Think, Tecawaii, civil engagement lives here. OK. We're back. We're live. We're talking about Asia, but we're talking about Asia from an historical point of view and from a media point of view. We have with us Scott Bailey. Scott is an assistant professor of history at Kansai Gaidai University in Hyogo, Hyogo. It's in Hirakata City. Hirakata City. Yeah. In Japan. We're here in Hawaii to sort of, you know, have a visit of his old stomping grounds because he has a PhD, his initial PhD in history here at UH Manoa. That's correct. And he studied under Jerry Bentley there. That's correct. In fact, Jerry Bentley was the reason you came here, isn't it? Very much so. Yes, originally back in, when I applied for PhD programs 15 years ago, I really wanted to study world history and Jerry Bentley was, you know, a giant of that field. And you were on the mainland. You knew of him there. Yeah. Actually, I was in Central Asia at the time working in a university and I wanted to continue on with my PhD study and University of Hawaii was the place that I really wanted to go because I wanted to study under Jerry Bentley and the dream came true and I was here for about five years and earned my PhD in 2008. What did you focus on in the PhD? My PhD coursework focused on world history for the most part but the dissertation itself was about the Russian colonization of Central Asia in the 19th century and that's a project that I'm continuing to work on to some degree. I'm revising it now into a book format. It's to be published as a book next year, early next year by a press. I'd like to have another show with you sometime. Thank you. We talk about Russian colonization of Asia and the book. Thank you for having me by the way. Absolutely. So what other areas have you studied and published in your career? Besides my interest in colonization and imperialism in general, I'm also doing a lot of interested work now in the relationship between film and history and that's where my teaching interests have kind of lied in the last few years. I started developing a course about six years ago at University of California Berkeley during the summer called Recent World History Through Film and that led to creating a second course which was called Cross-Cultural Encounters on Film. Since coming to Kansai Gaidae, my university, I now use film and history in a lot of the topics and some of my publishing efforts now are directed towards the relationship between film and history and especially trying to look at how filmmakers' representation of the past should not be discounted by historians because I think there is some perception that it's somehow inferior as a form of history. So just to be clear, you're not only talking about filmmakers who are filming current events, that is events that have happened since Thomas Edison invented the motion picture camera. But filmmakers who have done, I guess, documentaries or maybe fiction films about events sweeping right back to Charlton Heston in ancient Rome. Well, personally, I do less work on ancient history or those types of films, but the representation of history in any film is something that's interesting to me and for trying to get my students to think critically about. I want them to really challenge themselves to think, what is the statement that this filmmaker is trying to make about the past? And in some cases, I think in most cases, films are not just commenting on the past, they're commenting on the present, and they're trying to send a message to the audience about the present or the future. The old takeaway. Even in a documentary, there's always a takeaway. Sure. Absolutely. So you have to look into the mind of the filmmaker. You have to know your filmmaker before you can appreciate his vision, what he has seen, before you can look through his eyes. Absolutely. How do you do that? Well, one way is to study, and this is what I encourage my students to do, is to study not just the historical context of the subject matter of the film, but the historical context under which the film was made, that is, the place that it was made, the production company or studio that made that film, who paid to produce that film, what was the location, what was going on in politics at the moment that the film was being made, and how does that maybe reflect how the narrative was presented historically? It comes to mind, the film is fairly recent, but I think it's historic. And that's Ai Weiwei's film called Human Flow, where he takes us for a journey around the world for all these camps where people are held as migrants and the like, and it's a chakaroo in the sense that you didn't know there were 60 million people in these camps. And he uses drones, very high tech, and he gets right there on the ground. But the thing about Ai Weiwei is that he's a troublemaker. He's a dissident. So if you want to know what he's doing, you have to look at it through his eyes, you have to know him. Right, right, right, absolutely, absolutely. And we were talking before the show started a little bit about the movie JFK, which was produced by Oliver Stone, and Stone is one of my favorite filmmakers, who's obviously, he's made a lot of films about American history, and kind of exposing some of the maybe lesser known elements of American history, and maybe kind of a darker side. And sometimes. And sometimes. Because he's spiritual. Sometimes, he's been labeled as a conspiratorial director, you might say. But on the other hand, among people who study film and history like myself, many scholars believe that Stone is actually very historically minded. And that the kind of effort that he makes in producing films, in getting consultants who are professional historians, is actually really admirable. And you can certainly agree or disagree with his whatever kind of narratives that he presents. If nothing else he does in most of the films that he's produced, I think, raise a kind of question in the line of the audience to make them want to know for themselves, okay, was this actually what happened or not? And I think he likes to choose kind of assumptions and maybe kind of a question. He wants to provoke you. He wants to take a leap in some way in order to make you think about other possibilities. And I think what's important there, as I was going to ask you about this, is how important is it that the theatergoer, the average person, not the PhD in history, the average person, study up on Stone before you go to see that movie. In Stone's movies, we all knew because there was a lot of press about what he did and how provocative he was. But potentially that's the case with every film. Well, yeah, I think I would encourage everyone, and I think this is a broader issue for the media in general, everyone should really be doing a more active job of trying to analyze who are the producers of the media that they're consuming. I think most people, as you kind of alluded to, are somewhat passive, you know, receptors for the media that they consume. But it's important for all of us to at least know, okay, what are the basic beliefs that this person is bringing? What is the background that this person is bringing to their projects? Because that helps us to be better educated as citizens. And when we read newspapers, when we watch local news or television news, that often gets lost, and I think that shouldn't be. Well, if you're watching CNN, you have to know what CNN is so you can more fully appreciate what their message, the message they want to convey to you. Something with Fox News. So you have to appreciate the source, and I find this interesting because this is really touching on the First Amendment. So if I see a film, and I know that it's trying to provoke me or trying to sell me a bill of goods, sell me a takeaway that's troublesome, I mean this happened in the 30s in Germany where the films were propaganda, and people bought them, and it sounds to me like there's a risk that people will buy into a film and believe it as truth. It's a big word these days in the Trump administration. They will buy into it and treat it as truth when it has a takeaway that isn't true at all. So aren't we talking about that? Well, I think any filmmaker who's producing a film about a historical topic is trying to aspire to the truth. However, we know as scholars of film and history that all filmmakers engage in a certain amount of adjustments and fabrications and elaborations of the truth, but that's inherent to the nature of all historical sources in that you're presenting your own narrative, you're presenting as a historian or as a historical filmmaker, you're presenting your viewpoint of how you think things happened. You're not presenting, it's not as if we had a camera on the wall where we can replay and watch a historical event from start to finish in most cases. It's not that simple, right? As historians, we're trying to reconstruct from a variety of sources what we think happened, our best estimation of what happened. But not all historians agree on not all issues.  And right now, you could walk down the street or on the military bases of this city and find some military people who believe that the Turner Joy was a legitimate event, a provocation, justifying 10 years of Vietnam War. Others will say, no, this was a government manipulation. It was not real. And so you could take two filmmakers in the same way. Maybe Oliver Stone's one of them, but there's another one too. And we examine it, and we make it look a little different because there's no cameras on scene at the time. So you have to build the story, the narrative, by what you produce with your cameras today. So I could be selling you a bill of goods, and as a historian, you're going to put your own imprimatur on that, whether it's true or not. Others love to second guess historical filmmakers when the film comes out that's within their particular area. But I think to some extent, that's often a bit premature and maybe uncalled for in some cases. I mean, a lot of popular films are intended to be entertainment, right? I mean, documentaries are different, like we were talking about Ken Burns films. Those are basically his genre of filmmaking that he's created and others have kind of emulated in the last 20 years is much closer to a traditional historical source. Of course, it's much, it's very entertaining to watch what he has to do. You care about what happened in the world. Right. I mean, I am entertained by that. Maybe entertainment is not exactly the right word, but I am fascinated with it.  