is always going to be an issue. The restaurant example of major outbreak that is commonly used is in fact a classic example where under an air conditioner outlet there were three tables and people at all three tables got infected but remember that nobody else in the large room got infected. So it's essentially a matter of people getting exposed to aerosol over and over again. Is this an impossibility? No not at all. Should we be concerned about this? Absolutely yes. Should we be aware of the specific situation in which aerosol transmission becomes a likelihood a high likelihood hazard that we should do something about? That's the point that we should. Satyat I had two supplementary questions to what you were saying. One is that it also means that closed spaces with or without air conditioning both are could be dangerous and therefore large public gatherings where this church and the religious places theater all of these in fact in fact choir practices you know that was one of the cases of a very large number of infections taking place one event. So what I call super spreaders but more accurately super super spreading events. So these are one one set of issues and therefore we have to take that into account when we talk about say reopening or lifting the lockdowns making it easier. What do you do with schools so colleges so those are all those all become therefore issues if we take the air aerosol also into account not because it was not known but because its importance is being stressed over and over again. The second issue is of course the care homes for hospitals particularly those who do not separate their air conditioning from the COVID-19 and non-COVID-19 sections for example Delhi now they're talking of small hospitals reserving 20% of their beds for COVID patients. Now is anybody ensuring that they have independent air conditioning system so that one side will not impact the other otherwise it's a recipe for disaster and right now we have 10% of the people who are healthcare workers both in India and abroad who seem to be falling sick with COVID-19 so this is a very very important segment. Absolutely so let me make two or three points to supplement what you said rather than debate it. The first is in biology research institutions for decades there has been a quiet concern about trade-offs. What trade-offs trade-offs between laboratories acquiring independent what we in India call window air conditioners versus institutions whole floors or even whole wings of buildings acquiring central air condition and one of those trade-offs that have been discussed is because biology laboratories are far less consequential infectious organisms going to spread so biology laboratories when they shift to centralized air conditioning tend to worry a great deal about not having too much of recirculation having filtration having sterilization and so on and so forth so that's something of an issue that we should bring into the larger framework that's one point. A second point is you make an excellent instance of closed door crowding versus open air crowding. Essentially the point that you made is a distinction between closed door crowding versus open air crowding and in closed door crowding because you're going to have ambient air not be able to dilute out the aerosol is likely to cause prolonged exposure and therefore increase the dose of exposure that's that's really the straightforward argument if you think about it in those terms for the current situation of the United States here is a salutary point to consider that when they opened bars and churches and I'm deliberately coupling bars and churches they opened closed door crowding yes of course when Americans of my persuasion went out on the streets to protest the murder of George Floyd and all the accumulated murders of African Americans they did so in open air crowding that's an interesting point that did not lead to an immediate rise the pattern seems to be indicating so far that the greater growth of cases is coming from closed door crowding than from open door crowding so that's my that's my second point it's a very interesting point because yes this has been discussed because when the George Floyd protest started there was a lot of criticism coming from the people who were anyway against the George Floyd protests that you are ensuring or endangering everybody this will spread the virus will spread they had a far greater concern for the virus before or after that and in fact they are also the sections who are not very comfortable with face masks have been opposing it as well so it's a very interesting mix of opinions we saw over there about the concern for the protests or shall we say the so-called concern for the protests and we have also been the forefront of asking everything to be opened exactly so so so it's because of that last point that I'm I'm offering this juxtaposition for us to think about in terms of routes of transmission and the air solace and my third and last point about this is to do with reopening of educational institutions and as you pointed out it's an obvious difficulty that you have closed rooms with students crowded and are you inviting spread so one of the things that again public spirited progressive faculty members in state universities across the United States are considering is something that I think we ought to be considering as well which is open air class make sense and for the United States their great concern is you can do open air classrooms weather wise for only a very short period of the year for us it might be more feasible although our general crowding and space constraining will have other constraints of the of a practical kind to think about but these are really issues of practical policy and strategy that this particular current peripheral throws up so I think that's and it's been very useful that's very interesting because yes except in May and June perhaps we could do with it and it's all very drains you can have tarpaulins and so on and yes there is an expenditure but much less than anything else and the 10th house is in any case a lying idol so it might be easy to set tents also so that there is some protection from rain at least in this particular period but it's an interesting issue that the government actually will is not thinking about this but is quite keen to promote digital learning distance learning