This 2017 Ram 2500 Crew Cab Short Box Laramie is stock number 12053Z. We're here at Summit Automotive in Fond du Lac, Wisconsin, you're new and used heavy duty truck and Ram headquarters. This 2017 Ram 2500 has the 6.4 liter V8 Hemi engine. It has been fully safety and inspected by our service shop as a fresh oil and filter change. All the fluids have been checked and topped off and this truck is 100% ready to go. Bright white is the color and we shoot all of our videos in 1080p, 60 frames per second so if you have HD capabilities on your computer, tablet, smartphone or television turn them on right now because it is definitely your best way to check out the quality and condition of the truck before seeing it in person. And if you like the video and want to subscribe to our YouTube channel in the lower right hand part of the screen is a subscribe button. Click that and then click the bell notifications and you'll get updated every day we do videos of our great new and used inventory here at Summit Auto. This one comes with the polished aluminum rims. These are 18 inch rims and it has Firestone Transforce AT tires on here. These are LT27570RA teams and they have right around half the tread left on them. This one has the 4x4 off-road package which gives you the Bilstein shocks. Frame and underbody is in really nice condition. This is a one owner clean title history out of Iowa. No dents or dings on the front fender has the projector lamp headlamps, the LED running lights. Front bumper is in excellent condition, I didn't see any dents or dings on there. Has the front bumper parking sensors. The hood is in very nice condition as well. Actually has a 3M tape on it right here. You can see that line that's part of that 3M tape. Obviously if you didn't like it you could always remove it and it does have a nice chrome bug shield which matches the chrome trimmed grille. Passenger side front fender is in nice shape. No dents or dings there and the passenger side front rim no scuffs or scrapes. As you go down this side of the truck take note of how clean the body is, how reflective and mirror like that paint is. We take these HD videos so if you are far away or even if you're close by just cannot make the trip down but you're still interested in purchasing the vehicle. You can see the truck, hear the truck and have confidence in what you're looking at before you even get here so that when you do get here there's absolutely no surprises and you can make a smart and informed buying decision from the comfort of your own home. Very nice down that side looks really good. Has the wheel to wheel side steps. This back rim is in excellent shape as well and the back tires have just as much tread as the front tires. Once again the frame and underbody is in really nice shape and you do get those Bilstein shocks in the back as well and the frame and underbody looks really good all the way underneath. Lower rockers look really good and the step bars are in very nice shape. And around to the back rear bumper looks really good. Does have the back up parking sensors, full towing package which includes receiver hitch four pin and seven pin wiring. The tailgate is in very nice condition as well, I didn't see any dents or dings on there and it does come with a Truxedo low pro soft roll up tonneau cover. Moraine bed liner, gooseneck and fifth wheel prep package. Does have the seven pin wiring back here as well so she's all ready to go if you get a camper or trailer with a gooseneck or a fifth wheel. And as you go down the driver's side just as clean as I pass in her side, I didn't see any dents or dings on the box, looks really good. And for full disclosure this back rim is in really nice shape as well. On the rest of the side of the truck, doors look really good. Has the heated fold out tow mirrors, they have directional signals in them as well.  There are no rips, there are no tears on those seats. You get the Laramie embossed into the backrest. Seat is in really nice shape. Both these seats are heated and cooled and you do get memory and lumbar options on the driver's seat. Weathertech floor mats, auto headlamps, power windows, power locks, power mirrors, get the nice leather bolster and wood grain trim on the door and these mirrors do power fold in. They go like so. Hop inside here, we'll turn the ignition on so you can check out the miles and then the radio. This truck has 23,432 miles, you do get a digital speedometer, which you can switch to miles per hour right there. Compass outside temperature display, instrument cluster is very nice and clean and once again 23,432 miles on this truck. Comes with the heated leather wrapped steering wheel, cruise controls on the right, Bluetooth and information center controls on the left and audio controls on the back of the steering wheel. This one comes with the six speed automatic transmission with the optional tap shift turned out four wheel drive. Factory navigation system on the 8.43C radio, AM FM and Sirius XM radio capabilities on this truck. It also has your heated and cooled seat buttons, your heated steering wheel buttons, you can check out your backup camera or you can check out your cargo cam at any time. Very nice system and your heated and cooled seat buttons and then you can do your climate controls. Now you can do your climate controls up here or you can do them down here. Notice you do get the dual climate controls, volume and tune controls as well.  Heated and cooled seat buttons down there as well. 115 volt, 150 watt plug-in, passenger side, floor mat and seat are in excellent condition. No rips or tears on there and the headliner is in very nice condition as well. You do get map lights up there, power sliding rear window button, home link buttons for your garage door security systems and lane systems and 911 and assist buttons in that rear view mirror. This one does have the Alpine premium sound system which gives you those speakers in the ceiling as well as the subwoofer underneath the back seats. Speaking of those back seats, these back seats are in excellent condition, no rips or tears back here. It does have the latch child safety system for any child car seats you may have. Power sliding rear window, very nice back here. It does have the load floor which if you got muddy boots or tools, put that down. They got a nice place to put those, you're not going to get your seats dirty. Or if you got pets, put both sides down, you've got a nice flat place for them to lay. There's also storage underneath these and I think this is probably part of that fifth wheel and gooseneck prep package. You do get in floor storage under here. There's those caps for those fifth wheel holes in the bed and then a removable container for easy cleaning. Does come with side current airbags. Back door does have the child safety locks. Then we'll start it up and take a quick look under the hood. Starts right up. No check engine lights or anything like that. I would personally like to thank you for checking out the video today and hopefully from this HD video, you've been able to tell just how clean this truck is all the way around inside and out. Under the hood we have the 6.4 liter V8 Hemi engine. Engine base very clean, runs very smooth. Once again this truck has been fully safe and inspected by our service shop, has a fresh oil and filter change all the fluids have been checked and topped off and this truck is 100% ready to go. I would highly recommend this truck from a quality and condition standpoint and to see more pictures of this truck or one of our other 450 new and used cars, trucks, SCVs, mini vans, wranglers, half tons, three quarter tons, one tons, you name it. We got to go to that website right there, www.summitauto.com full pictures and descriptions of every single vehicle from two locations all at www.summitauto.com and if you'd like to check out more HD videos, you can go to www.youtube.com slash www.summitauto.com. Remember to like, subscribe, share, click the bell notifications to get updates every time we do videos here at Summit Auto. In fact, in a second you will see a link to subscribe to our YouTube channel in the upper left, a link to more Ram 2500 truck videos like this one on the upper right, link to this vehicle on our website in the lower left and a link to one of our latest YouTube videos in the lower right. Click those check us out and we will look forward to help you with this Ultra Clean 2017 Ram 2500 Crew Cab Short Box Laramie in bright white clear coat. Thank you again for checking out the video and remember to like, subscribe and share.