So I'm very interested to see what he picked up when he researched it and then chose it to me. But what is really interesting is this. So I had a certain perception of the Vietnam War. I was in the service at the time. And I come away from all of that with a certain mental set. Now I see Ken Burns Vietnam today. It changes my mind. What did you think of it? Yeah. I thought it was great. It taught me so much that I didn't know and it accentuated some points that I wasn't sure about. And I felt I was getting for the first time the real deal. Right. That's what I felt. Other people may not feel exactly the same way. So now, now, now raise the level of distribution of this film. And it was at a very high level to 300 million Americans. Okay. They all saw the film. Right. It colors their impression of what happened in the Vietnam War. Right. It now, it has an effect on them. And I wanted to talk to you about this really. Yeah. It has an effect on them. The perception of Vietnam War has probably changed. That's mine was. Right. And when those issues come up again, whether there's another turn of joy incident in the Gulf of Tonkin, when there's another effort by people in the military or in the Defense Department to get us into a war, they're going to be thinking differently than they might have been before they saw that movie. Absolutely. And they should. They should be able to learn from the information that was presented in Byrne's documentary. But I think in a free society, in an open society, that's not the only interpretation that's out there. And people should actively try to read books about the Vietnam War and try to get different interpretations so that they're not just relying strictly on what Ken Byrne's interpretation of the Vietnam War is. That's the difference between living in a free and open society versus an authoritarian state where the access to that kind of information may not exist and there may only be a film or a single book or something that interprets that entire event and is the authoritative voice of that event for the entire body politic. And that's what we, as a society, I think should try to steer clear of. We should better understand where we are because we really need to understand history to know where we are and where we're going. And we should have as sophisticated as nuanced an understanding as we possibly can to find the reality. But I think, you know, I'm with you, of course, we are all together trying to find the truth here, but sometimes the truth isn't obvious. Sometimes people may get the wrong message and we live in a time when the media, including film, can give you the wrong message. And so this is the point I'd like to discuss right after we finish our break is that the film is portraying history, but the effect of the film on the public, 300 million Americans or 8 billion people in the world, that film may have an effect on what they do. So what you have is a two-way street, a feedback loop, two-way street. And so I can see why you're so excited about this subject. That's Scott Bailey, he's an assistant professor of history, trained here in Hawaii as a PhD history student world history. And he is teaching at Kansai Gaidai University in Hirakato City, Japan. We'll be right back after this short break. Hi, I'm Ethan Allen, host on Think Tech Hawaii of Pacific Partnerships in Education. Every other Tuesday afternoon at 3 p.m., I hope you'll join us as we explore the value, the accomplishments, and the challenges of education here in the Pacific Islands. Hello, my name is Stephanie Mock and I'm one of three hosts of Think Tech Hawaii's Hawaii Food and Farmer series. Our other hosts are Matt Johnson and Pamai Weigert. And we talk to those who are in the fields and behind the scenes of our local food system. We talk to farmers, chefs, restaurateurs, and more to learn more about what goes into sustainable agriculture here in Hawaii. We are on at Thursdays at 4 p.m., and we hope we'll see you next time. Aloha, I am Howard Weig. I am the proud host of Cold Green for Think Tech Hawaii. I appear every other Monday at 3 p.m., and I have really, really exciting guests on the exciting topic of energy efficiency. Hope to see you there. OK, we're back with Scott Bailey, and we're talking about films and history. This is really an interesting connection. The films are history and history are films. Yeah, I see that right. So what kind of films are we talking about for your examination of things? Well, one film that I really enjoy showing to my students is an old film from the early 1960s by an Italian director named Ponte Corvino. And the film was called The Battle of Algiers, which is a black and white film about the Algerian Revolution and war against the French colonization. What year? This was in early 1960s when the film came out. But it's portraying events from the 1950s. But what's interesting about the film, it's not a strict documentary account of what happened. It's a drama that mixes known bits of what happened into the narrative. And in the film, it basically provides kind of an understanding for my students of how revolutions can work and how revolutions have happened in the 20th century. And so I use that film in comparison with other films that also portray the process of decolonization in the 20th century to kind of give them a comparative look at how different states moved away from colonization in the middle of the 20th century. What a great study. I want to be in that class. Thanks. So what you signal to me is that the film itself doesn't have to be specifically accurate on every point, that we can allow some fiction in there. We can allow a kind of broader treatment of a subject. What we are looking for, at least in comparing these films, is the gestalt of how colonization came to an end, which is really important. And the films which were made at the time reflect the filmmaker's concept of what was happening at the time in terms of the reduction, the diminution of colonization. That's right, that's right. And part of the reason that films cannot provide a 100% documentary kind of portrayal of the event is they're what, two hours long. So there's a lot of selection process that has to go into what do you include in the film, what do you leave out, how do you, you know, you can't have more than maybe five or six main characters, or it gets too confusing for the audience to understand, right? So exactly, we don't have 20 hours to watch the film. So there's a lot of that process that happens, but, you know, that's the nature of the genre. Yeah, but suppose I came to you and said, Scott, look, I need to know about how colonization really ended here in that period, 50s, 60s, for that matter after. And I would like to find out what people were thinking about it at the time. I'd like to see through the lens of their filmmakers' experience in these various countries to see how it declined. So can you please find me half a dozen movies that treated the subject and take clips from them, assuming you had the right to do that. You know, you have to ask people, I guess. And make me a movie where you have the, you know, essential story from each one of those locations and colonies where you can show me the underlying process as sort of as a universal truth. Can you do that? Would you do that? Do you want to do that? Can I be there when you do that? It would take a while, but it would be a noble pursuit, I think, to try that. You know, what I do in my classes is I try to have a comparative approach. And it's not intended to be an encyclopedic approach. We're not getting our students to know every single detail of what happened in the past. That's not really something that's necessary. What we're trying to get is to get them to engage with the ideas and to get them to become familiar with a range of different scenarios that happened. So, you know, when I show the Battle of Algiers movie, I compare it with the film Gandhi, which was in the early 1980s. And that, you know, that's a very different process of how essentially Indian independence happened. South Asian independence, I should say, happened in the 1940s versus what happened in Algeria in a place where there was more of a violent revolutionary effort. So films, you know, can help students get the basic foundational understanding of how historical processes like decolonization or revolution have happened in different places. Yeah. Well, that really goes to the whole thing about history. My observation, by the way, full disclosure, I minored in American history in college. Yeah, it was a long time ago. Journalism major, I see. Well, my point of reference was what they called the Mumford Decades between the Civil War and 1890. That was my favorite time. But, you know, I think you're making a point that I want to explore, that is that history is not a matter of going through the gouge and saying, on this day, this happened, on that day, that happened. At all, you want to feel the, may I use Ai Wei Wei's term, human flow. That's right. You want to feel the flow of history. You want to feel the way the species has changed, the way that the thinking among millions, billions of people has changed. That's correct. And our goal is not to memorize information. It's not to become computers. We have computers to do that. We have the internet to help us with keeping track of that information. Our goal is to create engaged learners who can critically think for themselves. And to me, films can stimulate a certain part of a student's consciousness and make them become interested and engaged and want to go out and research for themselves. How did Indian independence actually happen? What did Gandhi and the non-violence movement in India, how did that work? How did Algeria eventually gain its independence? So films can provide that kind of platform to get that, to spark that interest and to get them to want to really think independently. And that's really, to me, the ultimate goal of history education. Yeah, and actually, it goes beyond history. It's the human condition. It's all these millions and billions of people. How do they conduct themselves in the world? If you learn how they have conducted themselves, then maybe you can get a beat on how they will conduct themselves. That's not easy, but maybe that'll help. And I suggest that maybe your students, they see some films, they hear your discussion, they try to develop critical thinking about the connection between the film, which is portrayed in the film and the real history, and they take something away from that. Now they go out into the world where they're surrounded with films. I mean, so many films. You get to watch films day and night and never come to one person. Been watching. And from these films, which turn out to be very educational, they learn a lot about the world. I mean, is that you're trying to foment that sort of process? I would, yeah. I mean, intellectual curiosity for other parts of the world. I mean, so many students do not have the opportunity to travel for economic reasons or other reasons. And so to see other places, to experience other viewpoints, I think that that helps create this kind of cross-cultural understanding that's really hard to get across in just in books or reading articles versus kind of seeing that on screen and ideally watching films that are in foreign languages so that students get even more of a sense of an otherness or a different cultural difference that they can become interested in. And so I try to show more foreign films as well with subtitles. Yeah, absolutely. Although students often complain that they don't want to read the subtitles. I mean, really, this is an education in global terms. It's an education of the whole enchilada.  And what's an interesting point, though, is that you talk about people who can't travel. Well, a lot of us can't travel anymore. Why? It's too dangerous out there. That's why. And I think the strange thing is that sometimes you take a trip through the movies you watch when you could never actually go to that place. That's true. So you're relegated. You have to rely on the film to teach you about the place. Absolutely. Yeah. Yeah. And it's better than nothing, right? I mean, it still can provide some exposure to other viewpoints and other other societies. And I think that's a good thing. Well, you describe a world where these students have the benefit of this extra sort of extra level of education, extra level of creative thinking. And I just have one more question for you before our time is up. And that is, are you the only one are you in touch with collaborating with other professors of history who make the same comparison with film and see it through the lens of the filmmaker? And the second part be on that question is. Where is this study going? Is this going to be bigger in five or ten years? Is this going to have more effect on the products of our universities? Great question. Thank you for asking. Yeah, there is an increasing number of history educators who are like me employing the use of film and turning to film as something that's really important for the classroom and very beneficial for the classroom. And so, yes, there are more and more professors who are going towards the use of this in the classroom. And, you know, personally, from my own perspective, I am hoping to to, you know, go with a publishing agenda in this area towards the teaching of film and world history, because I think it's something that that is very beneficial for the students. And it's something that, you know, I've found this the students overwhelmingly enjoy. And I think the learning outcomes are also quite significant from a properly structured class that employs the use of film and history. And this process is this phenomenon among the students. It's universal, isn't it? It's everywhere in the world. Yeah. It's every country, every university, every possibility. Right. Right. So then think, take order, stay in business and expand its operations, including filmmaking. Why not? Maybe documentaries more and more. Absolutely. Thank you. Thank you, Jay. Not Bailey. Thank you. Great to talk with you. Great to talk with you. Thank you.