which of course as we know is neither a complete learning and it also privileges a certain section who can receive home support as well as of course the technology by virtue of internet and other equipment so on that point let me make a couple of let me offer a couple of observations the first is that I think that this lacuna on the part of government to think about a far broader spectrum of strategies is related to the general difficulty that the government has in dealing with a public health problem rather than a law and order problem and in that transition where government administration is most comfortable with the smallest number of options in with which to work because because it's much less trouble and I have a certain amount of sympathy for that but it still doesn't make sense in any any realistic way connected to that is my second point which is that the anxiety of government particularly this government to maintain control is linked to its intense affinity for cyber strategies and it's it's liking for online teaching has a connection with its general liking for what I'm calling cyber control administration that's interesting but you know there is the other part of it for instance Kerala government has been able to provide for instance midday meals to children by getting it cooked and delivered to their homes and you see Bihar at the moment and rest of the lot of the other states are now waking up to the fact after various outrages have been expressed about how it was so important and the consequences for the children now to talk about sending raw materials basically foods in terms of cereals and dal to their homes and what about the cooking we'll forget about that for the time being but only now and that we have not in the government who have been as you said talked about it is a law and order problem have actually responded to it I also wanted to make one comment like you are making some offhand comments laterally that we make one lateral comment here but you look at the coronavirus problem is a law and order problem the putikodi tragic example of this two father and son duo being beaten to death for keeping their shops more than 15 minutes past the deadline open now this is also the consequence of treating the coronavirus infection as if it's a law and order issue which has to be handled with sticks not in the case of Hyderabad where they were taking temperatures or testing for coronavirus mistake but in this particular case with very tragic consequences absolutely I couldn't agree with you more on that one and that's precisely the kind of approach I meant when I keep referring to the government's lamentable conversion of a public health problem you know Satyajit there have been a lot of comments both in nationally and internationally that India has one of the most draconian lockdowns in theory in practice it never understood what the lockdown meant it never understood how you cannot have lockdown of this kind and expect results if there are six eight to a room and there are 30 42 a building so would you say that we don't seem to have understood what a lockdown should or shouldn't do in a country like ours and one of the reasons the lockdown failed and let's face it it failed because the numbers have risen consistently unlike any other major lockdown we have seen in the world that this is essentially a failure of what you call it the administrative shall we say the police danda approach or the cyber approach yes so let me let me simply elaborate on that for just a moment I said this when we discussed this in April post the first phase of the lockdown and we have been treating our response to SARS-CoV-2 and COVID-19 as a war which is an utterly erroneous simile to use and we have been treating the lockdown as an effective instrument of war that would stop the virus in its tracks which was once again not simply as a simile but as an actual strategy completely erroneous what we should have used the lockdown for what the that's what the only reason to have a lockdown for would be is to get a little breathing space for the apparatus of government to put together a plan and a portfolio of strategies for sustainable responses to controlling the spread of infection to maintain the spread at manageable levels that's what the purpose of the lockdown was the lockdown was always going to be useful only if and when it was used as a breathing space to develop the resources and the plans for the lockdown instead we have been using the lockdown from its national manifestation we have now come to its micro incarnations but essentially our only real response to outbreaks of infections has been locked out unlike the Kerala example and to some extent your native state of Orissa seems to also be doing something a little more well that will that will take much longer to discuss than we have today I suspect but Kerala has actually been much more you know has involved the people in the struggle relatively more and in the in the sense that involving various sections of the people including the Kutumbushri for example for cooking food for both people who are outstation workers not exactly migrant workers but outstation workers and as well as the children who are out of and let me underline this we're not using the example of Kerala to claim that success of COVID-19 related state strategies will lead to no infections because that's not the point and purpose that's not realistic just as much as the end goal of herd immunity is not realistic complete stoppage of infection is not realistic management and mitigation is really what is realistic so the question is not whether Kerala or has Kerala stopped all infections no but that's not the point the point is has the response been a sustainable and being managed to keep case numbers at reasonable levels so far the answer to both is yes and the answer to both is yes in large part because as you point out the state seems to have made a steady practice of involving the community Satyajit thank you very much for being with us and we hope that in this COVID times we are going to get you regularly to both explain to us and also sketch out for us the larger dimensions of the problem we are facing not only medically scientifically but also socially thank you very much this is all the time we have reduced click today do keep watching this click and also look at our website