Welcome back to the breakfast here on Plus TV Africa. Our next conversation this morning is on the controversy concerning the electronic transmission of results. There has been conversations in the last few weeks about whether the independent national electoral commission will be allowed to transfer election results electronically or not. Of course, there was also the vote that went 52 in favor and of course 28 and 28 also absent. It was a little controversial in the last couple of days. This morning we are speaking with Toju Onaywu as an information technology expert who is joining us. Good morning and thanks for joining us Mr Onaywu. Good morning. It's my pleasure to be here. Thanks for joining us. All right, so let's start with the controversy. Some people have described it as disappointing that we are stuck in this place where there is still a conversation concerning whether or not to allow for electronic transmission of results. INEC had stated that they have the capacity to transmit electronically but the National Assembly doesn't seem to allow or agree with them entirely. So let's get your thoughts, first of all, on the controversy. Oh yes, it's pretty disappointing but not so strange. We are fond of as a people having, we need to keep going back and forth on doing what is right. This thing, the electronic transmission of results has been tested in some states already, elections by two elections and even parliamentary elections in some states and it works. So why are we going back and forth? So I'm disappointed but not surprised because of the way we are fond of going back and forth on what we normally just do. So yes, I'm disappointed but not surprised. Okay, there is the argument with regards to penetration of 2G and 3G technology to the most remote areas in Nigeria. So what information can you share with us with regards how far 3G technology is spread across Nigeria? All right, we're going to have to reconnect with him and get that question in. The conversation really is about how far and wide the penetration of 2G and 3G network is in Nigeria because that's one of the things that has been mentioned. There's also the security aspect. Some people have said these things can be hacked and they don't want results to be hijacked halfway through the process. Those are some of the concerns that have been stated and then some other people are saying that we don't want a situation where some areas get electronic transfer results and others do not get electronic transfer results. So we hope that Mr. Naewoo will be able to share with us how far, how well 3G and 2G penetration has spread across Nigeria to see if that argument actually works. I think last week we had spoken about the legal perspectives, how the Constitution already guarantees INIC the powers to make that decision and it has nothing to do with the National Assembly or with the NCC. But we hope that we can get that. Yes, indeed. This issue really is something I think we need to sort out as soon as possible because if we're still discussing these issues, even though people might say we have time, we have time, but we know how these matters can drag on, they are postponed and all of that. And before it seems like 2023 sneaks upon us, I hope it's something we can finally conclude this year because INIC has really statement saying they can authoritatively transmit election results electronically. But the lawmakers who should give them power, which I also find weird because INIC should be an independent electoral body. So the Senate and all the lawmakers, that should give them the power, has put that their ability to transmit results electronically in doubt. So it seems as a deadlock here. Analysts have brought up the possibility of INIC taking this to court to say we should be an independent election body. The Constitution guarantees our independence. So we should not be subject to an NCC concern if there's a security risk and all that. There are risks that our monies could be, accounts could be hacked. All these risks exist. That's why there should be risk assessments. That's why Nigeria has the funds to conduct elections. So we should be able to sort these out as soon as possible. Thanks for joining us again, Mr. Nair. Can you hear us? Yes, I can hear you. All right. So I was asking, what you can share with us with regards to G and 3G penetration across Nigeria. There's some arguments that that might be one of the reasons this might be difficult to pull off, that they are setting areas across the country that do not have adequate 2G and 3G network. Yes, yes. It's really not about technology. It's about what we want as a people. What is it that we want to do? We want to have credible elections. We want to have elections that way people go to court because we say, no, you have no case here. So we say that if you stop these incidents of having the judiciary giving victory to elections, that we want to stop that. So in other words, what do we want as a people? We want credible elections. So the technology is not the issue. Technology is available. As I said before, we've done this election, we've done transmission of results in some states. In some states, we've done elections and it was successful. So it's left for us to isolate the area where we do not have the technology, where the penetration is not good or it's not strong enough or it's not available and begin to talk to the telcos to have all of these areas covered. Besides that, I make a difference with that. You can actually upload the results when you get to areas where the signal is good and strong. It will link up. It will be uploaded straight to the servers. So like I said before, it is for us. It's for me. What is it that we want as a people?  What do we want? What do we want to achieve? What do we want to do? So if we are based on our credible elections, the technology to make it happen is available in Nigeria. So the Telcos, over five or four or five of them are available. They will make it happen. We've done this in some states and it worked. So this whole thing of 2G not available, available. No, that is not the issue at all. Do we want to have credible elections? Do we want to have it in such a way that when people finish voting, the results are entered into the results sheets and are uploaded. They are credible. Not to let somebody go and change them. Is that what we want? Is that what we want? The technology is available. Mr. Aonaiwu, you are an ITS expert so you can answer this question with the fact. The Senate has cited NCC, Nigerian Communications Commission, and they are saying that there is a risk of hacking election results. From your IT perspective, do you think Nigeria can put in place the security infrastructure to ensure that the election results are not hacked? Do you think we have the capability to do that? Good. Thank you. Yes. It is like this. It's about cost benefits analysis, risk analysis. Looking at the risk involved in whatever it is you want to do, what are the risks involved in electronic transmission of results? Of course, there are technology risks, but can they be mitigated? The answer to that is yes. So yes, there are risks, but the risk can be mitigated. Everything IT, everything technology, there are trails, and you can put that. There are so many with IT gurus in INEC can get all these things sorted out. So there's no point going through it. But the point is that there are risks, but the risk can be mitigated. Besides that, whereby the action is eventually carried out, you can track the action, and you can even trace the action and also get the people who are responsible for the hack arrested or prosecuted. Even the results that they want to upload by whatever means they choose to do it, you can even identify that there are IT trails. Whatever you do, there are trails. So there are risks, yes. The risk can be mitigated, yes. And the risk also, in this case, the benefit far to the risk, in my opinion, in having the results transmitted electronically. Okay. So you're basically saying that Nigeria actually has the capability to transmit results electronically. Is that what you're saying? We doubt Nigeria has the capability, yes. When we talk about, can you break this down or make it as clear as possible? When we're talking about electronic transmission of results, what is the process really? Is it through text messaging or is it through the internet? What exactly do you mean? Okay. Now, what was done in those 10 elections, which I was part of, I was involved in, because it's my thing, that's why it's right, is this. I let set up the portal, okay? I let set up the portal for the result of the election. And I let give a link to their presiding of the electoral officers that after the counting of the results and the result that they entered into the results sheet by unit, by word, you go ahead and upload such to the, to a portal to a link that they've given to their agents, to their presiding of the electoral officers. So that's exactly what it is. So that's the point. So the results are entered into the results sheet, then you take a snapshot, a picture of it, then you upload it. In other words, you just take a picture and upload it. Like in JPEG, you just upload the picture. It's a JPEG really, so that you cannot edit it. You can make it PDF if you want to, but you also upload the JPEG and upload the results. It will capture the parties, the results, the people who signed the signatures, everything. So that's exactly what I need. That's the whole essence of electronic transmission. So from wherever you are, you can see the results. So that process is done from the World Collision Center to the Local Government Collision Center. So you definitely have the results uplinked already in the cyber space. So that's what it entails. Well, if you remember, right after the 2019 elections and the court cases that followed, there were, if you remember, after the 2019 general elections, the court cases that followed, there were conversations about the INEC server and if it was active during the elections or if it was used during the elections. Do you think we still will have that challenge if we decide to go forward with this? Does the server still exist? Was it the same server that was used in the other state elections? The electronic transmission result, like I explained before, is just saying you take a snapshot of the picture of your results, you upload it to a link, to like a web link. Exactly. Now, every one of these things are in one form or one cover or the other. So it's not like one particular server, it will have no problem. No, no, no. 2019, yes, the server was mentioned and we're a bit concerned about the server. It's the same thing. It's about security of your IT infrastructure, which I know is very, very well aware of. I would do everything I can to make sure that they are secure. In any case, they can be, you can track or any attempt to have or, you know, like I said, when it comes to technology, there are risks, but there are also different things you can do to ensure that the risk can minimize. And we are the eventual threats, eventually come six weeks. You can drill them, you can track them and you can do some renegotiation or whatever actions that were attempted or done. Okay, so also we know that the Senate said they are basing their decision on an NCC submission, which is that there's a risk attached when you transmit results electronically. Do you think that the NCC should be involved in election conversations? And also, if yes, why do you think they're not focusing on the solutions, you know, like you mentioned that the risk can be mitigated instead of the challenge? Well, you know, the questions are quite hard, but I would like to want to say the NCC has a refugee body. I think I'm listening to what Mola I read, some of the things that he died from NCC said. It was trying to give the penetration of 2G, 3G across the country, not really coming out to answer the question of whether it is yes or no, you know, it was a bit ambivalent. But the point of the matter is that I'm making saying that they've had conversations with the technology and the telecommunications providers and they have guarantees that by 2023 we'll be able to conduct this election, we're going to conduct the election and transmit the results electronically. I think we should believe IMF. They are empowered by law by the Constitution to conduct elections, and if they say that it can be done, so be it. And to argue then you really why all of this is not clear between IMF and NCC. I don't know, I think your guess is as good as smiling as to why all of this is. Some people are just afraid for, unnecessarily, because there's no point for this here. That's what I would say. Told you on IWU, thank you very much for your time this morning. Thank you. Thanks for speaking with us. All right, it's just pretty funny how we are in a country where there has been in the last, you know, three, four, five years, you know, there's been a lot of very brilliant strides with information technology, with startups, you know, some of them have been bought off for $200 million, if you remember. We have some of the most brilliant minds with regards to information technology in Nigeria, but yet we can't transmit results. No, we actually can. He mentioned we can. It's the will power at the end of the day. Yeah, you know, but there's people who feel like that we cannot. It just doesn't, and it makes, it gives more credence to people who say, well, this is really just about, you know, certain people who are scared about losing the elections, because there is no excuse. One of the questions you asked, the last question you asked, actually is where it's coming from. Why aren't we focused on how can we exactly, how can we solve this? We have all the resources that we should be able to put into focus. Because even with manual collation, manual transmission, there are risks, risks of loss of lives, ballot box, bookstatch. And we continue to use it. So those risks, there are risks anywhere you look at, manual, electronic. So it's, what do you think is the best, what's the best, what's the best challenge, what seems to be online, according to what these experts are saying. So really, we should focus on the solutions. And do we have the solutions? Yes. It's just the political will to implement them. That's what it seems like. A 25-year-old from many of the startups across 90, information technology startups across Nigeria today can solve this problem easy. It's not actually a problem, but since they've decided to make it a problem, any young person that works in the IT sector can simply solve something now. It's possible that many youth who have solutions say this, and maybe I've even pitched them, but you know, not hearing a word back. But the point is that it's a solution that we can solve. There's a problem that we can solve. All right, we'll take a short break. When we come back, we're celebrating women on a Monday morning, and that's because there is a new bank MD, Nigeria, and she's female. And so we're going to be having a quick conversation about that. And what more strides Nigeria needs to take with regards more women in positions like that. Stay with us.