A terrifying crash on a Minnesota highway caught on camera. It shows a dump truck slamming into a line of stop cars on Thursday morning on Highway 13 near Burnsville. Pat Nelson posted the dash cam video to Facebook last week and it's already been viewed by more than 300,000 people. The state patrol says the drivers of the SUVs suffered non-life threatening injuries and were hospitalized. The dump truck in the heart of Owatana was cited for failing to use due care. If you enjoyed this segment of Lakeland news, please consider making a tax deductible contribution to Lakeland PBS.


At 11 a.m. today, September 28, 2016, a tropical storm warning was issued for St. Lucia. This tropical storm warning remains in effect for the island. At 5 p.m. today, the center of tropical storm Matthew was located near latitude 13.8 degrees longitude 62.0 degrees west or approximately 65 miles or 110 kilometers west of St. Lucia. Matthew continues on a westward track into the Caribbean Sea. As a result of tropical storm Matthew, a number of national actions have been undertaken as follows. Nemo, as long with the Met Office, has issued several communication products, including press releases and SMS messages to the public. The director of Nemo has been in constant communication with the acting prime minister as well as the acting cabinet secretary on the matter. Partial activation of the emergency operation center occurred at 7 a.m. this morning. All flights were cancelled and both the George F. L. Charles and the Iwanora International airports were closed from 12 noon. All schools remained closed today and will remain closed through Thursday, the 29th of September, 2016. District disaster committees are monitoring the situation in their respective districts and are updating the National Emergency Management Organization on the situation. The Sufra Hospital has equipped the Environmental Health Building in Wingsville as an alternate site in case the hospital becomes flooded. Five persons, including three children, are currently sheltered at the Beanfield Secondary School, which has been opened as an emergency shelter. Patients have been reported to the National Emergency Operations Center, and these include reports of debris on the roadside at the Cass Street's waterfront, a retaining wall near the Chosal police station fell across the road and blocked that road, including the drain in the area, causing water to enter that police station. The water level has risen to the bridge level at the roadway in Union. We have also received reports of flooding at Olyon in Dennery, as well as Bexon, Church Street in Dennery, near the police station in Labre, as well as the Tamazo Bridge. With respect to the next steps, the Nemo Secretariat, along with the Met Office, will continue to monitor this situation and will continue to provide updates to the public accordingly. Residents in affected areas are asked to report flooding and damage caused by the weather system to their respective district disaster committees with photos, if possible, for onwards transmission to the Nemo Secretariat. Nemo continues to urge residents to continue listening for advisories, stay alert, and in a constant state of preparedness until the all-clear is issued. The public is again reminded that the official source for information on this weather system is the Met Office and the Nemo Secretariat in St. Lucia.


All aboard for the transcribed premier production the crews of the Paul Parrot that thrilling story of wailing days and buried treasure When last we left our friends captain Dalton Johnny and Sue and first mate Wainwright They had just released old Dickon who had been crushed up by Red Mulholly and Ezekiel Kip Who are trying to keep as regrainge and Johnny the rightful owners from taking possession of the mineral deposit on the island of Galto? After releasing Dickon the party was too late to return to their boat as all smoke him out the volcano Which had been threatening all evening began to erupt throwing spurts of flame around the island side Safety was found in an old cave at the base of the mountain where we find our friends now Thank you. Lucky compass. I saw this cave as we were sneaking up on the cabin Hi captain Dalton. You may later there, but it's a dingy old home.  Don't tell him how close those ashes will come We'll be careful captain Dalton. I'm just trying to see what became of Red Mulholly It's as nice as day from the flames of smokey mouth. I'm not worrying about Mulholly I was thinking about that old man that red knock down and left lying up there on that cliff behind the cabin You're right Johnny He's in the open with no protection from the ashes of the volcano a mask Wainwright. You know, I never gave that a thought He's an old buzzard is it you kept but I don't like to see a helpless old man in danger or buzzard or no We do anything to help him there he is captain Dalton running across that clearing who the old man No, Red Mulholly. Yes, I see him. He's running toward the cabin and will you look at the ashes falling all around it? Blimey this this is he has no knife for man the beast No knife for man the beast In time of danger when a man's life's at stake being friend or enemy it gives you a peculiar feel understand by helpless Like I'd be able to do nothing for the poor rascal. Hey, that's what makes you the man You are captain Dalton blast me kisses if it don't is there nothing we can do at all captain Dalton to save old man Kip anyway, I'm afraid not glad If I thought it was one chance and a million of getting him through that smoke and ash I believe I'd risk the try if anyone goes for the old sea moose. It'll be me Roy Look There you can hear from the door those red cinders just misty Mulholly I don't know. Let's wait and see. Oh, that's malholly. Who's there? Who's are calling Mulholly? This is captain Dalton. Can you see me? We can see him by the light about smudgy mouth, but he can't see us. It's too dark where we are You're right dicken. Well, holy can you tell which direction my voice is coming from? Yeah?  No, you don't it's a trick But you don't fool me. You're trying to capture me blaster. Well stay down there.  I feel sorry for him now Just like Captain Dalton Sam. Yes, Captain Dalton was right. All right Yeah, I wouldn't like to be where Mulholly is now with all that fire and sport phone all around and look He's gone inside the cabin. Well, there's no use wasting our breath on Mulholly He'd rather take a chance inside the cabin than be captured by us. I guess oh captain Dalton. What's up, man? The cabin where Mulholly went into what about it me arty? It's still there Yes, but then you see those sparks fly on the roof of the cabin Maybe they'll die out. I'm afraid not from the looks of things It hasn't rained in days around these parts and that dry straw patch on the roof of catch fire and the flicker of an eye Perhaps as we met it has caught a blaze. Look. Oh, you be cocked. Yes, it sure is burning fans Mulholly come outside the cabins of fire It's a trick. You won't get me outside.  Find out for yourself There goes the cabin. The whole thing's a flame. Mulholly, you better get out of there I'm trying to Something's holding the door. It won't launch. Help. Help. I can't get out. Help Poor lover. No one deserves an end like that no matter how bad they are He felt he set them with spring and the water will do a lot of good right now. The cabins came in. Good lord Mr. Grange, Nicholson, we've got to do something. My sister and the rest on that volcanic island We've got to get them off. Take it easy, Mr. Grange. There's nothing we can do about it right now The hot centers that Veltino is throwing out won't permit us getting any closer to land I'll never forgive myself for this. We never should have come on this trip I wouldn't say that sir. The chance for a treasure is hard to pass up All the money in the world is not worth this. If only we could get through to them All this threaten may be for naught, Mr. Grange I have an idea. Dalton has found a shelter for the lot of them to this fiery squall blows over Hey, Busquetta Hey, Mr. Nicholson, this is not first time I have seen Captain Dalton face danger But always he sailed through the gale with upright mast The captain, he is very brave sailor That may be true on board ship, but he's not on board ship right this moment That is very true, Mr. Grange, but all the better On land if one place catch fire, move to other place On shipboard, ship catch fire, no place else to go That is pretty good, eh? Busquetta, I don't care for your humor at a time like this Mr. Grange, I think Busquetta in his crude way was merely trying to cheer you a bit Yes, I'm sorry, Busquetta. These nerves of mine are too much for me Nicholson, I feel so helpless. What can we do? What can we do, man? I think we do something pretty quick now What do you mean? Wind coming up. I think maybe gale to port side So much to worth The wind will whip that island into a howling furnace No, Busquetta, think not. Tonight and very soon it will rain This is time of year in these parts for squalls That would be good fortune Why is that God's man? I think you're right A drop struck my face. Or am I just imagining it? No, I felt it too Busquetta, fly these waters many times.   It's coming in sheets Look, already the flames on the island seem to be subsiding The rumbling of smoky mouth doesn't seem as loud either Beggarsons, make ready to lure away the boats We're going back to the island Aye, aye, sir Busquetta, all hands on deck, we're headed for port Aye, aye, sir, all hands on deck, man the boat All hands on deck, man the boat Growing darker outside the cave I believe the rain is cool, old smoky mouth off of it To the horse, man, there's a lot And I'm mighty thankful to see it, Polly Too bad it didn't come a little sooner Aye, Mr. Wainwright, if it had, we'd still have those two wolfs for us to contend with Yes, it's getting pretty dark now I've noticed the rumblings about led up Perhaps a dangerous pest Can we leave the cave now, Captain Tolton? I think we'd better wait just a little longer, just to make sure Who brother is will be sick worrying about a time gone I know, but he's waited this long, he can wait a little longer I'm going to be certain the danger's really passed Right you are, Roy But the rain coming down on it, as it has for the past few minutes I think we're pretty safe Someone fired a shot Alas, fair! Who's that blast gone away? The fat one dog me, hedge, which way did it come from? That's what I'd like to know Oh! Blessed the luck Catch a meeting?  That didn't feel like it came from outside. He raised the back of my shoulder. I was facing outside. Yes. And from back of you, your outline shows up clear. It certainly does.  That means the shot came from somewhere in this cave.  Blimey, who's that? It is him, a cave. Stand where you are, all of you. Me, don't you? Every one of you. Blow me down, man. Who are you? I'm the owner of this island.  Understand? You see, you're kip. Hold, man, we're not here to do your harm. Yeah, you can't hold it if you're kip. I've got a beat on you. Kip, wherever you were. How'd you get in this cave?  