Welcome to Monet Café. I'm artist Susan Jenkins. Join me in this pastel painting tutorial that I'm calling Lily Morning in Blue. It's really impressionistic and I love the effect of a painterly style when I create artwork on my own homemade surfaces. The video prior to this one shows how I create my own homemade boards and I give them different colors and I let the color of the board inspire me for the painting. So join me in this tutorial as I create on this gorgeous aqua blue board. Oh and if you haven't subscribed to this channel I really hope you will. It's lots of free content and it's fun. Also too a big thank you for my patrons on my Patreon page. It's because of them that I'm able to keep this free content coming. You can become a patron if you would like. It's only $5 a month at that link right there. And a big thank you for this lovely reference image. It's from Azalea Lynn.  She's from the Monet Café art group on Facebook which is a great community of artists. You can learn so much and there's so many resources as well. Now here are the pastels. I used this set a lot, the Sennelier 40 half-stick set. I love Sennelier pastels. They are soft. I know they're a little expensive but this little 40 half-stick set really allows me to create many times paintings in themselves using mostly just these pastels. And I always recommend half-sticks whenever possible. You can get double the pastels for your money. These are some of the additional pastels I used. Some of them are terry Ludwigs. The square or rectangular ones are terry Ludwigs. And I'm using a Prismacolor new pastel, spelled N-U pastel, to just get in a sketch. Now I decided there was a lot going on in this reference image. You will have some real time in this by the way. I'm speeding up the sketch. But this particular reference image, as beautiful as it was, there were some elements I decided to leave out. It looks like there's a screen behind in the middle left area there. And I also felt there was a lot of lilies going on. They're actually, I don't know if these are lily pads. These are more like elephant ears. Or again, you guys help me all the time with these flowers. They look a little bit like elephant ears to me. I played around with this a lot and had fun with it. But I decided to change some things. You will see as I work to actually make some of them more like lily pads with a little bit of water in the center. And later you'll see kind of that area I'm working on right there. I felt like I wanted more water showing on the left side of that main kind of elephant ear stalk that's coming up. But typical for pastel painting, I'm getting in some of my darks. Even though the sketch is pretty loose, it gives me a roadmap. And I'm squinting my eyes. If you squint your eyes and look at the reference image there, and you look at the areas I'm adding this darker value to, you can see I'm just kind of giving myself an idea of where some of the darkest values are. Now something else you will see me do in this lesson that I actually sort of discovered not too long ago that works really well on these boards. I think it would work on other pastel papers too. But when I need to blend an area, a lot of times if something just looks too rough, and these homemade boards are pretty textural. But if you want to soften something up, you don't want to have let it have that much texture, kind of like what you see I'm working on right now. You can often use blending methods that's like a piece of pipe foam insulation. Sometimes I use a chamois cloth. Sometimes just to blend quickly, I'll use my finger. But here, I found that you can use a stiff bristle paintbrush not just to kind of erase an area. That area was a little bit too dark, or I changed something up in the composition. I think I had added the value in the wrong spot. But also later you will see me, once I get a few more layers down, you'll see me soften things with the same paintbrush approach. So it's kind of handy to keep a stiff bristle paintbrush, that's like a tongue twister, near you to either knock some pastel off if you need to kind of correct an area or blend it in. Now this is where I'm picking up some of the pastel and I'm almost using it to get a little bit on the paintbrush and make some marks and make some almost like sketching with it and softening as well. So you'll see me use this technique throughout and you see it definitely softens things up.  I happen to really love a lot of texture. But sometimes the subject matter doesn't lend itself to a lot of texture. Then you may consider using this technique. You'll also see me, I'm giving a lot of commentary here because I'm going to play some music and you guys can just remember these things I'm saying and take note of it. But another area in this that I wanted to keep soft was the water in the background. I do end up with still some texture in the water, but there's sometimes that I use the brush to kind of blend the water a bit and give some of the areas in the background a little bit of a reflection. So I just wanted to point that out with this brush technique because I don't think I've used it a lot in previous videos. Now I'm still working on the darkest values and with this flower, now this is the star of the show. You'll see me, I decided I wanted to add a few more flowers to this to make it a little more balanced. So you'll see me later add a few more flowers. But you would think this is so bright pink. Why didn't you just grab a really bright pink, reddish pink? And it's because if I just put the pink down alone, there's no contrast. So I usually work darker to middle to lightest values. And now you can see when I added that little bit of pink right there on top of that darker red, it almost gave it that little shadow of a petal. Now you may not see purple in this flower. I actually do see a little hint of purple on my screen, but purple is a great shadowy color. Areas that are a bit more on the cooler side or in the shadow side, I always say when wondering about color temperature, just think about what happens to you when you're in the shadows or you're in the shape.  So colors typically cool off, which means you're going to be more on the cooler side of the color wheel, which are more like blues and purples. Now this is an area where I was going to go ahead and get some of that background grass back there. There were some other lily pads going on. Later you'll see I felt it was competing with the main subject matter. It's still pretty soft and subdued here, but I decided to brush it out a bit, soften it with the bristle brush, and make it very subdued and impressionistic in the back, out of focus so to speak, because I didn't want it to compete with that main flower. So one thing that you can see here, or you will see as the painting develops, is you still have a lot of flexibility and a lot of layering capability with using your own homemade boards. You could of course do this lesson on whatever surface you have. You guys know I like to work on watercolor paper a lot. I'll do a nice watercolor underpainting, then I'll apply some clear liquid gesso, not regular gesso, clear gesso for two reasons. It's clear if you paint over your watercolor painting. You can see through it, you know, to put pastels on top. And clear gesso has a little bit of grit, a little bit of sand in it that acts kind of like this board. It gives you some texture for the pastels to hold on to.  