Attention Illyria Swansea residents. This is a community notification of a new sexually violent predator in your area. Please stay tuned to the following short program for more information. Hi I'm technician Ron Hackett with the Denver Police Department. The Sex Offender Registration and Compliance Unit at DPD is responsible for the registration monitoring and tracking of all registered sex offenders and sexually violent predators who live in the city and County of Denver. Here's a brief history of sex offender legislation in Colorado. Our state laws trickle down from federal government mandates. In 1994 we had the Jacob Wetterling Act which mandated that states would establish a sex offender list. Megan's law of 1996 said that the public would have access to those sex offender registration lists. The Pam Litchner Act of 1996 stated that some offenders might have to have lifetime registrations. In the Adam Walsh Act of 2006 unified sex offender laws across the country. In Colorado the legislature has determined that sexually violent predators by definition pose a higher risk to the community at large and therefore mandated that upon their release from the Department of Corrections the community must be notified. Sex offender notification in Colorado happens in two ways. The first is passive and ongoing through the sex offender registration process which is a list maintained by local police departments. The second way is active via community notification for those offenders determined to be sexually violent predators by the courts or by the parole board. Most sex offenders in Colorado are supervised by the criminal justice system in our communities. Most sex offenders engage in crossover behavior which means they may have been arrested for one type of crime but be apt to commit another.  There is no typical sex offender but all tend to be deceptive manipulative and secretive. 80 to 93% of sex offenses are committed by someone known to the victim. Sexual deviancy begins in mid to late adolescence. Sex offenses are not impulsive.  The community has a vested interest in helping offenders to be successfully managed in the community. Sex offenders have the same need for housing and employment as any other citizen.  There are approximately 16,500 registered sex offenders in the state of Colorado. About 65% of convicted sex offenders are placed in the community on probation. The remainder are in the Department of Corrections or Community Corrections. Offenders may be caught for one type of offense but be at a high risk to commit another type. Crime of conviction is only one indicator of risk.  The offender's residence must be verified quarterly by the Denver Police Department. The full sex offender registration list is available by calling the Denver Police Department Identification Bureau at<PHONE_NUMBER>. Convicted felons and those with multiple convictions are posted online at denvergov.org slash police.   Now here's a look at the newest sexually violent predator living in Denver. Here's an overview of the registered sex offenders currently living in Denver. There are 2,428 total living within city limits. In Denver Police District 2, there are 392. Precinct 212 has 50 registered sex offenders. Of those, 32 have felony convictions and 18 have misdemeanor convictions. Christopher Lewis Gonzalez is a sexually violent predator currently living in Denver. He's 39 years old and was born on December 22nd, 1983.  He's currently living at 4323 North Fillmore Street in the Illyria Swansea neighborhood of Denver. Schools located within one mile of this offender include International Academy of Denver at Harrington at 2401 East 37th Avenue, Colorado High School Charter GES at 3093 East 42nd Avenue, University Prep Steel Street at 3230 East 38th Avenue, Bruce Randolph Middle School and High School at 3955 Steel Street, Swansea Elementary at 4650 Columbine Street, Intercity School at 3560 North Josephine Street. Parks located within one mile of this offender include Swansea Park, Illyria Park, Dunham Park, Schaefer Park, Colorado Boulevard Park, Russell Square Park, City of Nairobi Park, Granado Community Park, I-70 Cover Park, 39th Avenue Greenway. Recreation centers located within one mile of this offender include Johnson Rec Center at 4809 Race Street, Swansea Rec Center at 2650 East 49th Avenue. Bus routes located within one mile of this offender include Route 44 Josephine Street and 45th Avenue, York Street and 45th Avenue, York Street and 43rd Avenue, Josephine Street and 43rd Avenue, Route 24 40th Avenue and Columbine Street, 40th Avenue and Clayton Street, 40th Avenue and Milwaukee Street, 40th Avenue and Steel Street.  He's not currently on parole or probation and registered with the Denver Police Department on October 19th 2023 to 4323 North Fillmore Street in the Illyria Swansea neighborhood of Denver.  Christopher Lewis Gonzalez has been determined as a sexually violent predator after meeting the following criteria. Criteria one, age 18 or older on the date of the offense or under 18 and tried as an adult. The offender was age 22 at the time of both offenses. Criteria two, the crime must have been committed honor after July 1st, 1997 and convicted honor after July 1st, 1999.   Criteria three, the relationship to the victim was one of the following. Victim was a stranger to the offender or the offender established or promoted a relationship with the victim primarily for the purpose of sexual victimization. The female victim in both cases was a relative of the offender. Criteria four, positive results or the passing of a risk assessment instrument administered by probation parole staff and a qualified treatment evaluator. Positive results include an assessment for the presence of a mental abnormality, a level of denial regarding the offense, treatment appropriateness and motivation, presence of sexual deviant interests. The offender was evaluated by the Jefferson County Courts and Denver District Courts with positive results, determining him to be a sexually violent predator.


Hello, everyone. I'm Joshua William-Gelbin. Welcome to Theater and Quarantine. It's Monday, November 16th, and it's nine o'clock here in New York City. It's been a little over eight months since I converted the closet in my East Village apartment, measuring four feet wide by eight feet tall and only two feet deep into a white box digital performance laboratory that we here call the Theater and Quarantine. With creative director, Katie Rose McLaughlin, we've been expanding our roster of incredible collaborators and working with some amazing institutional supporters, LaMama, Culture Hub, Theater Me Too, and the Invisible Dog Arts Center. Tonight, we are so pleased to be performing Mute Swan, written by Madeleine George and presented by LaMama and Culture Hub as part of experiments in digital storytelling. Mute Swan is created by myself, Katie Rose McLaughlin, Culture Hub, Raja Feather Kelly, Chris Bell, Gavin Price, and staged managed by Ada Jean. I'm still here in the East Village, but tonight's performance is mostly coming to you from a replica closet that we built at Culture Hub Studio, just a little further west of me on Great Jones Street. There you'll get to meet tonight's performer, Chris Bell. The performance runs about 20 minutes, and afterwards, I'll be hanging around with my fellow collaborators to discuss the process of making this show, including all of the technologies we used. And we'd love to answer any questions you might have, so make sure to drop them in the chat. Below in the description, you'll find a link to our Fractured Atlas page where you can make a donation. That is, if you haven't already given one RSVP, in which case, thank you. Now, all of your donations go directly to tonight's collaborators, so please consider helping support this work and all the artists who make this work possible. In fact, if you really wanna make a contribution to theater and quarantine, the most impactful thing you can do right now is subscribe to our YouTube channel so we can reach our 1000 subscriber goal by the end of the year. Now, one last reminder. What you're about to see isn't Zoom theater. It isn't a prerecorded film. This is a live performance coming to you from two remote closets in downtown Manhattan. So let's get started. I'm going to take a brief one-minute break so Chris can get into places. Thank you again and enjoy Mute Swan. Boyfriend's dad was a god. I never knew anyone that connected all my life. I'd struggled to rise. And there he was, risen. I let him slump it with me, my words. To be clear, he worshiped me. He couldn't get enough of my earthiness. I fed him frozen chicken nuggets right out of the bag. I mean, I showed him who with commercials. He was like in exchange for these little normal seas.  And I was like, you know what?  Oh, he was gorgeous beyond words when he wasn't bitching about his glass for my birthday. And that was nothing to my boyfriend, Poof and he conjured it. It's like a figurines. Don't breathe on it. Don't drop on it. It might expire. I hadn't asked for a baby bird, but I guess I didn't have to specify. You know, I like a project more than a result. My hatchling was tiny and covered in downlike fur. I held the bird against my chest and it's like a moth. I held it against my ear and it's hard word like a moth. 300 beats a minute. It's hard to compete. My boyfriend and I built a tiny world to raise him and a perfect simulation of the wild. So we'd acclimate him because the plan was to one day set him free. My boyfriend was super delighted with my delight and that's the kind of feedback that gets you hooked. I could have thought his hostile takeover, but it felt so good. Plus, the love factor at the apex of my sternum was a door. When he opened it, I felt myself turn inside out. Gold rushed into me and my tiny self dissolved. It's a cliche to say there's some truth to all cliches. But what can I say? And I say. I took my boyfriend to a meeting. Finally, because he asked me, begged me really to come along. He must have brought it up 20,000 times. It felt dangerous bringing him there. And thrilling, kind of like I was sneaking contraband to a jail. In reality, it was more like sticking a bomb into a church. But certainly how the others in the group would have seen it. Either way, I was tingling all over when I let him up to the door and down the dim steps and all the way inside, my heart throbbed in my throat. The fluorescence buzzed above my head. I addressed my boyfriend up like a real man of the people, workers at Puffy Best, whatever.  