Wouldn't you like to know? Why, you old buzzard. To think we thought you were in danger out there. We were feeling sorry for you. Aargh! Sit just right there. Aargh! So, you'd like to know how I got in the cave. I had an entrance to it around the island. I hurried around to the other entrance. They can know who he would make for the mouth of it. I'll teach him to cap size, my hope, the swamp. Mr. Kip, I don't think you'll have to worry about Malholy any longer. He was trapped in your cabin when it caught fire. My cap? That means I'll have to build another one. But I'm built on this island. But, kip, we'll help you build another one if you'll only be reasonable. No, you don't. No, you don't. No use trying to get to my good side. I've got a beat on you. Now get off my island. It's mine. Now, see if you'll kip. I've come after my treasure. Who said that? Whose voice was that? Mine, Johnny Robbins. You stole this treasure from my father. Robbins! Robbins!   Johnny, don't get him excited. He's liable to start a shooting again. But Captain Dalton, he's not going to chase us off this island. He has no right to. Johnny's right, Captain Dalton. I know, but we've got to handle this old man the right way. He has a drop on us. We can see him way back down in the tunnel of this cave. Hurry up now.   I am known to count three. And if you're knocked down your way by them, I'll start shooting again. I'm afraid he does. We only count two, then everybody's up to their stomachs on the floor of the cave. Two. Now, everybody down. Three. Say, old Kip meant business that time. I wonder if Johnny and Sue and all the rest dropped in time before he shot. And what about Grange and the crew that were making ready to return to the island? Will they get there in time to save our friends from harm at the hands of the mad man Ezekiel Kip? Well, there's only one way to find out. Be sure to listen to the next exciting adventure of Johnny, Sue, Captain Dalton and all the rest of the crew on the crews of the Paul Parrot. This is your Paul Parrot announcer, Dave Ward speaking and saying for now, Goodbye.


It's a very positive atmosphere and the people seem to be incredibly jolly with a very sense of achievements and of course they are graduating from one of Australia's best universities and for that matter one of the best universities in the world. It's incredible, it's very exciting, there's lots of people you haven't seen in a while, your family is here and it's like two worlds, a kind of colliding, you've got this academic world and your family supported you. Today we perform a medieval ritual but it's a marker of what you have done and what you have achieved and you should enjoy it and you should enjoy it with your family and friends who are here to witness it. And so my point graduates is really that we can admire those who have come before without replicating what they did and we are not here collectively and you are not here to replicate the triumphs of the people that you admire, you are here to transcend those triumphs. You can do better than to join the club and be part of some insider arrangement. You can bust the clubs open, you can make social and economic mobility the defining feature of our country's future and not just the defining feature of our past. I've had amazing opportunities not only to go overseas and study, so I did the ANIT program, so I was an intern in Washington DC and then got to come back and do undergraduate research, that's an amazing opportunity that's pretty much unique to the ANU but also just to live and work in the Australian capital. After today you'll no longer be our students but our alumni and our peers, you'll go on to achieve much more than we expect and you'll look back and say ANU is where it all started.


I'll introduce Lou Rockwell our founder who started the Mises Institute with with Ron Paul's help with Murray Rothbard's help With the help of Margaret von Mises in the early 1980s and he's he's really seen the organization grow And I know that it means a lot to him to see this kind of turnout. So doctor So Dr. Paul, thank you so much and Lou Rockwell Today's event is all about looking ahead and what awaits us in 2016 and beyond We have plenty to be concerned about to be sure Usual bad guys are up to their usual wickedness At the same time we're living through some extremely positive changes and I like to discuss several of them today These changes have occurred so quickly and I suspect few of us have fully absorbed their true significance If we had we might have a much more confident view of the future than many of us do today One of them is obvious and has been happening for some time living standards Whether it's child mortality Chloric intake living space environmental quality life expectancy real income or many other Contributions to human well-being the movement has not only been up, but dramatically so Now our material standard of living is in everything But it sure is something Consider these facts in the England of the late just the late 19th century The differences between rich and poor were evident not only in income But also in such metrics as life expectancy and even height The rich lived 17 years longer than the poor and were a full five inches taller Today that is discrepancy has been reduced to two years and less than a single inch In the United States material progress has been so great that the incomes of the average poor household in the year 2000 would have placed it in the top five or ten percent of all households in 1900 If you think there hasn't been progress even over the past generation or so ask yourself if you'd like to go back to 1977 and the manual typewriter those gigantic heavy televisions with three channels cars without air conditioning not to mention no internet no instant communication With anyone anywhere in the world and no access to the great literary and scholarly achievements of mankind at the push of a button This explosion of material wealth in the standard of living had its origin the industrial revolution a Period and a phenomena portrayed in most government classrooms as a terrible Catastrophe for the working class The state's preferred narrative is obvious enough without state intervention. The condition of the average person is bound to deteriorate a Scholarly discussion among historians of that period has become known as the standard of living debate And it took in the later half of this in the last half of the 20th century Largely unbeknownst to the general public so-called optimists the people who believed the industrial revolution had raised the standard of living Yes, there are people who don't don't believe that were the clear winners The only debate that still takes place today Involves pinpointing exactly when the improvement in living standards began not whether it occurred excuse me the extent of mankind's material progress and especially that of the poorest has been astonishing and much have occurred Long before the creation of modern welfare states in case the state wanted to try to take credit for it Which of course it does We live much better than people have ever lived And liberation from destitution has allowed us to pursue on a much greater scale than ever before Pursuits that we find it intellectually and spiritually fulfilling pursuits that have been impossible and unthinkable to those who came before us So that's an obvious one obvious in the facts obvious in the implications Human beings continue to live better and better despite all the best efforts of the state Here's a more subtle one as long as liberty has fought against power It has been at a decided disadvantage In one way or another the state has dominated the molding of opinion This is an essential state activity because it is the way that the population is indoctrinated into the need for and Consequently made amenable to the exercise of state power Is a Murray and Rothbard described our situation quote in past centuries the church has constituted the exclusive opinion molding classes in society Hence the importance to the state and its rulers of an established church And the importance to libertarians of the concept of separating church and state Which really means not allowing the state to confer upon one group a monopoly of the opinion molding function In the 20th century the church was replaced in its opinion molding rule or in that lovely phrase the engineering of consent by a swarm of intellectuals academics social scientists technocrats Policy scientists social workers journalists and the media generally and on and on Often included for old-time's sake so to speak is the sprinkling of social gospel ministers and counselors from mainstream churches So to sum up the problem is that the bad guys the ruling classes have gathered unto themselves the intellectual and media elites Who are able to bamboozle the masses into consenting to their rule to indoctrinate them As the Marxist would say with false consciousness unquote More than anything else this has been the problem that has faced libertarians Libertarianism since its first began to emerge as a distinct school of thought What we stand for runs directly contrary to the interest of power and it is power that dominates the opinion molding function First in the schools then in the media That means people do not get exposed to our ideas except perhaps in caricature In the schools our ideas have been ignored in the media. They have gone from being ignored Always the media's preferred strategy when our numbers were so much smaller to being distorted and demonized I always get a laugh out of the conservatives who say The the dissemination of propaganda in public schools is a recent phenomenon If only the schools hadn't strayed from their noble pursuit of the truth Well, sure as fact in Murray Rothbard pointed out in his little book education free and compulsory The purpose of government-run schooling from the very beginning was to indoctrinate the students into a set of Established beliefs in order to bolster the priorities of established authority The homeschooling movement attacks this route and branch It is one of the most significant social phenomena of our times and almost no time it became so large that even the state couldn't abolish it With millions of people withdrawing from the state's primary apparatus of opinion molding what remains for these people Was to be sure that they themselves were teaching Things that were sound and reliable and not partially still enthralled to the state propaganda Ron Paul's new homeschooling curriculum helped solve this very problem Students won't go through a dozen years of formal education without ever hearing the names Mises Bastia Rothbard. They'll realize there's another side to the state's threadbare story at the click of a mouse The entire curriculum is available to any family anywhere in the world Likewise Khan Academy teaches mathematics to the most elementary to the most advanced concepts in a large series of amazing free online videos It's ventured into other areas Really math is its strength millions of kids use it The very existence of resources like this and there are more of them than you can believe Can help it raise the question if kids can get a top-notch education for little or nothing Why are we paying such humongous property taxes every year? at