So check that video out, but I believe this recipe was using, I believe I toned the board first. I might have added acrylic paint. I think I did. I think I added acrylic paint to the clear gesso and some golden fine pumice gel. You could use just clear gesso if you want. So instead of trying to, you know, give that all of that information here, check out that video, get the free recipe card, and maybe play around with that yourself. But once again, you can use whatever you have. You may have a already prepared pastel surface. You can do this on other mediums too. I mean these, the neat thing about pastel painting is even though the consistency and the the make of the medium is different, actually the concepts are very much the same as acrylic painting, oil painting, and really pretty much like wash painting. The mediums are opaque. The only different one that I work with a lot is watercolor. It's a little backwards. You don't put your darkest layers down first with watercolor. You usually preserve the light. You keep it light and work to dark. So definitely try, I mean if you wanted to do this in acrylic, the same things apply. And now the water in the background, in the reference image, it's pretty green, right? But I don't know for some reason I thought this blue background, I wanted to keep it peeking through. I wanted the water to appear blue. So I'm going, now I'm adding a cooler green. Okay it's not as warm as the green I put down before and you'll see me blending it, but I like this aqua. This is back to what I was saying here and in the Make Your Own Boards video is one of the common questions I get is how do you know if you're going to start a pastel painting? You know I don't like to work on white surfaces. Often I'll just tone the board or I'll do a you know a general underpainting. And the question I get is how do you know what color to tone the board based on your reference image? And sometimes as in this example, making your own boards, you let the color of the board inspire the choice of your reference image rather than vice versa. So that's what I love about making these boards. I've got one that is a brilliant red, like a crimson red. I made one that's a lime green or a couple. I made one that was purple and then I made quite a few of them. That's my favorite color which is a golden color. Again, check out that video to see. But now you can see how I used even my finger to kind of blend that background but I'm keeping some of that aqua showing through. Now this is sped up only slightly. I ended up spending more time on this little painting than I ever would have planned. I got called away quite a bit during this process.  For me, I share behind-the-scenes stuff in my studio and sometimes I'll share some of the things that are going on in my life which is why sometimes I have to take a little break and handle things. I know you guys know about that. Everybody's got a crazy life, right? But the reason I got pulled away from this painting a lot is because many of you may know my own mother passed away. Gosh, what has it been? Four months ago? It feels crazy that it feels like it was yesterday and it feels like it's forever at the same time. But before that happened, my husband and I were literally had moved my mother-in-law, his mother, into our home because she had terminal cancer. They only gave her two to four months to live. And so after my mom passed away unexpectedly, I wouldn't stay with my dad for three months and, you know, just to help us all through it. He lives about three hours away. And then I finally came back home where my husband had been taking care of my mother-in-law and she has actually done better than many people thought. She's still terminal but they think she may have a little longer and so we've been trying to find her a place. dementia has set in. You know, some of you guys, I used to say, I'm sorry I'm talking about this stuff, I've had a lot of you guys comment and say, I love listening to you talk, so pardon me for sharing this. But again, the reason I got pulled away a lot is we've been trying to find a facility for her that is a good facility. Again, she's got dementia, it's getting to where she doesn't really know who people are anymore and it's getting to be where the level of care is intense. And my husband and I have been handling that along with hospice. But it's been hard. Anybody been in that situation before? It's emotionally, physically, and spiritually a lot of heartache with all of that. So anyway, so we have finally found her a good place. I think it'll be great for her, just the social element involved. She's very social and very sweet. So that has been a lot going on in our lives. So we actually are going to be leaving to go to Mississippi fairly soon and I wanted to get this video processed and out so you guys could enjoy it and maybe paint from it yourselves. If you're a patron of mine, you know if you create from this video, we have a homework album and you share it in the album and I get to see your work. We have lots of ways you can share as a patron of mine. So this will be my last video upload for until I can get back, get all that handled and get back. So and you guys are so awesome. Many of you guys, I know you're praying people. I so appreciate your prayers. I pray for my patrons and we, you know, we all have times in our lives where we need support and love. All right, so comment if that was TMI, too much information. But I wanted to let you know a little bit about what's going on behind the scenes in Monet Cafe. Now I felt I, I was trying to get these shadows. You notice that main elephant ear in the center. It had a lot of dark values and also dark values create contrast, which will help it be a focal point. But I felt like I fiddled around a little too much on that lily pad and I end up softening and and re-establishing and softening those edges. So that that became something I worked a little bit too much on. Just so you know, so you guys won't do that. And once again, this background I'm working on here, I'm getting in the general shapes, but you'll see me later. Soften the whole thing. You see right now how it's kind of confusing that main lily pad and flower. There's too much going on. I just had a lesson on this in my Patreon page. We also have something usually once a month that I call critique my painting please. And it's an opportunity for my patrons to submit one piece of their artwork. It doesn't even have to be from one of my tutorials into our critique my painting album. And it's an opportunity for them to have a chance for me to give some constructive feedback on their artwork. It is truly a Patreon favorite and I just had one. And I was talking about keeping your level of information to a minimum in a painting or at least giving it a strategy to where other elements that are not the focal point are more subdued. They're not getting as much attention. So that's what I did myself in this painting is realized I had a little bit too much going on. So now I'm giving a little purple to create some shadows in this. And you know, I am not talking on this a little bit more than I thought I would. I hope it's helpful. But I think now I'm going to add that lovely music that was at the beginning. I don't know. I felt a I don't know. I'm like an Asian influence on this with the subject matter for some reason. I love that type of music. Whatever the instruments are in some of the Asian types of music. And I just love the Asian culture. I really do. It just seems so peaceful and wonderful. So anyway, I'll add a little bit of music here. I don't think I have enough of that one song. So I may add a few more songs you guys enjoy to the end. You know, I'll be back and I hope you guys have learned thus far. All right, I'll be back soon. This is the point where I mentioned earlier. I realized that one little pad behind it. I realized I just wanted more water showing. So I don't know how I've held this paint on my arm. But again, the strategy I just turned it sideways. You used my stiff bristle brush to kind of brush off a lot of the pastel. And what that does in essence is it kind of regains some of the texture to be able to add more pastel. So you see it's still very textural here. And I'm covering up that other lily pad slash elephony or whatever it is.  If you pull down when you're creating the concept of water, it really makes it feel reflective and flat. You would think that you brush across it, but really we save that horizontal stroke for adding a highlight or a flatness to the water. So I continue to work on the water a bit. And again, I didn't want to get the water too smooth because I really liked the texture. You know, I don't know how you guys feel about that. But sometimes I just think it's kind of fun and expressive. So anyway, you can see too I added sort of some of the little water in the actual little what I turned into lily pads. And I thought it was fun. Here's a little frame. It's only a five by seven painting. I love these little frames from Ikea. So I hope you enjoyed that. And again, I hope you'll subscribe if you haven't and become a patron if you'd like to support this channel. And God bless you all. As always, happy painting.