My friends are your origins from a mile away.  Keep your gap shut. It's your only chance to pass. I set this item, a normal scent of his silence. There was the usual cheerful chit chat, six sempergeronists, et cetera. And Merrill called us to order and Jordan rose to give the first report. His working group was doing housing and they had some non-development to report. Next, if shared the health committee's latest numbers, still no major outbreaks inside the network since last year. Keith got up and wondered through a rambling proposal about rewilding a couple of abandoned Dwayne Reads. Modest applause. Then, Olivia had an update from the subcommittee to dismantle cause and effect. I could feel my boyfriend stiffen as she pitched the latest initiative. Unmovemented a couple of the false logic by which day follows night. Or does it have to be that way? Just because it's always been? Why shouldn't we have, so to say, and how the world gets lit? The subcommittee was seeking a graphic designer to help with the broadsheet to help spread awareness. Beside me, I could feel my boyfriend's curt sigh. Then it was Raven's turn. And Raven worked on the read, just reading well. And it turned out Raven's team had taken kind of a big leap forward ambition-wise. They were proposing a pretty daring action that would quite literally raid the coffers of the powerful and hand out the cash in the street to the desperate. Not knowing who was there in the room with him, Ray laid out kind of a lot of specifics about his plan. Targets, tactics, even which door they plan to use, code names, contingency plans, weapons, et cetera. Some concern was raised by the pacifism committee about the amount of bloodshed, but Ray was ready for this. Wasn't this cash soaked in up blood already? Hadn't we shed enough of ours so that they could hoard it? Whose blood are we worried about here? Anyway, my boyfriend's head turned slightly. Just a degree, he was looking at me with the thinnest crescent moon of his gaze, but I didn't turn back. I made like I didn't notice. After a couple more reports and a book recommendation and a sign up for a potluck at Jovon's, we adjourned. We didn't even make it out of the alley before my boyfriend had any up against the wall and it was 40 days and 40 nights of fucking. So they processed the events of the evening because they never went to another meeting. After that, I never knew how far Ray's group had gotten with their actions. If it did go down, I didn't hear about it in the press above or below. If they arrested them, they never purple off them in front of the cameras to make an example of them. Maybe Ray called it before they started at too risky, not worth it. Or maybe they were martyred mid-flight. So had something to take care of out of state. I was like, go, totally do what you need to do. Only when you get there, and I kissed him goodbye. I had a sense it had something to do with his father.  But we worked out 20,000 different ingenious ways of not speaking about the unspeakable. So he didn't tell me where he was going. And I didn't ask. He didn't have cell service wherever it was that he went. So I threw myself into work. My job, I was developing a system to tracking the books that came in and out of the special categories. It was dull, stirring at a blanket, keep myself calm. But the back of my mind, I was wild with alarm.  The rest of us are just trying to get through the day, but these guys have to demonstrate their worth to some kind of sky tribunal. And they have to do it by destroying a show of strength, a show of force.   One light flex from one of these assholes and a mind collapses, a glacier melts. I don't have to go on. You know the kind of catastrophes I mean. We all know what a life is worth. Why don't they?  Why don't they know? Why don't they know? In private, no one knows where. My boyfriend had a clear, cool soul. I drank from it. So I know firsthand. I believe that he cherished me. He knew that I was alive. This patrimony was in him like a latent disease, like an unexpressed gene that mutated and started to divide. This is just a long way of saying that my boyfriend was one of the passengers on the Lear jet that crashed on the way to the summit. The other titans on the plane were, I don't have to tell you. You know who they are. This I read about in the paper. Same time you did. The door at my sternum swung wild on its hinges mechanically. I put my phone down and walked over to the cage to the simulation we had made of the world. I brought it over to the window, opened one into the other, a flash of gray wing and our pet escaped. Among the physical realities we must contend with is love. It's not just hunger, exhaustion. The fact of being worked to death to serve the sun. Those might seem more real, but they're not. They can't survive without the bodies and souls of others. So now the masses will dance on his grave. Love, what is it good for? Absolutely knocked through about 40 days before I felt it overtake me. Grief bent my neck and stride into straws. My face hardened. The blood thinned and warmed in my veins. Membranes stretched between my toes and all across my skin. Every inch of my body, 25,000 stings. The quills of tiny pinions piercing through. I always have to unmute. Song Min, I did it again. He's not in the room. He's in another room. Hi. Thank you all again for tuning in tonight. I'm Joshua William Geld. This is Theater in Quarantine. And yes, we did indeed forget to put the link to our Fractured Atlas page in the description. So I just put it here for you, which is not clickable, but it is nonetheless available for you to look at. It is fundraising.fracturedatlas.org. Someone turned on YouTube. Turned their mic on. Fracturedatlas.org. That slash JV dash squad. It seems like it doesn't make any sense, but it does in some sort of concept of time. So that is, again, fundraising.fracturedatlas.org. Backslash JV dash squad. Thank you. We are thrilled to have you all tonight. And we have got all of the collaborators from this project here tonight and ready to talk to you and answer any questions you might want to put in the comments section, which I'm going to keep tabs on. So again, here is everyone else. So I'll allow us to introduce ourselves. Hi, everybody. Welcome back. Hello, Chris. You did it again. Yeah. Wonderful. I assume everyone else will be bouncing in. In the meantime, let's say hello and introduce ourselves. I am Joshua William Gelb. I am the founder of Theater in Quarantine and the video designer of this piece tonight. Katie Rose, take it away. I'm Katie Rose McLaughlin. I'm the director and choreographer of this piece. Chris, do you want to introduce yourself? Hey, what's up? I am Chris Bell, and I am the performer in this piece. Madeline. Hi, I'm Madeline George. I contributed text to the piece. Yay, Gavin. Hey, I'm Gavin. I did the sound design and some composition. Hey. Hi. I think we have other friends that are joining us. I can hear them on the Zoom. Hi. Hey, don't worry. Your misintroduction. In fact, it's your turn. Oh, hey, I'm Maddie. I'm at Culture Hub. My name is not Sungmin's iPad, but we're using Sungmin's iPad. And yet I'm here with Sungmin, who's a creative technologist and other folks on the Culture Hub team here, are Billy Clark, who's the Artistic Director and D'Andrea Anthony, who in this show did the lighting design and is our lead technician. Well, thank you all for joining tonight. And being with us, Chris, amazing job. How do you feel? This is such a journey that we go through both the text and in the direction that has informed the performance. So I feel appropriate. Wonderful. Yes. That's so lovely. Well, so of course we did this already earlier and I didn't warn our Zoom panelists. I was thinking about that, just as we were about to start, I was like, oh shoot. Yeah, we didn't warn you, but it's 9 p.m. or it's the 9 p.m. show, so that's fine. So of course there'll be a little bit of repeating yourself. That'll happen, but I also wanna hear more about birds, Madeline. So we are gonna get there. So first off, Madeline and Kitty Rose, tell us a little bit about where this came from and yeah, how this came to be. Also that makes me remember the question that we got during the break. Go ahead. Oh, great, great, great. So this piece, basically, Josh and I were sort of setting the theater and quarantine schedule and Josh is also directing it show at NYU right now. So we knew, and that show opens in like three days, four days and we knew that Josh was gonna be incredibly busy and in tech so that his involvement wasn't gonna get to be as much as it usually is and then we had brought Rajah and Feather Kelly in to do a piece with us for Closetworks this summer and so I was like, hey Rajah, you wanna make a piece with me? And we were just sort of dreaming and scheming and then talking about maybe what we wanted to do and then it became very clear that we wanted to have a writer write something for us and so I reached out to Madeleine who said yes and this was also like, Madeleine and I were talking and I was like, I don't sort of really have any ideas but just like recognizing the fact that it is really close to the election and that we would basically have to start planning the piece and like getting the design team all together and thinking about performers, all of that stuff that would all have to be in place before November 3rd but that also the piece was gonna be performed afterwards and so I was like, Madeleine, the piece has to be like really political and she was like, or it has to be about nature which was just like so brilliant and I was like, oh yeah, yeah, no, nature makes more sense. Madeleine, will you talk a little bit about it too? Yeah, not that nature's not political, of course, I mean, of course. No.  