Hello. Hello, Europe. Wow, this is a long walk. Jenny was right yesterday. Well, thank you very much for the introduction. Thank you very much for coming out today. So as she's already said all of this, I won't repeat it, except if you want to get my slides and anything else about me, you can go to mcduane.com, mcduane.com, and there is my stuff. And again, she's already given a lovely plug for Pantheon, the website management platform. I have some colleagues here. Those are their pictures, Drew and Matt and Andrew. If you see them, bother them. They will appreciate it. Bother me later about this. Happy to talk to you about any kind of workflow, any kind of scale for your websites. That's who I am. I always like to know who I'm talking to, and I know there's a lot of you. So just on the count of three, yell out your name. One, two, three. Excellent. And where do you work? One, two, three. And what city are you from? One, two, three. Thank you. I think I got all of that. But also, who here is a professional developer who spends most of their time who builds websites but does not maintain them? Okay, this guy, he's honest. And who maintains websites but does not build them? Okay, go look at that guy because he needs your help or you need his help. All right, so why am I talking about improv at a word camp? I think it boils down to this. Very simply, we must think on our feet. We cannot predict everything that can possibly happen. We can't script every scenario. We must react in the moment to what's going on. That's why I think it boils down to this one central point. But I'm always curious. Why did you come to a talk about improv at a word camp? Anybody just in the front section so I can hear you, but anybody? Thank you. I got some friends in the front row. Any other thoughts? What's that? It will be entertaining, hopefully. Any other? Curiosity, that's the most common answer I get when I ask this question. Why I personally am giving this talk is really, as she's already said it, I saw so many similarities. And it really comes down to this similarity. And this is the only slide I'll read for Batem. Creativity is not the clever rearranging of the known. Creativity is a state that allows us to touch the unknown and bring it into the phenomenal world to make the invisible visible. The unknown is a territory that holds all possibilities until it is revealed. The actor revealing that is creativity. And if that doesn't describe what web developers do, I don't know what else does. We take ideas on the back of napkins that someone that does not know how a server works will explain to us, I want this and this and this. And we'll transform that into JavaScript, into PHP, into WordPress, and make their dreams come true. But specifically, I saw some very specific parallels between the two worlds. Having done improv for as long as I have, I started to realize that there are best practices of improv. Things like yes and and things we'll talk about the rest of this talk. There are stretched over these frameworks, these formats that you get to do, the Herald, the La Ronde, I'll talk about more later. But the same way that we take don't repeat yourself or code of poetry, and stretch it over PHP, stretch it over LAMP stacks. The end product must be enjoyable, regardless of how it's made. But if you've ever seen a website that's so well designed, you're like, that is just simply beautiful. You'll appreciate it as a developer, but that end user who knows nothing about the technology will also find it beautiful. Same is true of the stage craft. Every single effort is unique, even if it's just content unique, it's very unique. You have to cooperate, even if you're working by yourself, you have to cooperate with the rest of the open source world. We're all standing on the shoulders of giants, everyone here. And at the end of it, we all love to party. After three drinks, you cannot tell a WordPress developer from a Drupal developer from a Joomla developer. And after four drinks, you can't tell the difference between anyone, no matter what they do for a living. All right, so the rest of this talk will work as this. I'm going to go over seven key improv principles and how they relate to the stage craft and how I see them applied to the development process. And then we'll have some fun. I'll ask for a few participants. We'll do something fun up here. So this is the one piece that almost everyone knows about improv.  Many blogs have been written about it. In fact, I've written a blog series to support this talk, and I just copy pasted from other people's blogs about this topic of yes and, agreeing to an idea and adding additional information on top of it to build a world. I'm using Tina Fey here because she wrote this wonderful book called Bossy Pants. And in it, she uses this example of the Christmas gun. So let's imagine for a second that there are two performers on stage. And the first performer comes up and holds his hand like this and says, stick him up. And the second performer says, that's not a gun. He's destroyed the scene. There's nothing to do. There's nowhere to go. You need to start all over from there. And if he says, stick him up. And the second player says, OK. He's added no new information. He's acknowledged that, yes, there's a gun, but he's done nothing to further the cause, further the scene, to carry the idea forward. But if he says, stick him up. He says, oh, Harold, put down your Christmas gun. You're always waving it around. What the heck's a Christmas gun? Now we can unpack that. What does that mean? We know that this person is Harold now. We know that he's always waving a gun around. There's so much information. Simply because he said, yes, I agree with your idea, and I'm going to add to it. So for development, am I saying say yes to every crazy idea a client has? No, absolutely not. I'm saying acknowledge every idea that comes out. And instead of saying no, add more information to lead the conversation in the direction you want to go. For instance, if you have a client call you and say, I would like a picture of my dog at the top of every single web page, every single page on my site, and they sell shoes or something like that. And I want the background to be neon green. That's a terrible idea. And if you just say no, I'm not going to do that, what is your client going to do? They're going to fight you. Human beings do not like to hear the word no. We hate it. We get defensive. It's our idea. We have to protect it. Our egos are all fragile. If instead you say, yes, I hear what you're saying, a dog at the top, neon green, and we need to scope that, and we need to decide what color green specifically, and we need to decide which picture of your dog, and when can you schedule three hours with me? And it's paid discovery, by the way. Well, what can the client do? You've acknowledged their idea. But do they really want to do it? It buys you time, if nothing else. Even when you're working with your colleagues, when you're collaborating on any projects, when someone says a terrible idea, if you just say no, that's a terrible idea, well, you've hurt their feelings, and they need to be defensive. They need to guard their idea. If you say, yes, we could do that, and we need to do the research to back it up, and we need to flesh it out, and we need to scope it, and we need to do these things. You've acknowledged it, and you've given yourself time to maybe talk them out of it, or show them through research that it's not the best of ideas without that knee-jerk reaction and fight. Moving on, second point. Starting with the obvious. In improv, we are building an entire world, an entire story, an entire show from nothing. We're getting on stage. Maybe you get a suggestion from the audience, and we build a whole world from there. But we have to start somewhere. Now, I watched a lot of improvisational comedy, improvisational theater, and there's this phenomenon that happens where people think the scene does not start until they have found the scene. So there will be two players on stage milling about doing