Hello everyone. Before I begin, please hit that thumbs up and down below. Thank you. 10 reasons why narcissists manipulate and punish you. People with this disorder will exhibit a pervasive pattern of behaviour. Where they need excessive admiration. While they have a lack of empathy and a tendency to engage in exploitative relationships. Because they believe they are entitled to privileges and special treatment. And indisputable compliance with their wishes or demands. They may also demand perfection from themselves. While projecting this same desire for perfection onto other people. Who inevitably fall short of their expectations. But although they may seem arrogant and entitled, they're actually very insecure. And believe it or not, but they actually fear abandonment more than anyone else. Because they felt abandoned by their parent or caregiver in their childhood. And it was a very painful experience for them. So they don't ever want to go through that again. Which is why they will often discard their victims first. Even though they may not want the relationship to end. But they just don't want to be on the other end of it. So at least if it's on their terms, they can feel like they're in control of it. But they will rely on their manipulation to prevent it from getting to that point. By engaging in deliberate and deceptive behaviour. Which is intended to influence and control people for their own personal gain. You need to understand that these are predators. And they are seeking vulnerabilities for them to exploit in their targets. So that they can gain an advantage over them. And get them to behave in the way that they would like. Narcissists are skilled manipulators. They have had years of practice that have identified vulnerabilities in people. So they are masters at observing people's emotional states and life circumstances. And they use this knowledge to create a false bond. Which then creates an illusion of intimacy and trust. So clearly, manipulation is very important to narcissists. It's something they can't live without. And there are many reasons why they do it. In this video, I am going to give you 10 main reasons. Why narcissists manipulate and punish you. 1. A need for admiration. Narcissists have an insatiable desire for admiration. They need to have the spotlight at all times. They demand constant validation. Because they need to feel important. But there's really no reason for anyone to notice them. Because they have no inner sense about you. They have nothing to bring to the table. Which would be worthy of anyone's attention. So they have to resort to manipulation. To ensure that they do remain the center of attention. Even if they have to lie, future fake. Or even hurt people in the process. Because they don't really value friendship or connection. It's just all about them. So from their viewpoint, relationships revolve around exploitation. Where they see people as objects for them to use. As tools to serve their own desires and needs. Which is why they will use manipulation to extract attention, admiration and even resources from those around them. And they will do that because for them it's a survival tactic.  It's every man for himself. It's survival of the fittest. And unfortunately for them they're not in the best shape. So for them to thrive in a competitive world. They believe that they must manipulate people. To secure opportunities, resources and relationships. Where they are ruthlessly and relentlessly driven to come out on top. Because they have a scarcity mindset. They believe that there are limited resources. Or that they are unable to provide for themselves or other people. Which leads to intense feelings of anxiety. Where they endlessly obsess over the what they lack. And they're just constantly trying to hold on to whatever they can get. While thinking that it's going to keep them afloat. But it never does because they're never satisfied. So no matter what they have they always need more. And it's because they're obsessed with rejecting an image of whatever they deem to be successful or superior. Whether it's wealth, physical attractiveness or intelligence. Or maybe they have six toes. It could be anything. It's whatever they view as a source of power. Or whatever they see as their claim to fame. But the irony is. That they all walk, talk, act and dress exactly the same. And yet they believe that they're special, important or interesting. Despite this they will still go to great lengths. To ensure other people perceive them as highly trained. Or skilled in a particular activity. To lack of empathy. Narcissists don't care about anyone but themselves. They are driven by their own excessive interest in an admiration of themselves. And often their own physical appearance. They're so self-centered. That they even fail to distinguish themselves from external objects. So they view people as extensions of themselves. And they experience the world vicariously through them. Instead of experiencing it directly. Because they can't or because it doesn't fulfill them by doing it that way. Which is ironic because they lack empathy. Which means that they actually struggle to understand and relate to people's emotions and needs. Even while they're experiencing the world vicariously through us. They don't fully understand how it feels for us. They can't put themselves in our shoes. Even though they can see the world through our eyes. They can't feel what we feel. If they could. Then they would never harm us. But they can't. And this is what allows them to exploit us. Without experiencing guilt or remorse. Because they exist in a present inside their own minds. They feel no connection to us. They can only pretend. Three. Fear of rejection and abandonment. Narcissists may act bold and courageous. As though they're unmovable and unfazed. And they cannot be worried, disturbed or dismayed. When this is actually just a front. To compensate for the fact that they are terrified of being rejected and abandoned. Is their worst fear. And nothing hurts them more than that. Because they are heavily dependent on other people. They can't be alone. So without a constant source of admiration and validation. They believe that they are nothing. And in many ways they are nothing. Because all they have is a false self. They have no inner sense of value. And they can't generate any power or energy from within. Which is why they have to manipulate people to keep them close. Because without their much needed admiration. They want to know what to do. It really is their Achilles heel. They can't live without it. Four. A need for control. Narcissists have an overwhelming and obsessive need for control in every aspect of their lives. And it's because they're very insecure. They lack self confidence. And they're very unsure and anxious about themselves. So they need excessive control to compensate for that. They will manipulate to gain power over people and the environment. They plan and coordinate the elements of the situation to produce their desired effect. And to ensure that they remain in a position of which they are able to control what happens. Because they're very insecure within themselves. Which then makes it nearly impossible for anyone to govern themselves or find their own independence. Because that then threatens the narcissist's need for control. Which they use as a source of stability and security to compensate for their internal state of chaos and dysfunction. Five. Arrogance and entitlement. Narcissists are very arrogant. They're not just showing confidence in themselves. It's not that they're certain of their abilities. It's a delusion. A fantasy that they have created inside their heads. And because they've been successful at manipulating people in the past. They have trust in people following their agenda and succumbing to their will. To where they may fail to resist pressure, temptation or some other negative force. And that is why they're so arrogant. Because they've thrown other people under the bus in the past. So they assume that it's how it's going to go down for you based on their past successes. To where they become very full of themselves opinionated and self-important. And they develop the sense of entitlement where they expect people to comply with their desires. But their beliefs are enforced solely by their manipulation. And they share delusion with their target. Rather than at any actual measurable success or achievement in reality. It's just all in their heads. And yet they take it as though it indicates their importance or significance. When this is just all in their minds. They haven't actually done or achieved anything. Six, a desire for power and dominance. Narcissists are power hungry. They have a strong desire for power and influence over other people. To where they will be very dominant. And they will show themselves as more important, strong or successful than anything else of a similar type. In an attempt of forcefully taking control of you. Because they want all of the power for themselves. So they will use manipulation and control to reinforce their sense of superiority and authority. And with little regard for personal boundaries. Seven, competition. They will invade and violate boundaries without hesitation to maintain their control over you. And they will even compete against other people. In order to achieve their desired results. They view every interaction as an opportunity to prove their worth. And outshine other people. So they will manipulate you to ensure that they stay ahead of the game. And in a position or situation in which they are likely to win and succeed. No matter the cost to those around them. Eight, to maintain their false self. The more grandiose the exterior. The more fragile the sense of self. It's a facade. They're projecting a false self image to the world. And they manipulate to sustain this illusion. Which they use to protect themselves from the reality of their flaws and insecurities. And it's why they will isolate you. And control who you interact with and what information you receive. To ensure that you become increasingly dependent on them. So that you will continue to validate this illusion and false image. And they will even use gaslighting to distort reality. To make you doubt your own memory, perception and sanity. So that it keeps you in check and protects their false image. They will twist the truth. And create detailed and complex falsehoods to serve their agendas. So that they can craft false narratives to suit their needs. Because they thrive on drama and chaos. So they need to create turmoil in relationships and situations. To keep the spotlight on themselves. And manipulation is their tool to orchestrate a dramatic sequence. With development of events. To feed their insatiable appetite for attention. They also manipulate to perpetuate the cycle of abuse. To where they alternate between being charming and abusive. To restrict your movement and keep you emotionally tied to them. To where you're uncertain about their intentions. As you struggle to understand their purpose or goal. Nine. To avoid shame. Narcissist fear being exposed as imperfect or weak. So they will manipulate in order to avoid shame and humiliation at all costs. Which may involve shifting the blame onto you. Or creating falsehoods and distorting reality. In order to protect their fragile egos. Because beneath their facade of arrogance and superiority. Lies severe emotional instability. Narcissist experience extreme emotional fluctuations. So they manipulate as a way of controlling these emotions. By exerting dominance over you. Because it allows them to protect their shortcomings onto you. Instead of them having to accept their own flaws and imperfections. Manipulation helps them to divert attention away from their faults. By accusing you of the very things that they have done to you. Ten. To play the victim. Narcissist are highly skilled at playing the victim card. They will fabricate and exaggerate victimhood for a variety of reasons. Such as to justify abusing you. To manipulate you. As a coping strategy. To seek attention. Or even just to evade responsibility. They will manipulate situations to make it appear as though they were unfairly treated or wronged. To gain sympathy and support from other people. And further reinforce their control over you. While being able to avoid accountability for their actions. Because their manipulation allows them to shift the blame onto you. And deflect accountability for their mistakes. Which then allows them to maintain their faultless self-image. When all in all it is a deceptive facade of success. And it obscures their happiness. Because it is just a facade. The truth is they have nothing. They try to convince themselves that they're happy. But the truth is that they're empty, hollow and lonely. Because they lack meaningful human connection in their lives. All they have is their sources of supply. Superficial friendships, enablers and flying monkeys. There's no one who sees the real them. Because there is no real them. All they have is a false image and a false self. And that's what people are validating. But underneath it all they're still miserable. Because they know that it isn't real. Thank you for watching and I'll talk to you soon.