I mean, I was saying before that I really don't, I'm not so techy in terms of my playwriting usually, like I'm pretty analog but not only, I mean, theater and quarantine, it feels like it combines like the best of high theatricality like in the sense that the box is such a perfect distillation of what a theater can be and then also the best of technology, like the way that sort of liveness and also like super liveness are incorporated into the entire experience of it. Anyway, all this stuff is like way above my pay grade but I felt like this was such a thrilling chance to get to work not only in that way but also with dance theater collaborators who like, I think a lot of playwrights, they're a little bit control freaks, you know what I mean? They wanna give line readings, they wanna hold the whole thing, they feel like they have it all in their head and this is a chance to really like offer something that becomes a fertile ground, I think, for all of y'all brilliant artists to make a thing that's much, much more than anything I could have dreamed of. Certainly, while I was just randomly staring into the trees looking at birds for many quarantined months. And we will get back to birds. I do wanna say again to our audience out there, if you have any questions about the process, about the technology, about anything, please feel free to put it in the chat. I am monitoring the YouTube chat. Katie Rose, I believe you are monitoring other chat. It's all the same, I found out it's all the same. We learned, we learned it's all the same. We learned things every day. So we're all monitoring the same chat. We're all monitoring the same chat, but Billy, you should introduce yourself. Oh, Billy, hi. Oh, hey, I'm Billy. I'm the Artistic Director at Culture Hub and happy to join you from a new location if you were watching the prior show. Did you make it home? I did. Oh, good for you. It's so nice. This is the first time I'm seeing Billy's face. I just wanna say this is like a phenomenon of Zoom like and masked rehearsal. I feel like I'm meeting a person for the first time. It's exciting. Yes, I've lost my black mask and black void behind me, so. At the earlier pop back, Billy and Maddie were masked throughout. So it was a little mysterious. Boy, tell us a little bit about experiments and digital storytelling and what Culture Hub has been up to in the past couple of months and years, frankly. Sure, I'll try to be brief. Experiments and digital storytelling, which is what this piece was in the context of Culture Hub is a collaboration between Lamama and Culture Hub that started about four or five years ago, actually, in its beginnings as a desire to look back at the early experimental work of Lamama and to kind of regain that as someone I came into Lamama in the 90s, obviously there was 30 years of history before that. So there were all these names that I'd heard, but I'd never really read their work. And so we really wanted to go back and sort of dig into the archives and think about pulling stuff out and kind of restaging it and putting it into these new contexts. And that's really where this idea for experiments and digital storytelling came about, which really then became about a need that we saw, which was that so often in the performing arts, the technology is layered on at the very last moments of the work. And so it has to be very safe. It can't take as many risks and also isn't as true of a collaborator. You have to kind of guess what the technology can do and then you implement it in those two or three days of tech. And so experiments and digital storytelling was a hope to kind of bring writers, creative technologists and performing artists together in one space and give them a little bit more access to allowing the technology to be present through the full developmental process of work. We say a lot here that our process is entirely tech. And in some ways it kind of has to be because everything is so mediated, there's no other way to function, right? That being said, we've got a question that is to Madeleine but I have a feeling will be for everyone, which is from Mary, how much of what we just saw was written into your script and how much was devised with the other collaborators? Oh, that's so interesting. I mean, I think every word of this in exactly the order that it was put down by me is in this piece. And it's the, well, let me say that and then let me hand it over to Katie Rose because it's so much more than just what's on the page. Yeah, yeah, so like Madeleine said, every piece of the text is in there. And then we just sort of expanded upon it based off of some of the conversations that we were having based off of a lot of play and experimentation in the room with the other collaborators and sort of all of the different points of view that were being brought in. But I feel like Madeleine just created, like she said, like fertile ground for us to like grow this piece. And it was exciting for each of us to be able to bring in our different points of entry to create this thing. I also appreciate that Madeleine wrote this piece sort of, you know, not trying to predict what would happen in the digital space at all, which just opened up a lot of room for play and imagination with what could be possible. Cause when you think about writing for a digital format, it's like, okay, then I have to know every little thing that happens. And it's like, no, you just have to know how to explode potentially everything that happens. If possible. Oh yeah, that's such a good point. Well, Maddie, first, will you very quickly introduce, wait, did you already introduce yourself? You didn't. I think I did, and then I left and came back. Okay, you were on Songman's, I got, I remember. Okay, great, great, great. Yeah, yeah, that's such a, that's such an interesting, that's such an interesting point. It's because the text was such a very specific story, but also was just so open that it allowed us to like really sort of throw a lot of tech at it and then like throw a lot of tech out as we sort of discovered the path of this piece and like what seemed to be most true to it. There was a real distilling process to this piece. Sorry, Billy. There was a what? A real distilling process, ultimately. We spent like the first couple of days really throwing everything we had at it and ultimately realizing that there was a much more essentialized story to be had. Billy, you were about to say something, right? That was exactly what I was gonna say, Josh, was that there is so much and so many different ideas, never went to have these ideas and not all the ideas made it specifically into what just happened. However, I think this is quoting paraphrasing, a conversation that other people were having, but like the ghosts, the remnants of a lot of those ideas are still in the space. And that's like a secret that I can have behind my eyes. That's a lot of what you saw today was crafted off of this kind of like skeleton that you can't see that we produced during this time, every day being in tech and all this exploration. I feel like I would like to think that my technical naivete is like a plus in this situation. And also, it's not an accident that I went to Ovid or went to Myth for this, that's what Myths are good at. They leave gap intentionally, you know what I mean? And in the imagery and in the storytelling, that's what makes them generative and persistent through time, is that you can always be re-entering them in their weird elliptical space and reinvigorating them for whatever moment you're in. Well, speaking to Ovid, we have a question from Dr. Catherine. I thought you were gonna be like from Ovid. From Ovid. Ovid in the sky. Love bird imagery, but would like to know more about the swan concept where you're working with the non-human animal politics and any of the Donna Haraway work on trans species care and communication. Haraway, I'm a huge Donna Haraway fan. Anyone else in the Zoom, a Haraway fan?  I feel like this is really like speaking to Ovid more than it is to any theoretical texts, but I'm persistently interested in what are the troubles that we have with non or more than human animals and what they can show us and the kinds of communication that we're missing with them. And that recurs in my work. So yeah, I think Ovid was probably interested in that too even though he didn't have the benefit of the Haraway. Probably not, but only probably. Well, actually it's funny coming, come to think of our original very early conversation about three weeks ago. It was like yesterday. Yeah, we talked a lot about swans and the fact that swans have such a strangely rich history in movement and it was almost a surprise. I think to all of us realizing that, although Kitty Rose, I'm sure, go ahead. Well, no, I actually felt quite dumb in that meeting when Madeline was like, oh, of course, swans are like this trope that keeps being used over and over again. I was like, oh yeah, yeah. And then I was like, of course, of course. Like I know so much about all the valleys with all the birds and all the fairies and all of those creatures. But it was actually so thrilling to sort of dive into that sort of, not even moving the vocabulary, but like a movement history that I sort of have in my body and have like embodied through the ages as you do when you're like doing choreography that's been passed down since like the 1800s. So that was really interesting to bring that sort of history embodied history into this piece. And I'm sure, Chris, you share some of that as well. Oh, I mean, I swear, at least for my part, Chris, like the moment where we get the true bird's eye view, bird's eye view of you standing up, there's something so quintessentially dying swan about it. Oh yeah, and when he's like doing this with his arms and he's got this like gorgeous apama. It's just a little quote. It's a little like ballet Easter egg. Well, it's