the university level 2015 was a very very bad Year for their public relations on one campus after another Horrified parents discovered that if anything left wing hysteria and intimidation were far worse than any of them had realized before now Institutions were shut down over bizarre absurd and even impossible demands the demands themselves Were outgrows of campus in incidents the student activists insisted evidence of systemic racism But which on closer examination turned out to be exceedingly mild actually benign or often made up out of whole cloth as Usually the diversity ideologues have no interest in diversity at all and take for granted that everyone should be herded into the conventional four-year ordeal But what if different people could choose the educational paths that suited them We're beginning to see this already The places like hack reactor whose 12-week intensive course of study yields programmers who are in high demand They have a 99% hiring rate and their graduates earn an average starting salary of a hundred and five thousand dollars a year Or how about this? Could they be at Google University someday now a Google University will teach Mainstream views to be sure But it will acclimatize the American people more and more to the recreation of educational materials Curriculum and delivery mechanisms by institutions other than the state and as Gary North wonders if there's a Google University went out of Google High School and on down through the grade levels The University itself is a dinosaur propped up by social inertia and government subsidy The last thing we should want is to make it free Any professor can tell you that the majority Sometimes the great majority of college students have little aptitude for academic pursuits and even less intellectual curiosity Diverting still more people onto this path is socially undesirable and economically wasteful to a disastrous degree The Mises Institute on the other hand is a microcosm of the university system of the future scholarly high-tech and cheap With technology pushing the price of instruction dramatically lower What reason will there be to in the future to shell out perhaps upwards of $60,000 a year for the privilege of being intimidated and propagandized Just as significant in terms of opinion molding and the state's crumbling monopoly are the blows suffered by the traditional media particularly in its print form None of us could have expected to be living in a world in which the New York Times and the Washington Post are losing money Which is a very neat thing to see Both are shrinking the Times has even floated the idea that someday there may be no be no more printed New York Times at all But uh, talk about a great dream The numbers for print newspapers in fact are even worse than you might think just in the two-year period from 2013 2015 saw catastrophic losses and subcribers Wall Street journals numbers fell from 1.5 million to less than 1.1 million the New York Times went from 731,000 to 528,000 the Washington Post its decline from 431,000 to 330,000 the numbers for USA today are truly horrific from 1.4 million to less than 300,000 or maybe not so horrific This is extremely bad news for the establishment media Meanwhile alternative news and commentary sources continue to grow and flourish The establishment is helpless to do anything about it during the various run-ups to war with Iran for example The world was able to find out the real truth about the war makers claims Thanks to a variety of news sources, which most people now have access to More extraordinary still were the YouTube videos created by Westerners who traveled to Iran Explored the country and spoke to its people Instead of the alien culture full of scary angry people who wanted to kill us all They found normal people normal families normal businesses and people who love the people of the West Even if they didn't think much of its governments smart Iranians When in the history of the world is anything so gloriously subversive and possible and if it wasn't Westerners trying to convey the truth about the Iranian people It was ordinary Israelis and Iranians exchanging messages of peace Everyone knows knew that politicians were hopeless. So they appealed directly to each other conveying unforgettable sentiments of goodwill The American media's traditional function has been to limit the extent of permissible debate and to promote the regime's official narrative about current events Even when the media appears to oppose the state as say with Watergate, this is only an illusion Richard Nixon's journalistic critics were concerned that the 37th president's enormities had tarnished the presidency Of course, that's Nixon's great legacy So whenever you attempted to become discouraged Remember that the state's monopoly and the opinion molding function is weaker and more vulnerable than it has ever been This is a development few could have predicted In identifying these important and favorable trends. I do not wish to be misunderstood I'm not suggesting that victory is already within our grasp or that we're also we're not also not witnessing some truly horrific trends and developments. I Know the horror is all too well as to you But the struggle for liberty which has existed to the beginning of time Is likely to carry on until it's very end what I am saying is this We should not permit our present prevails to blind us to the momentous changes through which we are living and whose Consequences are so potentially far-reaching that even now we can't predict their future But what the state's monopoly on opinion dissemination? Crumbling year by year. It's hard to believe the future of the cause of liberty is in brighter Than it has ever been in our lifetimes In fact when people say the situation is hopeless. I think back to what life was like during Murray's life Which wasn't all that long ago Not only was the libertarian movement if we can even call it that Vanishing would be small but the prospects for its growth were virtually nil with a hostile media completely Dominant in the opinion-molding feel Libertarians face an extremely slow and uphill battle that never bothered Murray, of course Who relished the struggle and did the right thing whatever the obstacles? But the chances you must have thought of is ever reaching millions of people essentially zero Or I think back to the early days of the Mises Institute if someone wanted an article We'd written he'd have to call or write us We had to photocopy the article put in an envelope put a government stamp on it put in the government mail and sent it to him By today's standards that seems hopeless Today not only can anyone in the whole world easily browse our entire collection of tens of thousands of articles not to mention books Courses and videos, but you can also share any of our materials in an instant and indeed people can do and Can and do stumble on our material quite by accident Unlike our inquirer who called us about an article any computer user anywhere in the world can come across something We've produced whether in the course of his own research or discovering us through a social media post or having it sent to him by a friend And as I'll bet many people in this very room can attest that one article video or book is Often the door that leads someone irreversibly down the path to Austrian economics and libertarians As the state's opinion molding Monopoly collapses the Mises Institute is poised to play a more significant role than ever But with our speakers our scholars our YouTube channel our events Our vast media collection and our educational programs for students the brightest lights of libertarianism Today came through our programs as students or were taught by those who did There is no organization anywhere that has been more steadfast and principal and more tireless in transmitting our ideas to future generations We cannot do what we do without your help, of course Please join us as supporters of the Mises Institute together Let's work to make the sure that the old world we hope is passing away before our eyes a world of lies propaganda central planning and war Can be replaced by another for without not another form of central planning, but by a world of peace Liberty truth and prosperity. Thank you


Welcome to Command Wing Chun, I'm Sifu David and welcome to our virtual Wing Chun training program. So today we're gonna talk about how to do some basic Wing Chun blocks. We're gonna show you the techniques and we're gonna have some drills that you can do at home along with the video with Will.  So let's get started. So one of the most basic blocks in Wing Chun is called the Tan Sao block. So in our form, in the first form we have Tan Sao coming in this way, right? Tan Sao in the centerline. Now what we're gonna do is we're gonna modify it slightly and then we're gonna take it up to the shoulder level. Okay, first we're gonna go from the center, straight up to the shoulder level and then we're gonna move it to 11 o'clock so that your index finger, your index finger is pointing at 11 and one o'clock. Notice that my elbows are down too. So from the side, if you measure your elbow to your ribs this should be a fist and a fist and a half, fist to a fist and a half distance between your elbow to your ribs. So you don't want it to be too close to your body and you don't want it to be too far out. So you wanna measure it so that it's about a fist to a fist and a half from your ribs.  If you look from the top, the hands are like this. Make sure your thumbs is tucked in and what you wanna do is you wanna think about a line going from your elbow to your index finger as if you're pointing from your elbow to your index finger. This one is going at, your left hand will be going at 11 o'clock and then your right hand will be going at one o'clock. So and then it will be at your shoulder level. All right, so what this is used for is very simply is against big hooks and hay makers, right? So boom, okay, so I want to use this to block it. So you can see it under the action camera now. Okay, that's what's happening. So I am going at 11 o'clock right into the crook of the elbow. So if he's gonna do it with his left hand, same thing, I'm going at one o'clock and then I'm going into the crook of his elbow. Make sure that when he does that, you don't block it here because that may not be as strong as here. And definitely you don't wanna block it here because his arm can go straight through. All right, you can see that. All right, so the drill is very simple. Now you're gonna do is he's going to just do left and right, left and right, right? And now I'm just going to do this. Okay, now that I'm between it, I'm gonna clap my hands.   So make sure that you clap your hands, okay? So drill number one, you're gonna do this. Just check out our combat stance if you don't know what stance to use. Quick review would be to go put your feet together, then turn one foot 90 degrees, one time on a toe, turn another 90 degrees, second time, third time, and then another 45 degrees and then turn in your front foot slightly. That's your combat stance. So you don't know what that is, so make sure you check the combat stance in the other lesson, okay? So I'm in this stance. All right, I'm in my combat stance and then the drill is to clap your hands and then block. Clap your hands and then block. Clap your hands and then block. Clap your hands, block. Hands, block. Hands, block. From this angle, clap your hands, block. So now, with the virtual cam, we're going to do the same thing as you're going to do. Left or right? Right? And we're going to do this. Hands, block. Tap on hands, block. Hands, block. Hands, block. Hands, block. Hands, block. Okay?