Hello, folks. Do you manage and operate the backup infrastructure for your environment? And if so, do you have to stay compliant to some regulations or policies? If so, this video is for you. We're joined with Aruna Samandra, Principal PM for the Azure Backup Team, and we're going to look at this right now. Hey, Aruna, how are you? Hey, Pierre and Diggard, how are you? I'm doing wonderful. Listen, I've got a question for you, and it came up when I was doing a review of some requirements with a friend of mine who works for Company X. They are looking at ISO 27001 certification, and the certification actually states that backup copies, information software, and system images, and I'm reading this here, shall be taken and tested regularly in accordance with the agreed backup policy. So this is the letter of the law for the ISO certification. Does Azure Backup Center helps me facilitate that? Yes, it does. So what Backup Center does is brings together the capabilities that Azure has with respect to Azure policy and lets you take charge of what's the desired backup goal state that you want to get your organization to, define Azure policies to that desired goal state, and then track compliance against that using Azure policy and compliance. So let me actually show that to you using the Azure portal. Okay. So here we have our familiar Backup Center overview page. If you look at the left tab, there is a section called policy and compliance. And if you click on Azure policies for backup, what this does is this seamlessly brings in the Azure policy experience, but focused on backup. So right here, you'll see all of the Azure policies that are available, but they've been actually filtered to the backup category. Again, you'd get the same view if you went into the Azure portal, clicked on Azure policy and clicked backup. But our goal with, again, Backup Center is to make sure we get you all of the relevant information that helps you focus on your core task being backup. So here, for example, you can see both your built-in policies as well as any custom policies that you have written for backup. And you can use these policies and then assign them onto your desired scope.  You want to say, I have these production VMs that have been tagged production equal to true. And for those kind of production policies, I need to retain them for, say, three years or seven years. So you can then go into that Azure policy, configure your policy of choice, assign it to the scope that you are interested in in terms of the subscriptions, the resource groups, and ensure that that Azure policy sets the required vault, the required underlying backup policy that triggers the schedule and the retention goals. So super simple and seamlessly blended within backup center for you. And so another aspect of that is, one aspect is defining the policy and assigning it. The second aspect of that is tracking compliance against it. So what backup center does is also shows you the compliance views for these Azure policies. So if you clicked on compliance, you see here a view of the compliance state for the Azure policies that you've assigned. So in this case, I have a bunch of Azure policies that I have defined for different subscriptions. And I see a view of the resource compliance for each of these. So for example, this policy, the scope that is assigned for is like all fine. But for this particular policy assignment, it's only compliant for 45%. So if I click into that, I can actually see which of the resources are non-compliant. And then I can take direct action on them. Okay. And you can take direct action on them like directly in that view? Or do I have to like write down the name of that VM and then go back to protectable data sources? So what you can do is a couple of things. You can either click view resources, which takes you directly to that virtual machine. And then you go into the backup process for that and take a backup. What you can also do, so in this case, it was a policy that was on audit policy only. So it just shows you that these are the things that have not met your audit. But if you had actually set a policy which was a deploy if not exist policy, then what it does is it actually goes ahead and ensures that for every single thing that is non-compliant, it goes and applies the remediation tasks on top of it and brings those resources into the desired goal state. So if you're out of policy, the deploy if not exist will drag you back into compliance whether you like it or not. Yes. Yes. If you've chosen that type of a policy, yes. Okay. This is great. So we now can set policies, view the compliance, and then remediate on the non-compliance straight out of the backup center. So Runa, this is great. We can now set policies for all of our environment, different policies, make sure that to be able to view the compliance. And if it's not compliance, we do have a possibility of action to take action and to bring those resources back into compliance all within a single pane of glass in Azure Backup Center. This is fantastic. Yes. Absolutely. Azure Backup Center, one of its core pillars like I talked about was governance. So all of these capabilities are things that we've added to help backup administrators who are responsible for governance have integrated seamless powerful experiences that they can use to drive governance at scale for the organization. Perfect. Thank you very much. So for all of you at home watching this, resources are going to be listed here below in the description of this video. Thank you so much, Runa, for taking the time to walk us through all of the goodness that is Azure Backup Center. Thank you so much for having me pure. I hope all of the people who are watching this find it useful and go exploring Azure Backup Center and use it for getting a lot more benefits out of backup in Azure. That's right. So you've heard it, folks. Go and use Azure Backup Center. It will help you operate and ensure that your environment is protected. Until next time on Adgeron Blogged, thank you very much. Thanks, Runa. Thank you. Bye-bye.