something, saying lines of dialogue, and eventually it catches, and they're like, oh, this is the scene, this is what we're doing. But all the information before gets thrown out. They didn't start with the obvious. The best shows, there's two performers in Chicago, TJ and Dave, best shows I've ever seen. They start completely neutral. They start looking at each other, and they start from the information that is there. The information that is clearly on stage. The same way the audience sees those performers. So I'm standing like this, and my partner is standing in another position. This means something. What does this mean? What does this mean to them? And we can build from that world. We can build from that information and start from the obvious thing. So the audience and the performers are all on the same page, at the same place, with the same information. How does this apply to development? Starting with the obvious means starting from what's obvious to your client, not what is obvious to you. Their reality is a very long history, other ideas, previous projects that have failed or succeeded, not just the discovery you've done for this particular point project. Stepping back and seeing, well, have they ever done a project like this before? Have you liked the developers you've worked with? Have you ever been satisfied with a project? It's a good place to start. You're working with internal projects, if you're working with a team. Stepping back and saying, well, not just the problem, the point we're trying to fix, but what is the obvious thing to my coworkers? What is the obvious thing to the company? What is the obvious thing to the project? Stepping back and realizing it's not your obvious, it is the obvious. Active listening is kind of a terrible term because it implies that you're only listening, which is the act of hearing, hearing sound waves and interpreting them. It really means actively engaging in the moment. Again, I'll bring up TJ and Dave for the stage craft. They start from completely neutral, so everything they do is completely absorbing what the other player is doing and completely reflecting and building off of that information. They're seeing how are their eyebrows, how are their feet, how are their hands, at what tone do they say something? For instance, if we start a scene and I say, patch me that pitcher of milk versus pass the pitcher of milk, versus oh, honey, would you be so kind as to lovely pass me the pitcher of milk? Those are three completely different scenes starts. Those are three completely different ideas, even though it's the exact same words, the exact same information. There is another, I'll get to them in a minute, but another improv guru in the world, Del Close, who said we must behave on stage as if we are paranoid schizophrenics, where we see hidden meaning behind every word and see what the intention is. This is very, very true in any client or other work you're doing as a developer. What is making them want to do this project? What parts get them excited? If you're doing everything over email and Slack, you're missing the entire story. Only 7% of communication is language or is the words themselves. Everything else is body language, intonation. Let's not forget, human beings have been communicating for well over 10,000 years, maybe 100,000 years. We've only had language, what is the way we think of language, for maybe 3,000, maybe 6,000, maybe, maybe 10,000, who knows. But a very small time compared to all of evolution. So, what I'm saying is get in front of the person that you're working with and they're working for. Don't rely on email or Slack. That's a great way to pass around links. It's a great way to change an image from your computer to this computer. It's a terrible way to understand what they want. When you're in a room with someone, you can hear what makes them nervous. You can hear what parts they're excited about and you can dig into those parts and make sure that they're going to be very happy and very satisfied overall. Or relieve those fears early on. So, if you can't do a face-to-face meeting, sometimes you just can't. There is Skype, there is Zoom, there is GoToMeeting. There are 1,000 tools now. There's no excuse. If you're not doing discovery, if you're not doing communication face-to-face where you can see their eyes, you're not really communicating. You need to actively listen to them. I'm not a gentleman in the world, but one of my Improv teachers, John Remak, said the best advice I'd ever gotten in all of Improv to this day still, start your scenes happy, healthy, and well. Or healthy, happy, and well. Improv has this notion of conflict where we expect that two characters will in some point be in a disagreement. There will be a point of contention that we need to get past, that we need to work through. Do we start from there? It's boring. Now imagine you are in a cafe and all of a sudden you hear two people fighting about something.  I've seen so many Improv scenes that have started out with a disagreement. And then we don't even know who the characters are. We don't know if we like them. We support. If instead we start with two characters that like each other a lot, that are on the same side, then they can go on an adventure. Maybe they'll disagree along the way. Maybe they will have a fight at some point, but then we'll get to know them. We'll get to appreciate them. Now how does this apply to development? I will admit, this is the point that is the loosest of all the connections. But I am from San Francisco and I'm a hippie. So it's more about taking care of yourself. I'll ask a question now to you. Who here writes better code when you are angry? That guy. Always somebody in the crowd. And who here writes better code when you're feeling miserable, just sick and exhausted, even though that's how most of us write code? Exactly. We all know this. We all know this in our hearts. It's true. But how many of us have ever written or designed something while we're angry or very, very tired and sick? Yes, we all have. We've all been there. We've all had to go to work. We've all had to get the project done. Take care of yourself. If you're angry, go for a walk. If you need to resolve something with your coworkers before you work actively on a project or start a project, make sure you're doing that. Start the day. Happy, healthy, well. Whatever it does for you. I recommend meditation. I recommend mindfulness. There's various mindfulness training apps out there in the world. But make sure you're centered on your... centered and happy and healthy and well as you're working. You'll make for much, much better code, much better projects. So, very quick side note. This is one of Darwin's most famous quotes. If you just look up Darwin quote, you'll see this a lot. He never said this. 1963, Leon S. Megason said this in a speech. Paraphrasing. And for whatever reason, it's known as the most famous Darwin quote. So, it's a reminder that the thing you might end up being the most famous for might not be something you actually did. Don't take it personally. Anyway, back on point. In improv, we have these formats. There is a format, the Laurent, which is the round where you have two character scenes where people swap in and out one at a time. The Harold, the mother of all improv forms, long-form improv forms, short-form games. There's many things you need to go to an improv show. You can see a variation on a lot of these forms. And they're great for setting things in motion, for giving a little bit of structure to the performer so they know what to do generally. If they're lost, they can go back to the form. The problem with them is many improvisers adhere to them no matter what, especially beginning improvisers. They will get out and you will see them in their heads. You'll see them completely focused on, I need to do this, and now I need to do this, and now I need to do this, and they're very worried that that's the only way to do it. And as soon as an improviser on stage is in their head and thinking and having a hard time, well, the audience has