amazing though, because it's a ballet Easter egg from a position that's impossible on a ballet stage, for the most part, let's assume, right? Well, we have other questions from Bridget. How does it feel to, how does it feel, Chris, to perform these days? Great. Great. During these brave new world that we're in, live performance has not been happening in theaters. And so having this opportunity to work in a real theater and to work on new material with several collaborators, I'm sorry, it has been an amazing experience. And there's something beautiful to performers about expressing yourself through performance. And there's something very humbling about performance in general, but specifically with this experience, you know that you're just the conduit through which this experience is seen, but what's happening behind the scenes is just this impressive electronic ballet that is just so humbling. And I'm so grateful to be a part of this team. And I'm so grateful to have an opportunity to perform live nowadays. And so the short answer is great. Yes. Hello, Bridget. I missed you and love you. Hello, Bridget. Well, and this goes back to the question about process. Were there any tech performance elements that were communicated to Madeline to craft the techs? Or were there certain tech elements that you knew you were going to incorporate? Oh, interesting. That's such a good question. Madeline, actually, why don't you go first and then Josh and I will hop in? Oh, I was gonna say no. There were no specific tech elements.  That was the tech that, I mean, I don't think that that was just me falling down on the job, right? Like I was like, I thought there may be other components and this is, I needn't anticipate them in order to bring them out of that. Yeah, I think we knew, actually there's a lot, we didn't know going into it, you know? We knew I wasn't gonna be as involved, but I think for a while we thought this closet was gonna be more involved. And until we had built this relationship with Culture Hub through their Downtown Variety Series and kind of becoming residents at LaMahama and Culture, that we realized that we could take advantage of your space, and I say your to you down there as if spatial relation. Yeah, that's where he is. Well, great. Take advantage of your space to use the closet in a way that we truly have never been able to do so. And it's not to say we planned that. I think that came out of a meeting we were all having. But nonetheless, it's what excites me so much about this project is that we were able to take the exact same square footage and totally upend it. And really I wanna say thank you for that. So, K.R. Yeah, and yeah, and like huge, huge thank you to the entire Culture Hub team, especially Billy who just was able to use some of those carpentry skills to put it together. Cause it would not, this is obviously quite physical in this space. We realized, I think maybe we realized before yesterday but it was yesterday that I realized that he moved so much that he actually keeps moving the closet off of its spikes. And so this afternoon we had to drill it, we Billy drilled it into the floor so it wouldn't move. So the camera would, so it would be like square in the camera. But going back to a little bit more of that question that I would say Josh, like sometimes when we're making a piece, you're like, ooh, I've got this cool new trick that I can do. Let's play with that and let's see what this little piece of technology can do. And we just like play with things, especially a lot of our closet works pieces. And definitely the piece that we made for Downtown Variety was just like trying this one little thing and just sort of exploring it. But with this piece in particular, the, I think the only thing that I knew about it is that I like wanted new texts. Like I wanted something that was like written now. And because I think that it's interesting to explore these times and to just acknowledge where we all are at as humans. And so we really allowed the, like once we got some texts from Madeline and started having conversations about it to like let that dictate the technologies that we were using. And to Chris's point, as he said before, we like tried a million things. We had this great day of rehearsal where like everyone in the cultural team was like running around like Billy had a fan. And then he like, he came over and he's like, do we have feathers? And I was like, no, we don't have feathers. And he was like, and then I turned around and he had like this bowl.  And then he just like ran over and was like sprinkling them. Like everyone was just like trying out a million different ideas.  What worked? What didn't? What is a super cool piece of technology that we use but actually doesn't feel truthful in this piece? And also like what, and so we distilled it like everyone's been saying down to like some like, I don't wanna say like three or four but some like very specific pieces of technology and like sort of ways of like technological storytelling that we then implemented throughout the entirety of the piece. There's some basic questions here. First off, Madeline, is the text available online? No, it's available on my hard drive. I mean, like I could send it to somebody if they wanted it. Happy to share it. Happy to share it. We try to answer all the questions. Yeah. The show will exist online as well. So in that sense, it will. Yeah, thank you. Here we go. And another question is how do we get the floating illusion? We give away the answers here. We're not magicians. We do this. So the closet's on the screen. Yes, Maddie's doing it right now. Yeah, there it is. So the closet's on the floor, the camera. So here's the closet on the ground. So that's how Chris was constantly floating because he had no weight on his feet. And then the camera is above us in the grid. And that's where the, I stood up on a couple steps over here and just dropped feathers onto Chris. And then while we're here doing a tiny tour, I'll also just show our sort of tech setup, which, and there's some, and yeah. So here's all this sort of magic where we have audio, live streaming Q-Lab and Isadora and BDMX and LiveLab and Sangmin Che who operates it all. Yes. This is actually a perfect segue to this question. Oh, sorry, KR, go ahead. Oh, no. Yeah, I was going to do the same thing you were going to do. I wanted Manny to show that big screen real quick because Josh is going to talk about it. This one? Yeah. It's a perfect segue, a question for the creative technologists. And also I assume for everyone. Oh, that's a big picture of me. Big Josh. What was it like? Were you present? How did you communicate during this process and how did we get all of the pieces to come together? I mean, I can jump in there a little bit just to say that I think one of the things that was pretty magical about this experience was the way in which the technicians were working collaboratively, remotely and that there was actually an entirely different rehearsal system that had to be built. And I think both you guys in theater and quarantine and also what we've been doing with the downtown variety shows that we also started back in March as everything closed down. We kind of created these workarounds but this was I think a step forward. I mean, we had Deandra actually triggering lights from home which I didn't really know was that super feasible and actually building lighting cues from home. Similarly, Gavin was over there and Sangmin had created a little patch so Gavin could control the certain elements of the Q-Lab triggering basically for the rehearsal process and then they would collaborate and a lot of sending patches back and forth and using Zoom and LiveLab and interconnecting all of these different remote systems to make it all kind of happen. And I feel like it's important to say that it's not like that was the magical solve for everything but it's just like a new tool in the tool belt and it's not the replacement of any other tool but there's always a world, can you guys still hear me? There's always a world where people cannot travel or potentially leave their homes for all sorts of different reasons and I just, yeah, I feel like it's important to have these tools and really figure out how they can be truly useful and include more people. Totally and to that point, I feel like choreographing over Zoom has been such a crazy, crazy experience when Josh and I obviously started working together. I mean, actually the first time I saw Josh was like a couple of weeks ago and we've been making pieces every two weeks since March and so it's forced me who works, is a primarily, I work in a visual medium and it's much easier for me to use my body than it is for me to use my words to describe something but I've had to just become, I've had to develop a new language. We have a whole language about how we rehearse in the box and we've numbered the walls and things like that but also in this process in particular because there were so many more people involved we had to ask one another to do things like repeat ourselves like more than once in a way that's usually quite annoying but Maddie and I were talking about this yesterday that there also was something about making sure that you really understood what someone was saying before you then moved on to the next task. So that's something that I'm actually really excited to bring forward. I feel like we and theater are constantly moving like so fast and like we have three weeks to put the show on its feet and then it's in previews and like no time, no time and then we're not really listening to each other and the thing that has come out of this process in particular but just in working in this medium in general is that like we are being forced to communicate better and also to listen to each other better. Speaking of listening. Got one. Yes. You can talk in and out. I was very grateful to have this incredible technology set up during this process because well, because of quarantine. I mean, I was in, I had that a crazy existential moment where I was working remotely and then for the first time during quarantine I met somebody in person that I had met in 2D. Like I met all the culture hub people rehearsing, rehearsing, rehearsing and then we had to do a couple like I had to go to the studio to tweak something. And so speaking to the power of culture hubs creative technology, I was in the studio for two hours during this whole process. And so that was amazing to have that experience of like first of all, only being in the studio for an extremely limited amount of time and being able to do everything else remotely. And then also like meeting Maddie and Billy and Chris and song men and being like, oh my God, you're not zeros and ones. That was the first time that happened to me.  