Through chemistry Good evening ladies and gentlemen. This is the Cavalcade of America sponsored by the DuPont company Tonight we present a new radio play the Diary of a Saboteur written by Peter Lyon, especially for Cavalcade A play that might be taking place in your own hometown Starring Joseph Schildkraut as the Nazi secret agent and Mildred Natwick as a new England shopkeeper in Diary of a Saboteur on the Cavalcade of America Ecologious laboratorium The psychological laboratory of the Nazi 3rd Reich with officers at Laertesgrasse 58 Berlin commanded by General Hans von Forst Let us imagine it is 1939 and then an agent named Carl Ritter is summoned to the office of General von Forst Their conversation would have gone somewhat along these lines Carl Ritter reporting, sir. Hi, Hitler. Hi, Hitler Captain Ritter. Who Mr. Ritter is. Thank you. Mr. Ernst? Yes, sir, General? Bring me the Ritter file. Yes, sir, General. Oh, have a seat, Ritter. Thank you. You may smoke if you wish. Thank you, sir. Here's the Ritter file, sir. Thanks. And that's all for the moment. Carl Ritter. Correct? Correct, sir. Oh, two years special study at the psychological laboratory. Doesn't this your curriculum, Captain? Psychoanalysis, personality study, national psychology, and propaganda techniques were the causes emphasized. Oh, and the usual subsidiary work in social organization. Now, how about oratory? I mean, platform techniques. Oh, yes, of course. Six months. Of course, I took the preliminary basic year of chemistry, code, shortwave radio, microphotography. Yes, sir. Ritter, you still have your American citizenship, I hope. Why, yes, sir. Am I being sent back to America? At once. You have to concentrate on all our general directors of the moment. Anti-Semitism, of course. Yes. Usual emphasis on the menace of Bolshevism. You read Goebbels' last speech? Yes, sir. And you know our general line, quite. I don't need to tell you the specialized angles, the possibility of playing on the theme of white supremacy over the Negroes, attacks on the president, the utilization of our various organizations in America. All our usual Nazi tactics, quite. Oh, can I get a list of those of our people over there that I'm to see? Well, speak to me, sir, and it's about it on your way out. Yes, sir. And here's some money for you and the usual credentials. Automobile license, social security card. Good. Any specific instructions, sir? Yes. You're getting a ticket to Montreal for two reasons. First, we can hope that the FBI will miss you that way. Second, because I wanted to get me some information almost immediately, even before you get to New York. Yes, sir. On your way from Montreal to New York, I want you to stop off in New England, in New York City to be precise, New City. We have learned of a tremendous new factory being built there for some entirely new weapon. This is, of course, inconceivable that these Americans have developed a weapon which we have not already in our arsenal. Of course. Nevertheless, I want you to investigate not only this factory, but its products. In New York, you're getting in touch with a courier appointed to you and he will transmit your findings. Understood? Completely, sir. And when I'm in New York, you will do everything in your power to ensure American neutrality when the war breaks out. Particularly, set the boondests right. This is of vital importance. You will get all the money you need for the work. It must be incessant, plentiful, and effective. Right, sir? And when, or rather, if I am unable to continue that sort of work, you will decide about that when the occasion arises. Right, sir? That's all. See me soon to be on your way out. But remember, your first assignment is in New City. Hi, Hitler. Hi, Hitler. Good morning. What can I do for you? I'm looking for a special cigar, man.  What's the name of them? The name... Oh, there. Right there, there on this box. That box? There ain't nothing special about this cigar. I reckon every cigar store in New City carries this cigar. Oh. How many do you want, mister? No, a half a dozen will do. Thank you. Another activity down the street, isn't it? Yeah. Looks like a new factory going up. Yeah. One of them... One of them defense factories, I take it. Yeah. Well, I guess the city feels pretty good about getting this new business, being used to sell more papers and cigars too, doesn't it? Likely. Tell me, what are we going to be making in that factory? Well, they ain't taking me into their confidence on that point yet, mister.  Don't make me sound as if I were a spy or something. I can't be too sure these days, can you? You think you know how to get in a job there? Well, no, not exactly. You see, I'm a salesman. I was just curious to find out if this factory there is going to be the kind that would need some of my product, maybe. Well, if it's the kind of goods to help make tankbusters, you've got a client. Tankbusters, isn't it? That's what they say. Well, I guess I better look up the plant manager right away. Thank you for the afternoon. Bandar hotel. We are checking associates. More later. Yes, sir. I should like a corner suite, please, on about the 10th floor. Yes. I expect to be here indefinitely. Here's my car, thank you, sir. You can attend to any financial questions through my bankers. The expert mercantile on Wall Street. I shall want an extra and private telephone put in my sitting room. Can you attend to that for me? Yes, indeed, Mr. Jensen. Shall I register you under your business address in Stockholm, sir? Yes, if you please. Yes, sir. Yes, sir. Come in. Mr. Jensen. Yes. I come for greetings from Brantzau, Berlin, and Hamburg. Oh, good. I was expecting. Ah, and Captain Ritter. Hi, Ritter. Hi, Hitler. My name is, of course, known to you. Well, your arrival is most welcome. Tell me the news. I'm all eagerness. You've heard of our work back in the Fatherland, I suppose? Yes, we've heard of it. Ah, yes, yes. Things progress. You don't need to worry about us. We are justly proud of our work, I can tell you. I'm afraid you're alone in your pride, sir. What?   Your tactics have been wrong, all wrong. From now on, and I want this instruction to be transmitted to all our organizations, when a speaker gets up on an American platform, he is to forget Germany. When a pamphlet comes out, it is to ignore Germany. Ignore Germany. Exactly, you heard me. Just that. From now on, in public, you are no longer Germans, understand? You're Americans. Similarly, when you attack something, you attack it as un-American. Alien, Jewish, Bolshevist. From now on, you're an American patriot. Understood? Mm, un-American. Right. Yeah, I think I understand, Captain Riddle. Anyway, it's too much for form, now it's for content. Oh, by the way, you better take some notes on all these things. Oh, of course, of course, Captain. If I may just borrow your fountain pen here. Put that pen down. Oh, I'm sorry, I didn't mean to be here. Here's a pencil. Just let me have that fountain pen, please. Yes, sure. Sure, I didn't mean to. That's all right, never mind. What was I saying? Oh, yes, the content of your propaganda. Everything your speakers say, every printed word you get out, all must focus on one thing, American neutrality. Implement this general directive with every means at your command. All our energies are to be thrown behind keeping America out of the war until Germany is ready. What are we to do if such work becomes illegal? If we fail and America goes to war. Then my friend, the form of our work changes, but it does not stop. Changes? Yes.  