compassion. The audience wants them to have a good time and they start worrying. They start getting anxious. They start getting nervous. We forget sometimes on stage as performers that we're there for you, the audience. You are just as important as any other performers on the stage. And we need to serve you. We need to serve the piece we are doing. The best shows I have ever done didn't follow a form at all. We started following a form, but within a few minutes we realized that's not what this audience needs. We need to serve them. So let's go with what they are enjoying. And those are the best shows for development. We have these wonderful things called best practices, which are a mixed bag. I have a friend in the Drupal community, Tim Erickson from Minneapolis, St. Paul. And he says, we say best practices, and what we really mean are very good idea practices based on the information we have. But that's a lot of words, so we shorten it to best practice. But the problem with best practice is that that means there's a one specific right way, a best way to do it, versus this is a good idea way based on my information. There can be a lot of good ideas, but only one best. Now I pick on this next example a lot, but I'm a huge fan of two-factor authentication. Who uses two-factor authentication for all of their things? Good for you. For everyone else, look into it. It's very much worth it. Good security practices. But if you force that standard on everything you do, your end clients, say your client wants a nice blog about their cat, for whatever reason. And you force, all right, everything you do is going to require two-factor authentication. At some point, they're going to either figure out how to get around it or leave you and go to someone else that will actually do the project in a way that supports them, the customer. I'm not saying best practices are bad. There's a reason we call them best practices. But remember, sometimes we need to serve the piece. We need to serve the bigger picture, not just here's the set of standards that I am adhering to. Maybe another technology is the right decision. Maybe an integration with another tool is a better decision, even though you've never done it that way. One of my colleagues, Michelle Cresci, says it very elegantly. The best developers have very strong opinions held loosely. Be ready to change if it comes down to it. Here's Del Close. Your job as an improviser is always to make the other player look good. There is an award in Chicago called the Jeff Award. And the Jeff Award is given to the best improviser of the year by polls and their colleagues. And the first person who ever won it got on stage and said, well, I guess I wasn't doing my job, thank you, and sat down. Because our job is to make the other players look amazing. Because if they look amazing, and then they make us look amazing, everyone looks amazing, everything's having a good time, and the audience enjoys that. Well, who are the other players as a developer? I think there are a couple. First is your end user. You should strive to make your end users look like geniuses. If your UX makes them have to stop and think, you have done something wrong. You should be able to go through an interface seamlessly. Make them feel like they're geniuses, even if they've never seen it before. But the other, I think, more important player to make look good is the developer who comes next. This is support, and this is anyone that will build on top of your code. Your comments and your code and your support documentation. Think about not the next generation, not the generation after that, but three years from now, someone's still using that version in the wild, and someone needs to look something up. If they can look like a genius in that moment, they're going to do better, their clients are going to like them better, and ultimately, you're going to look better by making them look better. And finally, the last point, before we move on to more fun things, is accepting failure. I almost called this embracing failure. That's what we call it an improv. There are no mistakes in improv, not at all. There are simply happy accidents that you can get information from. You embrace the accident, you embrace the mistakes. Well, we can do that in improv because we have the safety of a stage.   There's a safety to it. Well, in development, we also have stage. If you're doing everything in a live production environment, of course, failure is terrible. It has a lot of consequences. There's things you'll have to do to get back from that failure. But if you have the safety of a stage, the safety of a development environment, the safety of a stage environment, go nuts. Why not just update all? If you're using WPCLI, just like all. It might work. It might not, but, yeah, this guy's done it. But if it does work, well, you've saved a lot of time. And if you do it in a safe environment and it works, I'll then just push that to production. The other part is being afraid to fail. And sometimes we will whiteboard things for far too long before we'll just get up and try it. One of my clients a few years ago when I was from Pantheon said that they spent three days going back and forth on the benefits of trying this thing on our platform. And at the end, it took them 10 minutes and they were thrilled with the results. And I'll never forget that story. I said, I can't believe we wasted that much time if we had just tried it. And if it had failed, accepted that instead of worrying and preparing for a failure that never came. So don't waste your time preparing for failures that won't show up because they might not. They might, but protect yourself as well. All right. Now normally, I would have everyone stand up and participate in this. But unfortunately, I am limited in time today and there's a lot of you and it would get very, very loud in here. So what I'm going to ask for is a few volunteers to do a few exercises with me up here on stage. No, about three, five people? Anyone. You already know who you are. Come on down. Yes. Brave. Yes. Got another one. Yes, yes. And yes, we'll call it at that. I don't need any more after you. So perfect. Unless you really wanted to, if you really wanted to. Hello. We have a secondary mic here. Is this live? What's your name? Kevin. I'm Karasai. I'm Marilyn. Bogdan. Okay. So I'm going to give this to you. And we're all going to have to speak very loud except for me. You'll hold it up like this because you're all going to aim that way. And we're going to play a game called I Love. I Love works like this. It is very simple. You're simply going to say something you love. That's it. And the sentence will just start with I love. I love Word Camp Europe. And then whatever order. I love beer. He loves beer. He loves wine. I love design. Love design. I love clothing. Love bowling. I love vegetarian food. I love terminal stuff. I love CLIs. I love pizzas. I love good APIs. I love croissant. I love exercising. I love brakes. I also love croissants. Sorry. I love avocados. I love Photoshop. I love Cancun Beach. I love CSS. I love good music. I love rock. I love all of you on this stage. Now we'll end there just for now. If you could hold the mic just continually. So why this exercise? What is this? What am I doing? This is an exercise for happy, healthy, well. Because how do all of you feel right now? Better. Hyped. Good. When you say things you... You don't feel any different? This guy's got the right attitude, everybody. Got the right attitude. When we say things we love, it triggers the chemicals in our brain to say, yes, I do love that thing. And how many in the audience heard something, they're like, oh yes, me too. Everyone. Now how many of you, and you already did it once, how many of you wanted to add something on to that thing that someone else said?  