It's all right, YouTube will allow it. Just make sure that music isn't copyrighted. Another question here, maybe this will be our last. Some of the imagery has for the lack of a better word post-production elements, how did those come about? Discussed, created and fused with the live performance. And that's actually one of the things that culture hub has been working on obviously that we at theater and quarantine have been working on is how do we create and how do we tell stories that don't just live in a digital space but actually necessitate digital storytelling and engage with that. So yeah, we use in this production, we're using Isadora and also VMX, is that correct? VDMX, yes. I only did the Isadora part. And QLab of course. So that's how we're doing all of the video processing which allows us a tremendous amount of flexibility. We are able to do an absurd amount of what you'd call post-production work live, not in camera but in computer. And that's been one of the most exciting parts ever since the very beginning of theater and quarantine when Katie Rose and I realized if I put a chair on the wall and Katie Rose flipped her computer on its side we could start emulating a sort of gravity-less space. And that's been sort of the very beginnings of this entire project. So since then the goal of course has been how can we, because a lot of theater and quarantine pieces at the very beginning were done in post, but since then we've tried to move forward and say, well, how can we do it live? How can we create these cinematic experiences that feel essentially theatrical and embrace liveness? And that's of course been the goal as we move forward. I also... Go ahead, Nanny. Well, some of, at least one effect in the show tonight was movement reactive. So there were like a couple of sort of glitch out moments at the beginning that, so it wasn't a glitch but we call them that for ourselves. But when Chris would move, these sort of colors would come in and those reacted to his movement.  I like that it happens in a regular theater because to me, we're still just taking the tools. I mean, ultimately like Q-Lab, Isadora, these were tools created for live performance and we're adapting them to turn them into production studios, which is just a pivot. Well, since it's after 10 and since it's the Lake Show, I'm going to ask everyone to come up with a final thought. Oh, no. No, it's not the last time. Now, a final thought can be anything. A final thought can be promotional. A final thought can just be a word of wisdom. A final thought can just be you staring at the camera. At the camera, but we do like to do this. So please, Gavin, I'm going to do this. I have a final question. Oh, now I don't know. Can I ask a final question? I was just going to ask you, Josh, like how is it going to feel like are you, one day it might be that we no longer have to perform in closets, like how will you feel out in the blasted wasteland of like workshop or something? Oh, you're breaking my heart, Madeline. So cozy. I hope you, I hope you're okay. He is so cozy there. I mean, I don't know. I think what's been most remarkable about the closet and Chris, I'm sure you've felt this even just playing in it for the past two weeks is that there's sort of an infinite amount of storytelling possibilities, particularly when merged with the digital functionality that, you know, this two by four by eight space allows for, has the potential to just keep going. So maybe we'll leave the closet, maybe we'll just keep building more closets. I mean. That looks worldwide. Yeah, maybe we'll just tour around with the closet, but it's entirely possible. And I think Katie Rose and I resigned ourselves to this a couple of months ago that closets are gonna be our life for a little bit at least. So, yeah, back to final thoughts. Yeah. I just wanna say that I'm obsessed with Dr. Catherine Mazer's comment about the Donna Haraway shout out and like non-human animal politics. So I'm gonna be thinking about non-human animal politics probably for the rest of the night. Gavin, send it to someone else. Oh, Gavin, oh geez, Gavin sending to Belly. Well, first off, I wanna thank LaMama just for all of their support and also for helping secure the NEA funding that allowed us to participate in this project. And then so many thoughts rushing through my head, but I guess I'm gonna say I wonder, Madeline, if we've broken you now that you've now become like an insider of all of this creative technology and is it gonna ruin the next two iterations of your bird trilogy? Amazing. I don't have to answer, right? It's just final thoughts. It's true. It's, yeah, I look forward to finding that out over time. Belly, send it to someone else. Oh, right. I will send it to Chris. Sweet. First thing I wanna say is promotional. Please catch another amazing artist, Heather Christian, who I had the great opportunity of working with a couple of years ago, I won't say how many, but she's amazing and I can't wait to see what's going to happen in this space with that beautiful music and her beautiful mind. So please catch that at a future date that someone is going to say. Glad I wanna mess up. December 14th, yeah, December 14th. December 14th. A little bit more. There you go. And also, Raja Pethere Kelly, who is one of the artistic advisors ended costuming on this show, was involved me in this process and I wanna send a thank you out to him as well for introducing me to this wonderful group of people. And what's my final thought? Life keeps moving forward. So why not go along? I'm gonna send it to Maddie. My final thought is a really quick face reveal for Madeline. That's just not many, this is for those who are watching for the late show, you know? And so that was one. Another final thought is this. And there's- Oh, wait, wait, look at Josh's. He got it in honor. So for all of you playing at home, I wanted to bring a treat to the theater on the first day of rehearsal, like the first day we were in the theater. And because it's COVID times, I couldn't get my usual like bar of chocolate and like box of salty snacks, like things that you put your hand in and other people put their hands in. And I was at the store and the only thing they had that was like individually wrapped was this gorgeous box of Ferrero Rocher. And so we've been munching on the moves in. Maddie, any other final thoughts? It's a total privilege to be in this Zoom room and in this real room. And just this room is very interesting to be in when Chris performs, because it feels that the performance and their energy sort of transcends all of us and Songmin and I do our own little choreography throughout the show, which includes a lot of this sort of a thing. And I just think that that's interesting, that the performer takes on a few more performers to get through this digital space and reach the audience. Madeline, do you have a final thought beyond your final question? I guess I just, I'd love to think about that infinity inside of that constrained space, like you were talking about. That's a really potent thing to take forward into any form, I think. Itty Rose. I'm just writing down infinity in a confined space. Hold on. If I don't write it down, it goes out of my brain. Just so grateful to everyone I know. I'm just letting you in on the process. Just so thankful to everyone culture hub in particular for helping us through this process. Every single person here approached this piece, even though most of us didn't even know each other, you all approached this piece with open hearts and open minds and a real spirit of collaboration and an honesty of storytelling. And I recognize that that's, I'm very lucky and that that is very rare. And so I just want to, yeah, thank you all so much. Josh, what are your final thoughts? I would also like to thank you all. I'd like to thank you, Katie Rose, Chris, Gavin, Madeline, Billy, Maddie, Sangmin, Deandra, Raja. Really everyone, it's been such a pleasure and we're so thrilled that you could be part of this piece tonight. I do have to do some shameless promotional work, which is to say that in two weeks, Theater and Quarantine is back with another iteration of Closetworks. Is it volume seven already? Wait, was the last one? Yeah, seven, last one was seven. Sheesh. So we're back with Closetworks in two weeks. So if you want a series, come check it out. And then two weeks after that, we are indeed back with a premiere of a new Heather Christian musical and we're so excited for you to see it. Here's the tiny, the trailer, which is to say it is indeed about Mother Teresa. So that's happening. Again, we totally forgot to put the link in the page. So fundraising.fracturedatlist.org, backslash jv-squad if you want to donate. And again, we beg you to subscribe because we have a sort of off-the-book scheme here at Theater and Quarantine to see if we can actually get monetized by YouTube. And what would happen if theater artists didn't have to write grants for a living? So, subscribe, see, maybe we can get to 1K, maybe we can get beyond that. Thank you all so much for coming. The earlier show, Madeleine had a really wonderful phrase, coined a phrase about theater and quarantine. So I shall leave you with that. It feels real in the box. Next time I say it, it'll be a little less like, slow beat. It feels real in the box. It feels real in the box. Good night.