Yes. Very well. It contains a very interesting chemical arrangement. I have several fountain pens like this one. Oh, yes. Yes, I have heard about them. It's a thermite bomb, no? It will burn. Never fear for me, my friend. And I'll get on about your work. I wish to see results immediately in every sidewalk auditor, every mother's organization, every trade union, even from church pulpits, even from the floor of Congress itself. Being dragged into war by a government has been taken over by radicals and aliens. I tell you the truth. Mothers? My friends, if this keeps up, there won't be any election in November. You can bet on that. Yes, sir. You listen, pal. Germany will never attack us. And Japan is bogged down in China. We're safe now, and we're safe for years to come. December 7, 1941. Gentlemen, order. Captain Ritter has the floor. Gentlemen, as a few of us have known for some weeks now, our work has got to undergo an immediate change. From now on, the emphasis will be all on splitting the United States from Russia and England. All right, everybody, you must take no chances. This meeting will have to break up immediately. At any moment, the FBI may be on our trail. You will know how to get in touch with me at Mill City if you need to. And remember, from now on, we are soldiers of the Third Reich on enemy soil. Our future looks to us to fulfill our national socialist destiny. Today, gentlemen, we owe Germany to model the world. Yes, sir? Hello, Mrs. Abbott. Well, well, well, I guess you don't remember me. I came here about a year ago. Oh, I'm afraid I do. Oh, now we chatted about that factory, don't you remember? Oh, well. I'm sorry. Oh, no, madam, my name is William Miller. I work now at that same factory. Do you now? Yes. Well, welcome to Mill City. Thanks. This is my daughter, Priscilla, Mr. Miller. She works in the big factory, too. Oh, how do you do? You work in that factory, too, huh? Well, sure. I'm on the assembly line, the machine shop. Where? And this is Clem Hall. He's Priscilla's intended. Glad to see you, Mr. Miller. How are you? Congratulations to you both. You work in that big factory, too, do you? Yeah, that's fine. Well, that's great. Perhaps we can all walk to the plant together this morning, huh? No, I'm afraid not, Mr. Miller. Priscilla and I are working on the swing shift this week. We aren't going to the plant until tonight. Oh, I see. Well, that's too bad. Well, some other time. Mrs. Abbott, I make it a point to buy all my newspapers and cigarettes right here. No more America. Come on. Hi, so long, Mrs. Abbott. I haven't seen you in the dog's age. Oh, Mrs. Abbott, I've been working pretty hard, I guess. Keeping you busy, are you? How are things at the plant? Not so good. I must say, Mr. Miller, you don't sound so tricky these days. Well, a lot of us are beginning to ask ourselves, what are we working so hard for? We didn't ask for this. What did we? No, that's right. We didn't. Yeah? Lots of folks don't ask to catch cold either. That's right. Wake up on a Sunday morning and sneeze once or twice. There they are with fever and stuff. That's right. The war isn't going any too well for us either, Mrs. Abbott. Don't kid yourself. Say, any of your friends got sons in the Navy?  He's in it all right. That's so. Then in our family, they've been going to sea for six generations. Lots of folks run here the same. Why? Well, I wouldn't want to worry you are then for that matter. It's probably nothing. By what? What is it? Well, you see, Mrs. Abbott, I've got a sister down in Savannah, Georgia. As you wrote me, the three ships have put in at the harbor. They're all loaded with coffins. Coffins? Oh, yes, they have. They say they've suffered a terrible naval disaster in the North Atlantic, Mrs. Abbott. I guess the government in Washington is trying to hush it up. Well, I suppose that's why they had those ships put in at Savannah, not in Boston or New York. Well, I imagine the government knows best. But it does seem a little bit funny, doesn't it? Coffins.  Well, I tell you, I wouldn't tell your friends about a Mrs. Abbott. They'd just worry. Oh, Mrs. Abbott. Oh, hi there, Mel. Hi there, Clev. How's Priscilla? I'm. Prayed not, Clem. But she said she was going to meet you here at eight to go to the movies. Yeah, that's the trouble. I have to break the date. I've got to go to a safety committee meeting tonight at the plant. Well, I'll tell her. I'd like to leave her a note in my bar pencil. Oh. Oh. Sorry, Clem. I lost mine. I was looking for it just a minute ago. Coffins. That's terrible. What? What's that about coffins? Oh, nothing, nothing. It was just a rumor, Clem. I didn't spread it out. Oh, a rumor. Oh, say, Mel, you have a pen there. May I borrow it to write Priscilla a note? Well, this pen. Yeah, but I. Oh, I won't hurt it. I just want to write a little note. Well, it's this way, Clem. You see, I'm left handed. And the point of this pen is delicate. You don't mind, do you? It's a peculiarity of mine. Oh, all right. Never mind, Clem. I'll give Priscilla your message. Oh, you'll excuse me if I'm late for an appointment. So long, Clem. So long, sir. So long. He's a funny guy. He's a terrible shock and sink, he told me. Just before you came. Terrible shock and sink. You're listening to Joseph Shillkraut as the Nazi agent and Mildred Natwick as a New England shopkeeper in Diary of a Saboteur on the Cavalcade of America sponsored by Dupont. It is some weeks after Pearl Harbor. And Carl Ritter, ace Nazi agent carrying out orders from Berlin, has gotten a job at the war plant in Mild City. And now as our play continues, he is planning with his associates to carry out his work of sabotage. All right. You coming? Good evening, Charlie. Sorry to be late for the meeting. I was over at the cigar store. Maxim Fredibuth here. Oh, hello. How are you doing? Anything by shortwave? Berlin wants specifications on the tank buster. Oh, they do. Something easier. It's almost time for another shortwave, Captain Winner. Radio's turned in. Want the earphones? I'll have them. I'll plug in the speaker.  The moment we bring... Listen, I've got the work set up. But first, they present G-minor sonata off on court. We bring you the first movement marked and done... That's it. And done. Something important happened. Listen, are you ready, Max? Yes. Go on, listen. Well, did you get it, Max? Yes. Come on, come on, decode it. What's it say? Right. Order that the plant must be destroyed. Oh, this has got to change your plan. No, it won't. Our plans are all made. I made them. What are they? This little pen here. I almost had an embarrassing time with it a half hour ago. The boy in the cigar store wanted to borrow it to write a note to his sweetheart. But who would plan to pen you? No, even that I planned. I have the perfect uke to take this little pen in for us. When? On our way to the plant tomorrow night. Hello, Clem. Oh, hello, Milly. Going to work? Yep. Thought I'd look in first Mrs. Abbott's for a cigar. Ah, good enough. I'll go with you. I'm going to have my hands full tonight. Oh, yeah? Yeah. Foreman asked me to tell the machine crew the new safety rules. Well, I guess that's worked for all of us these days. Boy, you're not kidding me. Here we are. Go ahead. Thanks, Clem. Oh, hello. Hello. Howdy, Mrs. Abbott. Didn't Priscilla get here yet? Oh, she'll be here in any minute. Mrs. Abbott, I believe I've run up quite a bit at your store the last two or three weeks. Oh, don't bother, Mr. Miller. Of course, if you do have a little cash with you, I can always use it. Well, I have a little cash, Mrs. Abbott. I write your check. How much does it come to? Paper, magazine, cigar. It's right here in my account book. Yeah. Let's see. LM. There. 462. 462. There you are. I think you'll find it's good. Well, if it isn't, I know where to find you, see? Yes. Oh, yes. What's the matter? Oh, silly. My factory identification badge I left it at home. Oh, it's... I'd better run for it. Hello. Hello. That's Pony. What? Oh. Oh, it's not important. Still. Oh, Mom. Hello, Priscilla. Hello, honey. I claim that man Miller just passed away. Oh. Oh. Oh. Oh, honey. I claim that man Miller just collided at me, but he left his pen here. Oh, yeah. It is. Sure has a dropsy tonight, isn't he? He was running for the butt. He wants you to bring it to him at the plant, Clem. Okay. What's the matter? You look worried. Oh, I'm all right. I just don't like that guy. Don't like him. Something. Oh, I don't know. Well, forget him. Yeah. That's what I'll do. Well, forget Miller if you want to. But don't forget his pen. A night shift to 8 o'clock tomorrow morning. I don't think it was taking a chance on that going to work tonight.  