And this other thing. And that's how it works. If we played the opposite of this, we played I hate, we would all shut down, we'd feel miserable and tired. But how many times do we talk to our colleagues and just complain, just commiserate with them about how terrible a project was? Well, it puts us in the spiral. I recommend this game for your meetings. We play a variation of this with my team online, in Slack, where we freely associate words together and it's one group mind. Because we're all on the same page now. I feel like we're in a team now. Thank you so much for being part of my presentation.  Why am I not moving? There we go. This is called a shared memory exercise. And you know what? I'm going to call an audible what they do. So give these wonderful people a round of applause. You can go back to your seats. You can go back to your seats. All right, I'm going to call a slight audible on this just for the sake of time. An audible if you're not familiar with American football is you're changing the play right before it happens. And for this, I would like to invite Bridget, actually. If you could join me up here on stage. Bridget Willard, everyone. So I didn't tell you we were doing this. So shared memory works like this. There's a game where we're going to invent a story. Okay. And I would invite all of you to play this. And if you want to come up to me later and play this, I am happy to do it. Just sake of time. We don't have time for everyone today. So all I want you to say is remember the time we went to Mexico. And then I'm going to say yes, and then add something on to that. And then you will add another line. You'll say yes and whatever. I'm in. Hey, Dwayne, remember the time we went to Mexico? Yeah. And then I was wishing I wore better pants. Yes, and then we stopped at the pants store, but they were all out of pants. Yeah, because they didn't have my size. Oh, shoot. Yes, and they didn't have my size, but I bought a skirt instead. Yes, and I bought a skirt, and we ended up losing the donkeys right after that, though. Yes, and we took an epic selfie. Yes, and that selfie got retweeted by Justin Bieber. I have a Justin Bieber at WC Karaoke. Woo! What was the point of this? Yes, it was. This is the idea of let's take information and add to it. Let's take information and build a world on top of it. Let's play a slight variation on this to just to prove a point. Okay. In fact, I'll just start this time because now you know how it's played. Hey, Bridget, remember that time when we were in the US website? Yes, and it was a long process with lots of pizza and beer. Yes, and we bought so much pizza that we were too stuffed to actually continue working that night and fell asleep. Yes, and we woke up and went for coffee. Yes, and over coffee, you realized that it was actually a bad function deep within a plugin. Yes, and we deactivated all of our plugins and we activated them one by time. Exactly. Thank you. Thank you very much, Bridget. Give him a round of applause. You can go back to your seat. So what was the point of that?  Why not just pretend you've already solved it? Why not just play this game? Why not just say, hey, remember the time we solved this problem? Yes, and we did this. Yes, and we did this. It will at least give you ideas. It will be fun for a few minutes instead of being frustrating. There is an entire library of improv games in the world that you can go, and I highly recommend studying improv, studying this, and I'm happy to talk much more about this after my talk, and you can go read my blog series on this. But to reiterate, there's exercises you can do to put you in the right mindset to say yes and to build worlds with people, to remember to start with the obvious. To actively listen, engage people, not just hear the words, not just read what's on a screen, but actively engage with a human being, to remember to take care of yourself and start happy, healthy, and well with things. To serve the peace, don't get caught up in best practices. To make the other players look good and the other players are your users and people supporting you far into the future. And lastly, don't be afraid of failure. Failure is a gift. You can't learn unless you're making mistakes. The bigger the mistake, the easier it is to spot the problem and to learn. So don't be afraid to fail. But fail in a safe environment. Use staging environments and development environments. I have some other ideas. Again, you can get these slides over at mcdwayne.com. Some books about improv. The last one is actually about actively listening. How to read faces, how to study the reactions people have and understand what's going on in their heads based on their facial expressions. It's a very good book. But again, I was Dwayne. I come from San Francisco. I do improv. I love karaoke. WC Karaoke for the win. It's a hashtag. It's a lifestyle. You can find all my stuff at mcdwayne.com. Thank you so much, Dwayne. It was so entertaining. I had a great time and I was enjoying your talk so much. So much new points of view. And yeah, I think the audience was also... I don't want to leave the room now because there is still time to ask one or two questions to Dwayne. So if you want, you can use the standing microphones here in front or in the upper rows. Is there any question? Yeah. There's somebody coming. Or is he just want to leave the room? Oh, I got a question. Oh, come on. You were talking about micro... micro... expressions. Oh, there. I'm sorry. I didn't see you up there. Yeah, you can... Please go for it. Page from Cancun. I love your talk, by the way. You were talking a little about micro expressions and which is the book that you recommend for that? Oh, it's a very long... It's an effect book actually by Sylvan Tompkins. Affect Imagery Consciousness Theory by Sylvan S. Thompson. Or Tompkins. He's not the only person that wrote about it. If you look up... I forget his name. Lavheim's Emotional Cube is how I discovered him. It's an emotional... emotional theory based on brain chemistry that maps to this Affect Imagery Consciousness Theory. But there's only nine things that I actually do. Everything else is a variation and a mixture of those nine things. But once you break down reactions there, you can see, oh, that person's afraid, or that person's angry, or that person's happy, or that person's engaged. Very quick. It's extremely useful on stage. That's how I discovered it as a coach and a teacher. Really, thanks again and also for the experience of the Aisle of the Game. That was good. Thanks for the talk. My name is Sami from Finland. How do you deal with the person in your team who is always negative? Is the only way to fire him or her, or is there something that you could do to help overcome with the negativity? If I could answer this question, I would be making a lot more money being a business consultant. This is a hard question. Sometimes people don't know they're negative. Sometimes people don't quite realize it. I have had very mixed experiences as a coach, as a teacher of improv, with explaining to people that, you know, you're being a little more negative than you need to be, and they are very negative reactions to that. I've also had people thank me for pointing it out. So everyone will react differently. Some people are just mean. Some people are just bad people. I hate to say that. I think I'm not going to be at the end of the day, but try engaging them in non-traditional ways. It would be my first thought. If you've never gone bowling with them, invite them bowling. If you've never had a beer with them, make sure you go out and have a beer. There's something behind that negativity. There's something... maybe it's just you need to be nicer to them. Make them feel safer. Sometimes people are negative in defense, that they're trying to guard themselves from the end. But that would be my best advice, is try engaging them in creative ways. Playing I love with people. Actually, when I was given this talk in Chicago for mid-camp, which is a Drupal event, someone came up afterwards and said, the person I love exercise with as a duo, I worked with them seven years ago and hated them. And it just turns out today, we have a lot in common we never talked about. And maybe that's an answer. Thank you so much. Ladies and gentlemen, Dwayne McDaniel. Give her a big applause.