So, this video is about not thinking about computer stuff as computer stuff. And I think that most people who are good with computers are good at this. And just a lot of terms, computer terms, come from just regular everyday stuff. But once you apply it to computer stuff, it blows some people's minds. And it's so funny because you talk to people who claim they don't know about computers and really when someone says, oh computers are too complex for me, I'm no good with computers. Because you've been trained to think that. And whenever you see something computer related, you over complicate it. And so that's what I want to talk about. And I'm going to give you an example.  It's like every time I have a conversation with someone who doesn't know about computers, it's like you talk to them. And they're like, oh what does that mean? It's like, well let's say we weren't talking about computers, what would it mean then? It means the same thing in computers. So for example, excuse me, for example, yesterday I was talking to somebody. And so a couple days ago he needed some photos. So I text him a link to an album online, which I prefer to do because he had text photos and the resolution just goes to crap. So I sent him and it's a bunch of photos and a video. So I sent him a link. I said, and he needed to send that to somebody else. It was pictures of something that he had to send to a worker and I'm like, okay here's the album, send it to whoever you need to send it to. He texts me back that he's trying to download the video, the pictures in the video so that he can forward them. And I'm like, no, no, just send him the link. Why would you go through the extra steps? That's another thing. People who don't know how to use computers over complicated stuff. It's like, here's the link, just copy that and send it to whoever needs it. Don't go and download the photos and then re-upload them to send it to him. It's like, it doesn't make any sense. But the conversation went beyond that. So it went through this thing and we're texting back and forth. He's like, I can't send him these photos. I'm trying to download them. I don't know how to download them. And I'm like, just send the link. I don't know how to do that. So I said, okay, give me the guy's phone number so then I send him the link. And then later on that day, I see the guy that I'm talking with. And I said, I'm sorry that you were confused, but I just copied and pasted what you said and sent him. I don't know what the confusion was. And his response was, and people say stuff like this and I just don't know how to respond at the time because it just doesn't make, it so doesn't make sense. He goes, well, I think of a link as the internet, but you're sending to me in a text and the text is an internet. And I was just like, I don't, at the time, I didn't know how to respond to it because if I said something like that, compared to a real world situation, it would baffle the person I'm talking to as well. And let me give you an example. So I sent him the address to the website. That's like having an address of a house written on a piece of paper.  Here's the address and me giving that to you and you going, I don't understand how this is an address and addresses where a house is. It's like, no, no, no, this is a piece of paper with the address on it. And it's just like a text. Here's the text. Here's the address. The text is the address. This is the location. Most text applications will take that address and turn it into a link. The link is kind of like in a vague way, the directions.  I write the address on there. That's, that's the address of the house. And then if I wrote directions, that would be like the link. Clicking on the link is like going through the process of following those directions to get there. See how it is? It's like, again, if I gave you an address and a piece of paper and you looked at me and said, I'm very confused. How can this be an address? An address is where a house is. You would look at me like I'm crazy. But at the same time, that's exactly what you're saying. I'm sending you text. It's words. That's the address of where something is. That is the address. And you're looking at me and going, I don't understand how this can be an address in a text, an address is the internet. It just, it doesn't make any sense. And again, when people say stuff to me, when they first say to me, I'm just like, I'm baffled by how to respond.  This is an address and address is where a house is. This can't be an address. And it's just, I get that so much. So basically, again, this message is to people who get confused by computer stuff, the wording, again, just like an address is the address to a house. The address for a website is the same thing. It's the written location of where something is that corresponds to a real life place. We're obviously on computers. It's a virtual place, although it technically does lead to a real life server somewhere. And that's the only real difference is the wording is the same in real life and in computers, just one is virtual and one is not. And virtual just means it's in the computer. It's not a physical location. So anyway, don't overcomplicate things. And again, that's what people tend to do. Another part of that conversation was also when it came to me telling him to copy this address and send it to somebody, he didn't know how to copy it. Which is a valid point, but he said, I can't. He didn't say, I don't know how. He said, I can't copy texts. But he can't copy text. And he goes, nope, on an iPhone you can't copy text. And my first response was, of course you can. But there are so many things that iPhones can't do. I stopped and said, I would think you'd be able to. I can't imagine that you can't copy text and then paste it somewhere. But at the same time, I can't imagine that you can't download an MP3 or an MP4 on a device. But iPhones don't let you do that. If I sent you a link to an MP3 or an MP4, you can't do that. Even though a Windows 3.1 machine could do that. So when he said that I was just a baffled, I'm like, again, I want to say, no, of course you can copy a text. I know you got to be able to. But at the same time, Parmi's going, well, it's an iPhone. Who knows if you can do basic rudimentary stuff that computers 30, 40 years ago could do. Of course, I went there and I did show him how to long hold on the text and click copy, which he didn't know how to long hold stuff. It's just I don't know how you get through life owning a phone and not knowing how to do basic stuff like that. And for those of you who don't know what I'm talking about, on a regular desktop computer, you usually have an Apple computer. You usually have a left and a right click on your mouse. And usually you click stuff with the left and then you use a right click. In most situations, we'll bring up some sort of context menu. You click on a file with the right button. It brings up a menu of options. You right click on your desktop and you get a menu of options, stuff like that. On touchscreen devices, the general input. And it's been like this for over 20 years because I worked with touchscreen stuff back in the 90s. You click with one finger quick to touch and that's clicking. If you click and hold for about two seconds or so, that's the equivalent of right clicking on a desktop computer. And I'm not saying that all systems are like that. That's pretty much the standard. So if you're ever looking to do something with something, try long holding. And I'll try to tell him that. And I go, no, you just got to click and hold. And he go, instead of going click, he went. And he kept doing that. I'm like, no, hold it until the menu pops up. And it took him a couple tries and he figured it out. And I'm not blaming somebody for not knowing something. But now he knows that. But I just don't understand how you can use a device. That's like me driving my car for the last 10 years and not realizing it had headlights. It's like, how do you not know that? But again, two different things. Not knowing how something works and then being confused by terminology that isn't even technology terminology. It's real world terminology like address. It's equivalent to the same thing in the computer world as it is in the real world. And you just need to listen to the words. And sometimes, even if it is somewhat technology based, it still is founded in English for me in whatever language you speak. And I'll give an example. I've told this story before. Similar story. I'm going back 10 years, helping someone with their computer, sit down at their computer. And I said, OK, open your web browser, whichever web browser you use. And they said to me, looked at me, and they legitimately said to me, I'm sorry, I don't understand computer terminology. I don't know what a web browser is. And I laughed because I thought he was joking. And I'm like, Internet Explorer, Firefox, Chrome. I was like, well, why don't you just say that? I don't know which one you use. But even if you had never heard the term web browser before, I would hope you know what the web is and you know what a browser is. You should be able to put that together. And my comparison at the time, and I still use when I tell this story, is that's like you telling me I'm saying something about your steering wheel in your car and you not knowing what I'm talking about. But that's actually more confusing than web browser. Web browser is an application you use to browse the web. A steering wheel could be confusing on a car because I could be talking about the steering wheel, but it could also be the wheels in the car that turn when you turn the steering wheel because they're steering the car and their wheels. So saying steering wheel is more complicated than saying web browser. But obviously in both cases, a steering wheel is a wheel of some sort that steers the car and a web browser is something that's used to browse the web. It's like, even if you had never heard that term before, stop and listen to it and just use common sense. Don't go, this is a computer term and just stop thinking and that's what most people do. They hear it and know that it's a computer term and just go, I don't know what that means instead of just using basic knowledge of the language they already know. So again, don't over complicate things. Keep them simple. Computers should be simple. If it takes more than a few steps to do something and I'm talking like two or three steps, you're probably doing it wrong. In most cases, not end all, be all rule, but it's a rule of thumb is if it takes more than a couple of steps, you're doing it the wrong way. So anyway, thanks for watching. And as always, I hope that you have a great day. Don't over complicate stuff, just listening to the wording.