This way there can be no suspicion of us. Yes, but if they find the pen... Charlie, Charlie, that thermite will burn the pen so quickly that that won't even be a trace in it. Why don't we hear the fire engines? It's 10 minutes late already. How long delay did you put in the time mechanism? Well, it was to go off at Miller. The boy's working on the night shift this week. It's better that way. You know, the fire will have a chance to get really going. Enough chance to get to the turpentine bar. It's next to the locker room. And after that... There they go. Success. That mechanism went off fully 10 minutes ago. Well, that is a fire which is by now well underway. Come on, Charlie. You've got 10 minutes to catch this. You hold it all. Yeah, you go first. There you go. Open the door. Yes. Ooh, look at that smoke in the sky, kid. Beautiful. Yes, come on, Muto. We'd better hurry. Half these Americans, they think they can fight a war against them. No, we miss our train. That's right. Come on, Muto. That's the hurry for it, too. Well, why? Who are you? What's this about? I said, what's your hurry? Where's the fire at, too? Is it Jensen? Or is it Miller? Or is it me? Keep your hands away from your pocket shoe there. Let's keep holding those suitcases. I don't know what you're talking about. Either of you. Do you want to tell them, Mrs. Abbott? Oh, good morning, Mrs. Abbott. What are you doing here? So early? Well, who are these men? Just some gentlemen from the FBI, Mr. What's your name? That's right, Ritter. FBI. Come along, both of you. It took a little time, Miller, but we caught up with you. Very well. But at least I've carried out the orders of my Fuhrer. It'll be some time before your Americans will build any more tankbusters in that beautiful plant of yours. As usual, I guess lady gets the last word. Go ahead, Mrs. Abbott. Oh, yes, Ritter.  Some old newspapers in my backyard. Why? You're lying. My pills set fire to the tramp. Oh, no, it didn't. You should know better than to make out your check with your right hand. When you told Clem and me, you were left-handed. Thank you, Joseph Schildkraut and Mildred Natwick. Before we tell you about our play and star for next week, we have some news that all DuPont workers are proud of. Ted Stuart of the Cavalcade has just returned from a DuPont plant on the Delaware River where he witnessed the presentation of still another Army Navy E to a DuPont plant. I'm going to ask him to tell you what it's like to attend an E ceremony behind the guarded gates of a chemical plant making materials for war. Yes, I was there and I can tell you a little of what I saw. This DuPont plant, among the latest to receive the E, is called the Die Works because more perhaps than any other plant in the country. It helped to give the United States a die industry after the last war. But in this war, it isn't making dies alone. It's making more than a thousand products, going either directly or indirectly to the fighting forces. It's grown so that it has its own railroad line, about 25 miles of track within the plant's many acres. That was the thing that excited me in my tour of the plant. A feeling of production on an intensive scale. A feeling that products were literally pouring out of this plant by the train load. We need production to win the war. This is production, as only Americans can produce. Major General Clifford L. Corbin of the U.S. Army Quartermaster Corps presented the award and he said in part, I quote, the output for the military as well as the civilians of hundreds of textile plants is absolutely dependent upon the production of this plant. The management and the employees of this company are producing materials that are just as essential for the war effort as our guns and airplanes. Our meeting today is a tribute to your record. Just as a soldier of the battlefield is decorated for valor and outstanding performance, so you collectively today are being decorated, unquote. The award was accepted for DuPont by Dr. William Kirk, the plant manager, and W.W. Weatherby, the president of the plant's collective bargaining agency. Now standing beside me in the studio is a man from the die works who was a member of the employees' committee to receive the Army Navy E-pins, Mr. Al Brown. Mr. Brown has been with the DuPont Company for 43 years. Al, how do you feel about this award? I feel proud. Do you remember the 25 years ago? The place where the die works now stands was just shortly marshland. And the one big building I worked in, 1917, has become 700 buildings a day. Well, it changed in the last quarter of a century. In 1920, we shipped 14 million pounds of various die stuff. This became 168 million pounds of various finished products in 1940. We began by making die stuff. Today we are making not only die stuff, but hundreds of different products to serve the American industry in its fight for victory. We're producing all right day and night. That's all I have to say except that by doing everything in our power to back up the fighting men on the fighting fronts, we approve that we deserve this Army Navy E by doing our jobs just a little bit better. Thank you, Al Brown and Ted Dewitt. Ladies and gentlemen, the Army Navy E about which we've told you tonight is one of many awarded to DuPont plants across the nation. This is a continued story that will run on for the duration. This is part of the story of the wartime work of the plants producing DuPont peacetime better things for better living through chemistry. The finest traditions of the United States Naval Service. All of us thrilled to that citation heard so often today, but there's one man who would thrill more than any of us could hear it. He is John Paul Jones, founder of our Navy. It is his story that Cavalcade brings you next week with Ralph Bellamy as our star. Join us next week when DuPont again sponsors the Cavalcade of America. Our star will be Ralph Bellamy. Our play called The 18th Captain is the exciting and ever-timely story of our Navy's rise to glory. Cavalcade is pleased to remind its listeners that Joseph Schildkraut heard on tonight's program is now starring in Uncle Harry. And that Miss Mildred Matwick is co-starring in Noel Coward's flight spirit. Both plays currently Broadway successes. Tonight's play written by Peter Lyon was based on original material by Michael Steyers and Albert Kahn, office of the recent best-seller Sabotage. The orchestra and musical score for tonight's program are under the direction of Don Burry. This is Clayton Collier sending best wishes from DuPont. This program came to you from New York. This is the life in old what's not been done.


Salmon, so the future is looking really bright for private property, why don't you tell us a bit more about the change in ownership? For sure, I mean it's a very exciting time for the business, we've obviously gone through a few years of exciting growth and the market is starting to mature in South Africa, people are coming online more and more to find their new home and we're one of those destination platforms for that, so we are obviously an exciting business for investors to be involved in and we went through a process during the course of last year looking for the right fit, the right strategic partners to take the business now to the next level and I think we found that, we found an excellent fit between the real estate industry themselves who are heavily invested in what we do and how we do it and looking to us perhaps as a driver of innovation and change in their world and we've got this exciting new media partner in Caxton Media that have this incredible regional network and brands that people know and respond to and there's this legacy component to what they offer and I think we get to add a new school veneer to all of that and so the mix is very strong and we're very excited about what it could do for our business.