Good afternoon, everyone. Thank you for joining us for another episode of Kondo Insider. My name is Jane Sugimura, and I am your host for this show. And we're still, our shows are, I'm doing a series of shows on resources for condominiums and their owners. And today, we're going to showcase a really special organization. It's called MERMA, M-R-M-A, and it stands for Mo'ili'ili Resident Managers Association. And I'm really pleased to have with me today MERMA's current president, Ben Merritt. Hi, Ben. Hello, Jane. Thank you for having me. Thank you for joining us. And I want you to, we're going to be spending the next 25 minutes or so talking about MERMA and what, but before we do that, why don't you tell our viewers about your background? What is your background? I've been in the resident manager business for probably 25, 30 years and have used to have a business called Interim Management Services that when people would go on vacation and such, I was the filler. And that afforded me to manage many, many buildings in town, some of the really nice ones, and some of the older ones. And I wound up my career in resident manager at Harbor Square downtown as their general manager. And I've been retired now for about two and a half years. OK, well, you've got a lot of experience then to share with our viewers. It turns out that I do. And it was quite the joy and luck that would have given me that kind of experience. OK, well, why don't you tell our viewers? What exactly is MERMA? MERMA is a community outreach program that comes together and solves the condominium problems for the resident managers. So we get together and solve problems. It's a great community chest of answers for people that have problems in different trade areas, elevators, stairwells, lights, plumbing, the whole gamut. And we maintain a preferred vendors list that are our associate sponsors. And they, in turn, have exclusive they, let's see, I'm trying to OK, there are on the list that they do good work. They're conscientious, and we use them first.  So if you've got a site manager or a resident manager who's looking for a plumbing contractor or a structural engineer, I mean, rather than look at the phone book or go online to just see what's available, you'd probably want to talk to somebody who's had some experience. That's exactly right, Jane. And that is part of the function of the preferred vendors list, as you said, that when a particular need arises and it's you're not going to the phone book and you are getting a recommendation from another resident manager that has had that experience and knows that the job will get done in a professional fashion. OK, and who can join? Who can join this organization? I'm sorry. Who can join this? Who can join? It's open to building managers statewide. If you're a resident manager, a site manager that has function and responsibilities to a building, you're eligible to join. And we're flashing your website information. Is that where they would be contacting? If they wanted to join your organization? Yes, they would be contacting. We rotate that contact person more times than not. It will be Blanche King, our vice president. And whoever is with her on that committee will be on the website. And so how often do you guys have meetings? Yes, we meet every month. And it's the second Thursday of the month. And we meet February through November. We don't meet in December or January because of holidays and such. And during the pandemic, have you been able to have your meetings? No, actually, unfortunately, we have not been able to have meetings because of the state's mandate of crowd gathering. And it's limited to sometimes five, and then it was 10. I think now it's back up to around 50. And we are certainly keeping tabs on that as far as our opportunity. And with all hopes and planning, we are going to start back meeting at Waikiki Out Club, hopefully in February. Ben, can you tell us how this organization started? How did how did Murma come about? Well, originally it was probably back, I think in the early 2000, 2001. And fellow Mike Venable was having a brown bags meeting for lunch to do just that. Solve problems, have some of the managers come around and meet so that they could ping each other, pick one another's brain. And they bring pizza and do just have a lunch hour at one of the buildings. And Mike came up because it was in Moelili Valley. That is kind of where it started at Mike's building. And it grew, and we were going to call it one time, Oahu Manager Association. But we figured that Murma was just original and we just decided to keep it. And I can remember Mike Venable. In fact, he invited me to one of his early meetings. And he was just a remarkable person. Yes, he was. He had so much energy. And he was so positive. Well, he had the energy that we hoped that it was contagious. And he would always be in the upper echelon of the political arena here in town. And back when Linda Lingo was mayor in Maui, he had one of her first times speaking for us was over here. And we do stay in touch with the political people that are going to be able to affect our condolences and such. Yes, and he was a very dynamic person. And when I first met him and I started going to some of the Murma meetings, I was surprised that he was able to get the buildings in the neighborhood to meet for lunch. And then I stayed in touch. And now you guys are meeting up at the Waikiki Yacht Club. And you get a gang of people out there. Yes, it started with probably less than 10 people. And he was the great organizer and the authoritative presence that it was, like I said, a little contagious. And we got happy about it. And just so happened, I was a member down at the Yacht Club. And we started doing that. And our attendance tripled. And now we have, I think, on the average, excuse me, on the average between 60 and 75 people are managers and associate vendors that meet on a regular basis at the Yacht Club, like I said, on the second Thursday of every month. And among the, when you do these in-person monthly meetings, not only do you have your membership, but you have people who work, vendors and contractors and operators who serve the condominium community. You have them sponsoring the lunches and actually being present at the luncheon themselves to do networking among the resident managers that you've got, right? That is correct. And that is one way we vet the vendors that we use. And if we have someone new in town or that has not been affiliated with our association and we use that particular contractor or vendor on a job in one of our sister buildings, and it turns out, well, we'll ask them to come and would they like to sponsor a meeting and throw their wares out to our membership so that more people can take advantage of quality contracting and vending. And at these monthly meetings that you have, you also have speakers who speak on different issues, right? So what kind of speakers do you have come and address your group? I'm sorry, repeat that, please. On your monthly meetings, you have people who comment and present to the group. Yes. That was part of our associate sponsors, contractors, and even some of our like insurance people or political people, we have that arena as well. And our members are always thirsty for that kind of knowledge as well. Yes, and especially now, because right now I think a lot of your members are probably dealing with the fire safety ordinance. Yes. And that's going through life safety evaluations and whatnot. And with all the new COVID rules and unfortunately, the Marco Polo fire that was devastating to many people there is going to affect change in the way some of the things you've done in condo living. Right. And so I mean, so it's helpful to have at least your professional speakers, I mean presenters, come and share their knowledge with your group and then to have your group kind of network amongst themselves and with the vendors and contractors who are there at your meetings. Yes, it's a very unique blend. And with the resident managers and the associate sponsors and contractors, vendors and such, when they get together and the meeting's done, it's a huge exchange of, OK, I can do this and then these guys will recommend how to do it another way. And it just gets done and it gets done professionally. Well, let me go over some of the accomplishments that Merma's been involved in because they were involved in working with the city in stabilizing the bulky item pickup in Honolulu. Why don't you talk about how you guys helped with that? Well, it was the, I guess, the geography. People that just would come out and throw out old couches and beds, windows, air conditioners. And they would wind up in sporadically different places. And we chatted with the city to get designation on an area so that when a city vehicle that was designated come by a designated spot and that it didn't look trashy and it would all be there. And now you can go on their website and there's telephone numbers that you don't have to leave it out there, but maybe hours instead of days as before. You're making a permit, carry your items out. And the truck that's going to pick it up is almost there. And also, too, at all of your meetings, you have somebody from HPD, from the Honolulu Police Department, to give the stats. That's a dedicated service that HPD provides for us. The stats of car break-ins, staffs, home break-ins, condo break-ins, and they package it up. And you can get a written version. We always ask them to give us the info to put on our website. And they faithfully come to our meetings and always have at least one or two officers that like to speak. And it has become part of their requirement of public speaking in