Hello and welcome to Monet Café. I'm artist Susan Jenkins. We're gonna have some fun today and if you're new here please subscribe and hit that little bell icon to be notified of future videos. I'm happy to be bringing you this video which is really kind of fun. We will actually be working from a black and white photo. Why would we do that? Because seeing value is actually more important than seeing color. Hello YouTube family.  On Fridays we have something I call PE Day, Patreon Education. We're doing something really fun. So today I thought I would just bring you the portion of that video where I'm doing a painting and also I am painting on a surface that I've never used before. I wanted to share that with you because I've shared often about my surfaces that I use and one of my favorites is UART paper and I typically use the UART 400 grit or grade paper and I like to buy it in the pads. Sometimes I buy it in the sheets a little larger but these 9x12 pads with 10 sheets and it ends up being oh under three dollars a sheet okay to buy this in this size. The challenge I've had is and I know a lot of you have is it curls and I used to say it's because I'm in a humid climate in the Tampa, Florida area but I've had other artists say they're in dry climates and it curls and I always find myself fighting against it as much as I love you are. I love you your company but um but anyway I had another member subscriber here in Monet Café I think that's where it was tell me that there is another surface like UART very similar that doesn't curl at all and it is here's the I bought it in this pack of 10 sheets it's Fischer 400 art paper and I bought it from a company 400 the same as UART 400 grade or grit I bought it from a company pro art panels now these are 12 by 16 sheets 10 of them and they're about four dollars a sheet that's approximate so um it's pretty comparable to UART except UART doesn't sell this size of a sheet um as far as the price is what I mean so I've never tried it but look at it's flat as a pancake I've had this literally for a few months laying just in a portion place in my studio where I keep papers and I've done nothing different to it than the UART but it's just it's not curling at all man I'm so excited about that I used to tape around the edges to keep those curls those edges from curling up so um so I'm using this for the first time and I'm doing a painting from black and white so I have a photo reference that's black and white I'm coming up with a color palette like I said it's part of the patron lesson which is kind of neat so I have to keep my patrons they you know they pay a little extra to support this channel and so I have to keep some things just special for them so sorry guys but you're getting the painting portion so this should be fun painting them our scene from black and white coming up with the color palette out of my imagination and oh by the way I have another announcement I am creating a Monet Cafe YouTube channel album it's a google album for you guys because if you're just a Monet Cafe subscriber if you're not on the Facebook group Monet Cafe art group on Facebook if you're not a patron of mine um whatever your reasoning is that you're not or can't be or whatever I feel sometimes like it would be neat if you guys could see each other's work if I could see your work so I have really loved the google albums I've been using on my Patreon group so I thought I'd make a Monet Cafe album I'll put the link I'm going to announce it later but I'll give you guys the link in every video where you can click that album add your own paintings and I'll probably encourage you to add a photo of yourself maybe holding your painting so that Monet Cafe on YouTube we can kind of be a little community more than just me up here yakking all the time so I thought that would be neat so that's coming soon too so anyway I'm going to get to painting it should be fun thank you bless you subscribers are up um I'm so happy about that and I'm just thankful for all of you all right guys this should be fun here we go another quick comment before I start I am wearing the Monet Cafe apron with the new logo design and just so you know I have the link to purchase it's on a site called Zazzle it's the only place I could find where you could get aprons made reasonably and just so you know I have since moved the logo up a little higher I thought it was a little low but it's a great apron it also comes in a khaki color I think I'm gonna order that one too I wish I could get it in black but I can't um it has an adjustable strap it ties in the back it's got these pockets and it washes great it doesn't fade at all so anyway just thought I'd let you know that now also I am going to be doing my reference photo that is a black and white of a marsh and I because this paper is already 12 by 16 I didn't want to cut it too short with an 8 by 10 hey Jackson and could be Jackson what do you think you like that photo yeah okay so since it's already a fairly large sheet I thought why not do an 11 by 14 I've been doing 8 by 10s a lot so like I do with my mats often this mat I had another one that was 5 by 7 on the inside 8 by 10 on the outside this one's 8 by 10 on the inside 11 by 14 on the outside so all you have to do instead of measuring it out and um you know it just takes too long so why not just use the mat to make it fast all right here we go I am using a pastel pencil just for the sketch and as a go ahead and give you my opinion of this paper I absolutely loved it it's literally just like you are at paper but it doesn't curl and it's close to the same price so I am definitely using this paper pretty much in place if you are I have to say because the curling is crazy I don't know if you guys experience that but I do and I am speeding up the video portion of this because the full portion is part of my patreon page but I still want to bring this video to you guys so I am going to give some commentary while you watch me paint here and I also want to share with you some of the strategies that I use when working from a black and white photo and what some of the advantages are in doing that why would I do that and so I'll be talking about that in a minute but first let me tell you a little bit more about the pastels that I'm using here okay so I am using my set that I've been using so much the unison 120 half stick set I'm really loving the set it's just seems to have a little bit of everything in it I don't have to go far in my studio I can pretty much do a whole painting just from the set so I shared with my patrons also that I'm going to try to contact unison and let them know that you know since I'm sharing about their set so much if we could get a coupon code or you know something if maybe they could work out so I'll let you guys know about that but uh you guys didn't get to hear because it's in the patreon lesson but I shared with them my concept and my direction from working with the black and white photo and what I did was I chose a color palette I chose one that was called a split complementary color palette and I'm not going to go into all the details of that here and as you see me working right here I'm doing what's called a warm underpainting I'm doing some I put some darks in for where the background trees were and where the kind of the bank side of those marsh grasses are then I get in some reds and oranges and lighter oranges all decreasing in value or lightness and darkness as they recede into the distance and if you haven't seen my video on five ways to create depth in your artwork that's basically the principles I'm using here and pretty much what I use with a lot of paintings that that video's gotten a lot of views and I think it's because it's something that really does have a lot of information it's very useful information it's what I've learned over the years I didn't reinvent the wheel making that video but um so when working with a black and white photo you are forced to focus on value and you might think at first well gosh what colors do I use I mean I'm it's just like so open-ended well first of all we know that marshes usually are have greens or oranges depending on you know the seasons and so you can kind of use that to your own discretion but it's also forcing you to learn more about color theory so when you learn a little bit more about how color works also in that video I made then you have a bit more freedom and more confidence in what colors you use I had originally begun this with what I said a split complementary with a complementary colors are just colors that are opposite on the color wheel so I had a lot of oranges or I wanted orange and opposite from orange on the color wheel is blue a split compliment complementary is where you take the orange instead of going down to the blue you go to the two colors right next to that which were more of like purples and teals and um and they they just work well together something else I've also shared on my patreon page which is really awesome is do you guys know what the color wheel is based on I mean how how does it how did it come about we know that Sir Isaac Newton kind of invented the color wheel concept but what was it based on why do these colors work why are complementary colors good to use together and there's got to be a reason well it's based on the rainbow and that's just to me another sign that we have a great creator that even gives us the seven colors in the rainbow lots of sevens in nature and how awesome it is that there's order and design and it's things that resonate with our spirits you know you know why do certain certain colors work even non-artist kind of know when some art and colors are right and so uh so anyway that's kind of the strategy I used with my color palette and uh there's another uh color you can use a color wheel to do that a pocket color wheel but there's another neat thing I don't think this is available in Europe for some reason but it's a company uh that