So a lot of times when we talk about Zelda remasters, remakes, etc., coming to Switch or I mean, now we probably speculate for Nintendo's next platform, there's a large focus on games like the Wind Waker and Twilight Princess HD. A large reason there is a focus on these games is they already were remastered in HD back on Wii U. And we've gotten most of that Wii U library on Switch at this point, so it only feels natural we'll get those games and look, we probably will get them at some point, even if it's not until their next system. But then when people start to speculate about other games that could get some sort of remastered treatment, maybe like a Link's Awakening something, people look at the Oracle series, the Oracle of Seasons and Oracle of Ages. But today we have something making us imagine what if Nintendo instead remade Ocarina of Time. Before we get into this, I want to remind you that we're on a road to 100,000 subscribers and if we can somehow get there before Tears of the Kingdom, we'll give away a collector's edition of the game. Thank you so much for being here, let's look into this. Now, one of my favorite YouTubers, really dating all the way back, I mean at least a decade back at this point, if not more, is Cryzen X. He is a dreamer is what he is. He likes to take various old Nintendo games and reimagine them and often provide playable versions of them to his patrons in Unreal Engine. And Unreal Engine sounded a lot of work done to it over the years, lots of different versions and so we've seen lots of different versions of Zelda games and this time around he dropped a video, you've literally been watching it this whole time, of the Ocarina of Time Bottom of Well versus Dead Hand, a new video that he premiered a couple of days ago and it's awesome. This is what when I look back on my childhood, what I remember Ocarina of Time actually looking like, of course we all know this is not what Ocarina of Time looks like, but it is what we thought at the time, it was some of the most realistic visuals that we've ever seen, calling Ocarina of Time a realistic looking game seems a bit taboo but when I was a kid that was realistic to us, so this is just an amazing experience and the more I watch of this, the more I'm reminded of just how talented Cryzan X is and the more I'm reminded of how badly we really could use Ocarina of Time in HD, if not HD a full on remake. You see they have technically remastered the game before, we got Ocarina of Time 3D and its successor Majora's Mask as Majora's Mask 3D on the Nintendo 3DS and those are worthy versions of the game, absolutely worthy versions but they're not perfect and they don't really satiate my desire for something that looks a lot better. The bottom of the well in Ocarina of Time is obviously one of the creepiest places in Zelda history and something that makes you wonder how the heck Ocarina of Time got rated E for everyone. There's torture chambers down there, there's dead bodies, there's blood, it's insane and seeing it in Unreal Engine 5 is just another level of creepy. Obviously there's a bit of embellishment over the original in here, a bit of a reimagining but that's what would happen if this was ever remade. I do wonder if this part of the game might just get cut out just for age-rating purposes but man it looks absolutely incredible. Obviously the Link model always looks fantastic in Unreal but the skeletons, the blood, the torture, dead hand itself, he put up about 18 minutes of footage and as far as I'm aware it's not technically available for anyone to play but what is interesting is just this idea of getting Ocarina of Time in this way. Now maybe Unreal Engine isn't the right way to go about it, maybe we need to be looking at different engines or different companies but Nintendo has used Unreal Engine, they used Unreal Engine in of all games. You guys remember this? Yoshi's Crafted World, an internal Nintendo studio used Unreal Engine for Yoshi's Crafted World. Pretty crazy. Now I'm not saying that they have to use Unreal Engine, there's a reason that a lot of people like to use it. It's to be easy to work with, there's a lot of documentation but man I'm watching Link right now literally fight dead hand and it is, I mean this is awesome. This is almost better looking, not just visually but just from a gameplay experience than what it looked like in Ocarina of Time. It is incredible that where it cries the next is pulled off here and it just makes me want this to be a real thing. I want this to happen. We need a 4K, 60fps remade, not remastered, remade Ocarina of Time and of course if we're going to remake Ocarina of Time you got to do it to Majora's Mask too and can you imagine Termina, Termina in this style, again it would never happen of course. Here's why it won't happen. If we ever got these games in HD or 4K it's going to look more like the more colorful version of the game that we saw with Ocarina of Time 3D and Majora's Mask 3D. That's just the direction they're going to go because the reality is if Nintendo went with this hyper realistic thing the games would be rated too high. I do think people were good nuts, I think the games could sell really well. I don't think that's the reason I think Nintendo is afraid of a game that used to be E for everyone possibly getting a T rating maybe even worse especially since it has all that blood and creepiness in the bottom of the well. Heck Ganondorf bleeds and they changed it from red to green to not upset the ESRB. We know Nintendo is willing to make these kind of changes. I really would love to see Ocarina of Time in this style and I'm just going to let you guys chill for a minute here, enjoy the rest of this dead hand fight and then you know what you want to see the full unedited footage go over to Cryzen X's channel I'll put a link to the video down in the description. Thank you guys so much for being here and I'll catch you in that next one.


At Audiology Associates of Prestonsburg, you can live your life the way you want and find the freedom of better hearing. With 40 years of being in the hearing care industry, you'll experience patient care that is specific to you with exceptional follow-up care that ensures your hearing and balance needs are being met. Audiology Associates at 1428 Northlake Drive in Prestonsburg. The 41st annual Ginny Wally Festival, we were turning to downtown Prestonsburg on Wednesday, October 11th. I am so thankful that the city of Prestonsburg does this festival during October because it's not blazing hot, it's comfortable out, especially for the whole family because this is such a family-friendly festival.  The leaves are turning now and so it's just one just such a beautiful but enjoyable festival to come out to in October. What better time than that to enjoy a great community festival? The festival will feature a car show, live music, local artists and vendors and much more. The Ginny Wally Festival is the perfect opportunity to get out and explore the city of Prestonsburg. So the Ginny Wally Festival committee, they have done such a phenomenal job of organizing this festival every year and taking it to another level. Again, this year it's made up entirely by community members, Influid County here, and so they have just knocked out a park and really tried to create an environment that we bring in great artists that everybody wants to see, but we also have phenomenal local artists that people love supporting and hearing as well. For more information or for a schedule of events, you can visit jwfest.com. For Mountain Top News, I'm Kelsey Dean.


My guru is speaking. He is a guru. He is a teacher. He is just like a speaker. He is speaking through this body. He needs communication. You need more focusing. You have certain lack of things. Yoga means it is connecting the body, movement and mind movement and breathing movement. There are three types of movements there in our body. One is body and breathing also. Going in front and coming out. If you are standing here, you have thought to somewhere other place. When you unite, you will get the proper results of what you are doing. This is the basics. And how you are going to unite this body movement with breathing and mind movement. Mind is some other place. Your body is here. I told you you are standing here. But your thoughts will go somewhere other place. How you connect with this body? What is the taste? If you want to put a sticker on the wall. What we use for sticking on the wall? Glue. Here our breathing is working as a glue. To connect our body and mind. So we need more concentration on breathing. So we can stop, put, whatever it is. But we cannot stop breathing. This is it. So we have to do more important breathing. We must understand breathing how it works inside. What is the benefit and how we have to breathe. What is the capacity of our lungs. That is very important. Very very important we must understand our lungs capacity. Very sensitive organ in our body is heart and lungs. So other organs are all under control of heart and lungs. And these two organs are controlled by brain. So our lungs capacity is 3,600 cubic centimeters of air. Air measured by cubic centimeters. So every time we should inhale 3,600 cubic centimeters and exhale 3,600 cubic centimeters. That much of breathing you should take every time, every time you should exhale. Teaching our yoga, our scripture. And if you take more breathing you will get more concentration. So this is asana means just moving your body in all directions. That is called asana. And pranayama means you are taking more breathing and how you breathe out, how you breathe in. You must understand that is called pranayama. How to control your breath also is pranayama. This is pranayama. What kind of deep marching back. When you exhale, when you forward. When you inhale, when you back. When you inhale back. And then when you inhale, dropping the knees. Next, holding the chest. When you exhale. While inhale, inhale forward. Inhale on the body. It is a... It connects the whole body. Don't be bad. It's fine. Now, with all your body movement like this. Comfortable breathing. Lifting your right leg up. When you inhale. Exhale. Do diagonal breathing. Release your arms. Straighten your right leg. Switch to opposite side. Knees. If you inhale, sometimes you exhale those. Exhale. What are you feeling? Say, you feel some warmth in your fingers. In the particular place. You will feel the whole kind of heaviness and stiffness. Or pain after this fracture. So, you are feeling a pressure. Whatever it is. Just feel your mind. Shoulder time. Inhale. Inhale. Inhale. Feel your abdomen. Complete exhale. Just feel your muscles. Who was just... Feel your abdomen. And open your eyes. Take a stand. Stretch your arms. Knees. Feel your abdomen. Just a half feet. You are close. While you are... Breathing on the back. Breathe out. Just hold your body for a few seconds. Again. Inhale out.  Inhale out. Exhale. Hold your body for a few seconds. Hold your body for a few seconds. Just follow the instruction.  From the head. Going towards inside. Observe your face. Change. Ears. Shoulders. Rest your fingers. Feel out the fingers.