such that they are tasked with oration to a public presence so that they can get those stats out to everyone concerned. And also, the fact that you have the police officers, the police department at your luncheons, you've been able to get them to extend their patrolling to different areas that really mean something to the condominium community. Because sometimes there are some side streets that are used by children and elderly people. And they could, you know. And it was definitely a plus for us as an organization to have that long arm that would request more presence of HPD in troubled areas. And we're, like you said, that where kids play and it has calmed those areas immensely. And we're very appreciative to HPD in all their efforts monthly and daily, I should say. And they're always welcome. And so that's one way that the police department is able to work with the condominium community to bring benefits to the condominium community that they didn't have. And so that's a great way, a resource that Merma has offered to the community that they serve. Yes. And we will always be in their debt for having their presence where we need it, when we need it. And they always respond. And one other thing, too, I noticed with your monthly meetings, you have city council people. You have city council people showing up. And that might be because a lot of issues that affect condominiums are probably regulated by the city, like rubbish removal and property taxes and basically the fire and police service. Right. We have a lot of requirements and regulations that come from the city. And when we have a need or an update of something that has just been introduced or put out by the city, we can call on them and they will come and give their information to us on a speaking platform, also with the insurance industry for people like Sue Savio and that organization of insurance people, they are always willing to keep us up to date on what should belong in our reserve analysis and other governing documents. And you bring up a good subject, I mean reserve studies. So it's the site manager or the resident manager who works with the reserve specialist to set up the reserve study, isn't it? That is exactly right, Jane. And the reserve analysis is like an outline of what you must have on hand in the case of an emergency. And the board spends many hours, the boards of many condominium complexes spend tremendous amount of hours developing what the priorities are that go into the reserve analysis so that they can be covered at any point in time for any catastrophe. And you guys have been doing that for a long, long time, haven't you? Yes, this is true. And now there's a lot of focus on the reserve studies and the reserves because of what happened in Florida with that condominium collapse. And now people who didn't even know about reserves are asking questions about reserves. Well, it would behoove anyone, I don't know, too many buildings that don't have some sort of a reserve analysis going on so that they can look and see what their component life plan is in any situation. And so that is like an outline for the resident manager. He goes through his daily routines and monthly preventative maintenance. And then when you come to the end of the year, what are you going to project to spend a large sum of money on so that you can keep all the components of the building working properly? And no one must have equipment break and you don't have enough funding to replace or repair. Yes, the reserve study is such an important tool for a condominium.  I mean, I know during our budgeting process, our budget committee, we were going through our budget. I had my site manager on the phone and I'd be asking him, you know, what about this? Can we put this one off? And he'd say, no, no, no, you can't do that. That you got to keep in the, you know, you got to go forward with that. That's exactly what that is. I mean, it's a seesaw of what needs to be done, what you have the money for. And no good resident manager likes to see deferred maintenance because you either fix it now or you're going to fix it later.  So the reserve analysis is a very, very important tool. Yes, and now during budget season, I mean, and especially after the Florida building collapse, you know, people, you know, are more, I think appreciative of the fact that, you know, people like, you know, you guys, the resident managers have been working with this tool for what, 20, 30 years and, you know, have been working diligently to make sure that, you know, that tool is used to make sure the building is well maintained, is safe and, you know, is going to, you know, that the cost to maintain the building going forward is going to be reasonable and not excessive.  Well, it's quite the responsibility and sometimes the resident managers are the unsung heroes that they are constantly on the job 24-7 because the building doesn't sleep. It just, there's less people at night whatever you have securities and such. But they do, most of them do a fantastic job at keeping the condo life a safe place for people to live. And that's what your organization is all about, right?  Exactly, and Mike Venable said it best when he first was calling in the phrase, we are an outreach community program and community being capitalized there because resident, everyone has to live someplace and resident managers and with an organization like we have that emphasizes comfortable living, clean, quality living. It's just, it makes condo life very palatable, livable. And you guys are the glue, basically it holds everything together.  When it gives, it gives a standard that if we hold our managers to a standard that is, like I was saying earlier, contagious. It makes the rest of the managers in town try to aspire to keep their buildings up in a very professional platform. Okay, we're getting to the end of our time and I really, really appreciate you being a guest on our condo insider show.   I mean, as the years go by and I know Mike would be so pleased to know that you've done such huge, you know significant outreach in the community. Well, I certainly appreciate you having us on and we will forever strive to keep improving our quality of condo living. Thank you, Jane. Thank you, Ben. And thank you, the viewers for tuning in to another episode of condo insider. And next week it's Thanksgiving. So we're not gonna have a show and I wanna wish on behalf of the condo insider, my other co-hosts, a very happy Thanksgiving and please tune in on the following week for a really important show. And this is condo insider is the show for people who live and work in condos. And thank you very much for sharing your time with me and Ben Merritt of Merma today. Thank you very much. Mahalo. Mahalo.


Welcome to another live video. As you can see I'm out here at the beach just living my best life as I do. Loving every minute of it and it's a really nice beach as well. White sand, green water it's very peaceful, very relaxing and it just feels like it's pretty good for me. So yeah I'm out here at the beach. That one to the topic for today's video. Why do narcissists hate empaths? Empaths are very kind, generous and giving. What is there to hate about them? They're very nice and friendly people. They care about other people more than they care about themselves. They will put other people first even up the expense of their own needs. So how could a narcissist hate an empath? Well the fact is that narcissists are very envious and jealous of empaths. They desire to have what they have and that is why whenever a narcissist is around an empath all they're going to do is rob them. They're just going to strip them of everything they have. Narcissists do not like empaths but you may be wondering why do they go out of their way to target people like that? Why do they target kind, friendly and generous people if they hate them? But the simple answer to that is they're only around them to take something from them. They don't like them at all. They hate them. The only thing they like is the things that they can get from them. They love that and that is the only reason why they decide to be around them. To take it's not because they like them. They hate them. Narcissists like their own kind. People who are more like them. That's what they like. They like other narcissists, coin artists, manipulators and they team up and work together with those types of people to destroy people like you. People who are kind and giving. People who wouldn't hurt a fly and it's sad but that's really what they do. They work together with other people just like them to bring good people down. It really is good versus evil. That's exactly what it is when it comes down to it because they team up with other evil people. People who are like-minded. People who are just like them and people who are also envious and jealous of you and desire to have what you have.    They would still try to destroy you even more because they still have that reminder in their heads what you used to be, what you used to have and that will still lead to weight them even if they've destroyed everything about you so yeah something to keep in mind and I hope that helps you to understand why they're just never going to stop. They'll always be on you and that's never going to change because they have an inner void inside of them that use you to regulate their emotions and to fill that void so yeah it's that simple but as you can see I'm out here at the beach and I've had a good time and I would like to end this on a positive note so I'd just like to encourage you all to continue being the kind living empaths that you are I know it may seem like a curse when you are around narcissists and toxic people people who only want to take from you but it can actually be a blessing and a gift as well when you are around the right people people who will encourage you to grow your empathic ability and use it for good people who are also empathic and can join you on that frequency in making the world a better place and building people up when you're around people like that you won't see it as a curse anymore you will begin to see it as a blessing because it is I don't know many of you are empaths and I see the blessings that you give to people in the comment section every day where we all encourage and support each other not to give up after we've been involved with a narcissist and to continue on our journeys and to keep getting better that's what it's all about because when empaths are together as a group that's what they do they build each other up it's only narcissists who try to tear us down other empaths will encourage and support you and you will only become more healthier and stronger when you are around other empaths it's very hot out here but the water's nice and cool so it's great to come in here just to cool down having my best life and loving every minute of it just chilling in the sea so yeah that's the message for today I'm gonna end it here and pop my phone away so that I can jump in the sea again so yeah please give this video a thumbs up if it vibes with you and I will talk to you in another one very soon