Personal finance, Excel practice problem, recovery period for maintenance to reduce insurance premium. Get ready to get financially fit by practicing personal finance. Here we are in our Excel worksheet. If you don't have access to the Excel worksheet, that's okay because we'll basically build this from a blank sheet. If you do have access, there's three tabs down below. An example tab, a practice tab, and a blank tab. The example tab in essence being an answer key. Let's take a look at it now. We have the information on the left-hand side, building our tables on the right-hand side. Scenario being that if we install a couple safety items, we might be able to get a discount on the homeowner's insurance. And we'll think about the payback period or recovery period for that payment. The second tab will have some pre-formatted cells on the right so you can work through the practice problem with less formatting of the worksheet. The third tab then basically has a blank sheet with the information on the left so we can build it and practice on our Excel formatting. If you don't have any of this stuff, you can open up a new worksheet or whatever Excel sheet or electronic spreadsheet you have. I would format the whole sheet first, select in the whole sheet, right-clicking on it, formatting the sheet. I would go to currency, brackets, and then I'm going to remove the dollar sign, no decimals. That's my starting point typically, closing this back out. Then add the information on the left, which is good practice because we want to be drawing from a source data just in Excel in general. And then format such as the percentages where needed, make a skinny C column, and then we're good to go. So we've got the premium on the homeowner's insurance policy. It's $500, but there's a discount to install deadbolt locks. So if we do that, we get a 4% discount, but it costs us $175 to do it. So I'm not putting any locks on my door unless you pay me a discount for it or something like that. So obviously, there's kind of a safety thing here, so you would think that you might want to install the deadbolts anyways if they're recommending it. It might be in the fact that you're in an area where the deadbolts are kind of necessary, but we'll calculate it from a financial perspective. And then the other one, they're going to say there's a discount if you install these smoke detectors. And again, I'm not putting smoke detectors in my house unless you give me a discount on my home insurance. We probably want to put the smoke detectors in there because they might be good, but we're going to see how much it costs and what the recovery period would be to put the smoke detectors in there. So let's do our calculations up top. We're going to say savings. I'm going to kind of combine them together first and then we'll break them out one by one and then we'll do the recovery period for them. So let's say we had savings. This is going to be the header savings on insurance premium. So is it worth it for me to put this safety stuff in? I better get some cash back on it.  It's going to take a couple of cells. I'm going to put my cursor on D to F. D to F, let's make that our header format. Home tab, font group, and we're going to go to the bucket up top and we're going to say this is going to be black and white for our header. And then I'm going to say the original cost. So the original premium, let's say premium. It might be a better way to say it if I spell premium, right? Which I'm just going to assume it is right. So I'm going to say the original premium was $500. But then we're going to get these two discounts. Let's combine them together at first. Discounts are going to be for the dead vault discount.  The triple D, or double D, dead vault discount. There's two D's. And then we got the smoke detectors. And we're only going to do it if it becomes financially prudent for us to do so. Because we don't care because. So this is going to be home tab number group. And we're going to say percent. And then we're going to put an underline down here. Home tab, font group, and underline. And so then this is going to be the total discounts. Total discounts. We'll sum that up. Summing up. I'm going to put it into the outer column here. Equals the sum of the two discounts. Summing those up with our trusty sum function. And making that a percent. So I'm going to go to the home tab number group and percentifies that. So it's been percentified. And let's add some decimals. Well, we don't really need any dozen percent. It is what it is. Let's go ahead and indent because we got our subcategories here. This is our standard kind of formatting practice. Selecting these three home tab alignment and indent those. And let's indent this double time. Home tab alignment, indent it again. And then that's going to be our savings. So our savings. Our savings on the discount. Is going to be equal to the 500 times the 7%. So there we have that. And then we might calculate our new, what's going to be our premium at this point. Insurance premium after discounts. We might want that too. Even though that's not the header I put up top, but we might want that. So that means if it was 500 before and we get discounts of $35, we're down to the 465. Is that worth putting a deadbolt on my door? Yes. I don't know. Deadbolt. Let's go ahead. Let's do let's break it down another way. Let's take a look at another. I'm going to break. I'm going to make this blue and bold. We're going to go to the home tab font group and make this blue and bold. And let's try to break it out each discount by discount and then calculate the recovery period. So that'll hopefully change our mind so we can understand this better to see if it's worth our while. We're going to go to the home tab. We're going to put a paint brushy here and make a skinny J. Let's make a skinny G skinny G. And then let's do a discount for the deadbolts on this side. Let's hide some cells so I can see my information on the left more clearly. Going to put my cursor on column C where I got the arrow left click drag on over to column F. Let go right click the selected area. Let's hide that stuff so we can just see side by side what we're working on. That didn't hide it. That was unhide hide. There we go. Don't delete it. Just hide it. So now we're in column H. I'm going to make H a little bit longer here. And put a header. This is going to be the discount on deadbolt locks. Discount on the deadbolt locks. We're going to say this is going to be home tab. Let's make that our header font group make that our header formatting black and white on the background and there. So this is the original. Let's take the original premium was 500. But if we spend that full seven one seventy five dollars to get the dead volts, we get the double D discount. Deadbolt discount that is. So we're going to pull that from our data set. It's 4%. You'll recall. I'm going to make that a percentize. So home tab number group percentizing that. So and then we're going to go to the font group and underline it. That means we get the discount. The discount on deadbolt locks is for equal to the 500 premium we had before times the 4%. So for just the dead volts, there's that $20. We would be saving. So let's put some blue borders on that. Let's do the same thing for the other one. Let's make that font group and make it blue and bordered. Wait a second, not blue and white silly blue and border.  You can't see white on the blue. Okay, so let's let's just copy this whole thing down here. Let's copy that and put that down here. And this is going to be the original premium again. It's going to be. I'll just say that's from the 500 again. And then now the discount is at the three. And this is not the discount on the double D discount for the dead volts. This is the discount on the smoke detectors, smoke detectors. So it's 15 for that one. And that comes up to, if I take my total discounts, total discounts is going to be equal to the 20 and the 15, which comes up to our 35, which we saw before. So now let's calculate the payback period for those two. Let's make this blue and bordered first. Don't get ahead of yourself. Don't get ahead of yourself. But I'm so slow. I hate waiting for myself. You got to wait for yourself. Otherwise you get too far ahead of yourself. So I'm going to put my cursor on the skinny G here and we're going to go to the home tab clipboard and we're going to format paint it and we're going to put it on the J, making J the skinny J skinny J. I knew a skinny J before. He's still kind of skinny, but he's got not as skinny. So we're going to then say this is going to be the recovery period on the dead vault. So let's call this the recovery period on dead bolt locks.  Let's make this a bit wider. Let's make it all the way out here because I think I'm going to set name at the bottom. So this is going to be the cost to do it, the cost to do. We're going to say that equals, it costs us $175. We're saying to put the dead vaults on our, because we got a bunch of doors because we got, we got a big house.  So discount on dead bolt locks. We're going to have the discount of in dollars. Let's just do it this way. I shouldn't even have typed it out. I should have just said this equals that, which we just figured equals the 20 right there. And so that means that, and we're not really taking into account, account time value of money, but you know, in general, just a quick calculation. If I'm saving, if I'm saving $20 on the premium each year, we're going to say, and it cost me $175 to pay for the dead vault locks, then the recovery period on dead vault locks is going to be equal to the $175 we had to pay divided by the $20 we're saving every time we have the premium payment. We're going to say yearly. So that means we're going to recover it in nine years. Let's go to the number group and make another 8.8 years. That's way too long. I don't need locks on my doors because it's not financially. Actually, it's probably a good insurance thing in and of itself. So that's probably longer. We're probably going to have the house for that long, you would think, and it would probably be a safety thing more than a financial thing as well. So probably still want those dead vaults on there, we're thinking. But in any case, home tab font group. And let's make this let's make this black and white. So it's going to we're going to get it paid back within the eight or eight to nine years. Let's make this border blue. So I think it's worth it. I guess I guess so if we have to if you want to do it. So this is going to be let's do the same things for the recovery recovery period on the smoke detectors. So the cost to recover the smoke detectors, it's going to cost us $48 to put those noisy, beepy things in the house. They should pay us to put those squawky things in there. It's ridiculous. How much do I get on a discount if I have to do that discount on the smoke detectors? I already calculate. Let's just say equals this one over here. This is going to be equals we said $15 a year that we're going to save on the premiums. So that means that the recovery period on on the smoke detectors smoke detector detectors. I didn't spell that right up top. That is going to be equal to if it costs us $48 and we say $15 divided by 15 a year because the homeowners and it takes like three years just to put in those squeaky things and they probably want me to check the batteries on it or something to make sure it squeaks whenever I cook a good meal. Whatever I guess maybe three years. So three years to recover that home tab thought group. Let's put some black and white on it. Let's put some blue and border blue, border blue as well. Let's put some underlines here that would look nice font group and underline that looks so much better. I can't even believe it. I can't even believe I had it without an underline for that long because it's just the amount of improvement. Let's do the recovery period if we combine them, which isn't the fairest way to calculate it. But let's say if we like combine them together, we'll get like combined recovery period just for the giggles of it. And so we're going to go up top. We're going to say this is the font group and say this is going to be black and white. And so this is going to be the cost to do both of these things. Let's say just cost to do both. Let's just do them both.  So the discount, this discount on both then is going to be equal to the 20.  But you've got to jump through some hoops sometimes. Sometimes you've got to jump through some hoops. Recovery period combined recovery period. So if I get, if I, if it cost me 223 for both of them and it cost me a total of $35, then to recover the full cost combined together would be this divided by this. And that would be about six years. And I'm going to be living in the home for a long time, I think. So I still feel like it's kind of worth it. If I have to jump, if I have to jump through these hoops to do this mundane and worthless exercises of putting locks on the door and having a squeaky smoke detector, then so be it, bureaucratic institutions always wanting some crazy thing. But obviously you can see why the insurance company might think that those would be beneficial because it might reduce the likelihood of, of losses, which of course you would think would be beneficial for the insurance actuarial calculations and so on and so forth. And clearly, although this is a very good recovery period calculation to do, and it could be applicable in a lot of different areas, doesn't take into consideration the time value of money, but it's a nice quick kind of calculation to get an idea of the benefit that you, that you're receiving. So you want that concept, but clearly here it looks more like it's kind of a safety issue as well. So if they're recommending that you do that, then there's probably a reason for it. So we probably want to put them in anyways, even if it, even if it wasn't the most financially sound thing to do in terms of the discount in the insurance premium policy. Also note that I realized that I just misspelled a whole bunch of things. So I think I corrected those with the spell check. So if that was driving anybody crazy, then, you know, I fixed it now, but that's what spell check is for. So I checked it. So it's probably still some wrong stuff, but it's better than it was, I think.