Welcome to ST Microelectronics tutorial on power MOSFET parameters. In this session, we will review common MOSFET parameters to the MOSFET absolute maximum ratings. Understanding the absolute maximum ratings is absolutely critical to ensuring the reliability of the device and the application. These are the extreme capabilities of the device and are never to be exceeded under worst-case conditions, otherwise the MOSFET may fail. The first parameter is the VDS or drain source voltage rating. It specifies the maximum voltage blocking capability of the MOSFET when the device is held off by lack of gate voltage, as seen by the VGS equals zero operational condition. This is the only parameter that may be slightly exceeded after consideration of the Avalanche capabilities of the MOSFET, which will be explained in more detail in another tutorial. The part is guaranteed not to Avalanche when operated at voltage below this maximum rating. Next, the VGS or gate-to-source voltage rating. The gate is the control terminal of the MOSFET, insulated from the drain-to-source conduction channel by a gate oxide. Exceeding the voltage rating of the gate may result in degradation of this oxide and eventually increase current leakage or full failure of the MOSFET due to dielectric rupture. While exceeding this value may not always cause failure, reliability within this bound is 100% tested and guaranteed. Before discussing the ID or drain current ratings, it's beneficial to discuss the total power dissipation rating, or P-TOTE, and the maximum operating junction temperature of the silicon. The MOSFET's performance limit, whether in switching frequency or current conduction, is often bounded by keeping the temperature of the internal die below the maximum operating junction temperature, or T-J. Reliability tests are done at this T-J limit and used to calculate the reliability of the part. Operating below this temperature is key to ensuring long life. The temperature of the die is determined by two factors, package or case temperature and internal power dissipation. The maximum power dissipation is typically specified assuming that the case temperature is held to a constant 25 degrees Celsius. Given this condition, we can use the T-J and thermal resistance RTH-J to see from elsewhere in the data sheet to calculate the P-TOTE. Since this parameter is dependent on thermal resistance, you may find separate values depending on the package of the MOSFET. The risk of exceeding this maximum power dissipation is to exceed the junction maximum temperature rating, which we know will degrade performance, reliability, and may cause permanent failure. Let's move back to the ID parameter, or maximum continuous drain current rating. This is derived from either the maximum power dissipation P-TOTE, which in turn was linked to maximum junction temperature, or in some instances the current carrying capability of the wires botting the MOSFET die to the leads of the package. As with the P-TOTE, you will often see different values specified by package type. Power dissipation can be calculated for continuous conduction by the current squared times the drain source resistance of the on-state device, or RDS on. So the maximum drain current is that which keeps the power dissipated below P-TOTE. As RDS on is a temperature dependent parameter, the maximum drain current may be specified at different operating temperatures. The calculation is summarized below. Non-continuous current is characterized as pulsed and is derived from the safe operating area, or SOA, of the device. This will be discussed in detail at the end of this presentation. As the MOSFET transitions from on to off, a voltage transition at the drain of the device occurs, the static DVDT. This can cause two unwanted phenomena to occur. First is a false turn-on. The fast rate of voltage change on the drain can induce a displacement current through the internal gate-to-drain capacitance, so as to pull the gate voltage above its threshold. This will cause the MOSFET to turn on into its linear region of operation, where power dissipation is very high. If the effect is strong enough, it may cause failure by exceeding the maximum allowed power dissipation. However, this being an effect of many external variables, it cannot be specified as an absolute maximum rating. The absolute maximum MOSFET DVDT ruggedness parameter is related to the turn-on of the intrinsic parasitic transistor. Much as the DVDT can cause a displacement current through the gate-to-drain capacitance resulting in the turn-on of the MOSFET at its gate, a very high DVDT can also put a displacement current into the base of this parasitic transistor through an internal capacitance. If this current is large enough, it will cause the bipolar transistor to turn on, resulting in a much reduced voltage blocking ability. This in turn makes the device subject to a dangerous avalanche breakdown. It is a particularly high-risk parameter in high-voltage MOSFETs. Diode recovery or dynamic DVDT is related to putting a voltage across the MOSFET while its body diode is conducting a current, such as is often found during soft switch commutation. There is an intrinsic body diode, which is an artifact of the parasitic bipolar transistor we just discussed. During current conduction through this diode, a high charge concentration is built up that must be removed for the diode to turn off and regain the voltage blocking ability of the MOSFET. As the diode transitions from conducting to voltage blocking, a DVDT on the diode occurs that causes displacement current in the parasitic capacitances, a peak recovery current, and simultaneous increase in voltage across the device. These combined stresses can result in failure. The diode recovery DVDT should be explicitly checked in all applications relying on the body diode for current commutation. The more rugged this DVDT absolute maximum rating, the more suited the MOSFET is for applications such as resonant or zero voltage switched bridge topologies. Finally, a discussion on the safe operating area, or SOA of the MOSFET, helps to tie together some of the concepts discussed related to the absolute maximum ratings. The SOA is a graphic always found near the end of the MOSFET data sheet. The drain source voltage is plotted on the x-axis and the drain current on the y-axis. Multiple curves related to the drain current pulse duration are graphed. Let us examine each section of this graph. First, note that the curves assume an operating case temperature of 25 degrees Celsius and a maximum allowed temperature of Tj is found in the absolute maximum ratings. Indeed, this curve is mostly related to maximum power dissipation akin to the way we derive the p-tote parameter. The vertical curve boundary here in green is dictated by the absolute maximum drain voltage rating and is independent of the drain current. The horizontal maximum overall drain current for pulse operation is graphed also in blue and equal to the absolute maximum pulse current, often package limited. To connect these boundary lines, we must derive a variable power dissipation limit, done by multiplying the static thermal resistance by the thermal impedance k-factor found in a separate data sheet graph shown here. The k-factor relates a reduction in junction to case thermal resistance dependent on the duty cycle and duration of the drain current pulses. In this case, we see that a single pulse lasting 10 milliseconds has a k-factor of 0.1. The shorter and or less frequent the pulse, the lower the thermal resistance and higher the power dissipation allowed. This power is calculated by multiplying the drain voltage and current together. The DC operation curve always comes from a k-factor of 1. Shorter and shorter pulse length curves are derived from ever shrinking values of k. Finally, the positive sloping curve in red is a practical limit to the relationship between the drain voltage and current related by Ohm's law. Voltage equals current times resistance, where the resistance is the maximum RDS on of the device at 25 C. Theoretically, the region above this curve is allowed, but not reachable in practice. That concludes our tutorial on MOSFET Absolute Maximum Ratings. Thank you for listening. For more information, please go to www.st.com.


Alright, so one comment yesterday was quite funny. It was like something about my accent and how I can't be understood because of my accent. Do you guys find my accent weird? Most of my viewers are probably American, so I get that it might be different, but anyway. Today's question. Should I use one reality check that affects me or do I need to change my reality check every week? Now, this is... I'm gonna answer the question and I'm also gonna give you a few updates as well about just things that are going on. Okay, so when I say to mix up your reality checks and like try different ones, what I mean by that is not that you should just avoid doing them if they were if they're working for you and just for the sake of changing them. What I mean is until you find one that works for you, keep changing them every week. So let's say this week you did the finger palm push and nothing happened and you didn't have any lucid dreams and the next week you tried the one where you like pinch your nose and try and breathe through your nose and nothing really happened. Then the week after you find that every time you look at a watch and then and do the whole like time watch reality check, that seems to work for you and you ended up having two or three lucid dreams that week. Stick with that one because that one is working best for you. And then if at any point in the future you find that you're in a rut or like maybe you can't have as many lucid dreams or it just starts to not be as effective, then you change it and then you try different reality checks until you find another one that works for you at that given time. Because what you'll find is it's kind of not seasonal, but it's kind of it will kind of vary. So one week you might find that one reality check works for you in which case keep going until it stops being effective and then when your brain or subconscious or whatever gets used to that reality check then you switch it up when it's no longer effective and then you try a different one. So that all the time you're keeping your brain engaged with fresh ideas, fresh reality checks and new experiences. You should not only focus on that, but you should also focus and All right, so I'm going to give you a little tip which is usually only available in my Udemy course. So when I talk about reality checks obviously, obviously when I talk about reality checks, it's important to switch them up every week. But an even more powerful method, an even more powerful thing to do is to use triggers with reality checks. So don't just do them on, don't just do them every hour or every two hours or something rhythmic like where you know where it's going to happen. Attach them to, if you can, if you can download an app on your phone that will give you a random alarm so you don't know when it's going to go off, that would be better. And even better than that is to attach it to certain triggers that you might see during your day. When I say triggers, I mean say if you throughout an average day say if you see a handful of like of dogs or cats. That could be a trigger for you. So you could tell yourself every time I see a dog or a cat I'll do a reality check and that would be you're attaching a belief to that trigger. So that hopefully when you see a dog you're going to do a reality check and that's going to then transfer to your dreams. It's even more effective. You see how there's different levels of effectiveness, right? It's not just about doing your reality checks. It's about being mindful about how you're doing them and like what's triggering them. So even more effective than that is to look at your dream science. So every you should be writing your dreams down every morning and after a while you'll have like recurring themes. So these will be object people places things that you dream about more than once quite often I would say and these are your dream science. So what you would do is pick out a few of them that maybe you see in waking life. Like whether it's a person or your pet or something. Whatever you dream about most that you also see in waking life. That would be the most effective trigger. Every time you see that dream sign in waking life you should do a reality check. That's it. That's that's the most effective way at the moment of using reality checks for I don't want to say for beginners because I do this as well, but it's sort of it's it's a very effective method using using triggers being mindful when you do the reality checks identifying your dream signs to users triggers and also switching up the reality check if it's not effective for you as in when I say effective if the reality check is not showing up in your dreams. That means it's not as effective. Now that being said sometimes you'll have your most effective reality checks show up in your dreams and not give you a lucid dream. That I wouldn't take that on face value. Just just try and be patient with it and I get smaller than anything else. Just try and write down your experiences so you know where you're going right and you know where you're going wrong. Also while I have your attention please go and subscribe to transcend your limits my second channel because well I do daily videos there really to happen for a while and I'm about to go on a big trip.  I'm gone for I'll be doing daily videos So even this channel, you know, you won't be seeing this This setting in my videos. You'll be seeing probably like a crazy Skyline or mountains or I don't know something like that. So yeah, that's very exciting I'm hyped about that and go ahead and subscribe to transcend your limits and also this channel I have been in contact with somebody at YouTube and I've confirmed that The algorithm has slightly changed if you don't click the notification bell Underneath a subscribe button and click give me notifications and also if you don't like engage with my videos is in comment Or like or whatever you just won't see them and you might not really care But if you do care and you do want to see my content and you are trying to learn how to lucid dream This is a really valuable channel for like information and tips. I'm giving away fairly fairly juicy bits of information here, which normally You know, they'd be in a book or a course you'd have to pay for so so if you do value these videos please go and subscribe and turn on notifications and Just sort of engage with the videos. If not, then that's fine. You can ignore them I don't really mind. So I'm gonna be trying out the community tab on my YouTube channel Just to find out what you guys want to see me make a video about Obviously, I try and answer as many questions as I can but obviously I'm overwhelmed with questions. So what I'm gonna be doing in Every I'm gonna be trying to look at the latest video I've posted and at the most upvoted comment So if you would like to see a video about a particular topic and you see somebody else's asked that question on a comment Upvote that comment and it'll be very likely that I'll make a video about that particular topic You can also check out my patreon page if you fancy it Informations in the description. There's actually some quite cool bonuses now like there's a private WhatsApp group for a certain band of people and there's some other stuff as well coaching and Ebooks and all sorts of exciting stuff like that Thanks for watching guys this video and this channel was supported by my patreon followers who are updated in the description of every video At the time of uploading please consider giving just a dollar a month to support this channel or just click the links in the description You'll find links to various lucid dreaming products articles techniques and tutorials if you did enjoy this video Please click the notification bell and subscribe and I'll see you next time Why are you still watching that you should have clicked one of my related videos by now right or subscribed or gone on to my website or something like that