has a website called palaton.com and it's a neat online way to play with different color palette strategies you can choose an analogous color palette which is um colors well let me first start off you can do a monochromatic color palette I believe which is just one color with different values you can do an analogous color palette which is two colors uh or colors that are kind of adjacent to each other you can do a complementary you can do all kinds of different um ways that you can choose and then you can choose the different color palettes that you like so I'll include um I'll just put it in a little description here palaton.com if you want to play around with it it takes a little while to figure it out but once you do it's super cool um now I'm doing something here I call uh well I'm now off the sky already a fractured sky which is I'm not doing a lot of different value changes I do have a little bit of light down around the tree line usually around the tree line it's a little bit lighter now I just lightened up the values of those trees they were a little bit too dark but notice that I'm using the same purple I always say if I've got a color in my hand I might as well maximize my time and and use it but also it creates um a harmony of the painting and a cohesiveness where your colors aren't just all in one place they're a little bit throughout the painting not everywhere but you know in strategic places and so um so that's what I'm doing with that purple so right now it really is that split complementary color palette that I uh originally started with um glazing over the water a little bit but I do end up adding some greens before it's done um now once again back to the black and white so if you work with a black and white photo you can take any photo you have that you want to work with convert it to black and white the neat thing for my patrons was that for their pe lesson their patron education on fridays I provided them with black and white photos a whole lot of them that they had never seen the color version so their homework over the weekend is to literally uh create from uh black and white that they have no idea what the original color was except for some things that are kind of you know obvious like green grasses and stuff so but they don't have to be green you can you can do whatever you want as long as you obey the rules of value you can get creative with color there's an expression that says value is king but color gets the glory but but really it's value is what you should really focus and learn and then color will you know everybody talks about color theory color theory but if you get value right you're you're definitely ahead of the game for sure all right so now back to the fractured sky a lot of the colors i'm using especially in the upper sky are all of similar value so they're creating some interest with color but they're not uh going to be the star of the show because I wanted the water and the marsh to kind of lead the eye in and if I had the sky with and the reference photo doesn't have real detailed clouds but if I had it with too much busyness it would be competing with the focal point I have another video on focal point that's one of my favorite videos too the focal point one and one called uh the golden ratio the grand design uh I have one on light too I really get into the science of these things and it's like I say often in my patreon page I don't want to create copycat artist I'm trying to give you guys art principles and lessons because we're all unique you don't need to be another Susan Jenkins artist just like I don't need to be a you know a Marlo Baguetta or Alan Picard and so we can have artists we admire and learn from and even copy at first yes that's fine if you copy someone's art that's what a lot of us are doing to learn but eventually you want to you want to learn the reasoning behind it and you will develop your own artistic um style you know I'd love to see that I'm seeing that with some of my patrons now but anyway you see how I've added the greens I've used a lot of the strategies I talked about in that other video of how colors get more neutral as they recede in the distance um but anyway I I really I've ended up talking for most of most of the whole video here I'm also too this painting is going to be available in my etsy shop I'm trying to get it to where when I finish a painting I'll have it available in my etsy shop you know that's the kind of the goal of artists too is to sell your work so I'll have the link to this painting in the about section of this video I'll try to put it right at the top and thank you to those of you who have purchased on my etsy shop it's still fairly new I mean just a few months old and and I've been very blessed by having some sales and I'm very very grateful uh for that especially in this crazy time with uh COVID um because my other business uh had to do with the school system so it really suffered um but anyway so uh I hope you guys enjoyed this and um leave some comments if you haven't subscribed please subscribe I love to try to answer your questions also add some work to the new Monet cafe google album you don't have to be a patron you don't have to be in the facebook group it's an album for anybody who visits this youtube channel that you can put your work in there now oh I'm spraying some fixative here I wanted to darken the foreground I usually don't spray fixative at the end of a painting I know I'm talking a mile a minute sorry guys um I usually don't spray at the end of the painting because it does just that it darkens your whole painting and I usually never spray it spray it in the background I want to keep it lighter values in the distance but occasionally I will use it to darken strategic areas or to get a little bit more layering you know another exciting thing coming I've got a grand reveal of a product uh I can't blow it too much I'm working with the um the inventor and the owner of this company that is a really neat way to uh protect our pastel work I'll just leave it at that so here is the final with some rich blues and oranges and just full of color I love Marcheine's and once again available in my Etsy shop for purchase all right guys I enjoyed being with you again happy painting come back soon


So Kyle Bader, I work with the storage BU at Red Hat. Been working on Ceph for a while. And one of the things that's been coming up recently is how do we take Ceph and take object storage to the next level of scale, right? I have this old logo from Ceph from 2007 on here. We used to say it was petabyte scale storage. Well, it's like not cutting the mustard anymore. So how do we adapt? So some of the largest tests we've done were with maybe 10,000 OSDs every now and then CERN, the same place that collides the particles. They'll say, hey, we're getting a new shipment of hardware. And do you guys want to run some tests on it for three weeks? So we've done this a series of time. The most recent one we did was with 10,000 drives. So we built a 10,000 drive Ceph cluster, ran it for a few weeks. And each of these times, we've pushed it to make a bigger cluster. So if you look at the highest capacity drives you can get these days, they're around 16 terabytes. And if you were able to have 10,000 of them, you're going to get into the on order of 160 petabytes, which is a really big data store. But we have customers that are starting to say, hey, I want 200 petabytes of storage. What does this look like? And they also want to have access, really demanding throughput, particularly if they're going to be using it for machine learning applications, where they're saying, hey, I'm going to have all these cars that are going to be pumping all this data into this thing on the order of petabytes per day. And then I'm going to have to every so often, every so many months, I need to go through all of the data and retrain it with the new fresh data. And so you're looking at a very serious amount of throughput demands. So we were thinking, OK, well, how can we solve this? How can we cater to these really, really demanding use cases where people need hundreds of gigabytes per second of throughput? They need these 200 petabyte clusters. What can we do? So one of the things that was done a number of years ago was we were working with the Yahoo folks. And we helped co-develop an architecture where they had multiple SEF clusters backing the storage for Flickr. And so I think this same sort of architectural approach is still relevant today. And so you can create architecture that's kind of like a shoal or like a group of squids. So you have a group of SEF subclusters acting as a bigger cohesive whole with a single namespace across of them so that you can have billions and billions and billions of objects and hundreds of petabytes worth of data. So what can you get out of this? Well, in terms of subclusters, we were kind of seeing what sort of throughput you can get in and out of a relatively modest size cluster and that you can kind of extrapolate things. So even with a relatively modest cluster of about 700 spindles, we were able to do a little bit over a petabyte in 24 hours. So this is kind of validating the use cases where people are, you know, I need several petabytes a day on the order of how many disks you're going to need in order to be able to absorb that much data. We wanted to see how many objects we could stuff into single bucket, right? So a bucket is like a flat namespace and people often will want to put in many. So we tested, I think, up to 250 million objects in a single bucket, which is a lot. And you can see that our latency, after kind of an initial step, there was some sharding where we internally shard the metadata. But after that, we had very consistent latency even though we had 250 million objects in a single bucket, which we considered to be a lot. We also wanted to test storing, well, it's not a placeholder, but this is light and talk. We also wanted to see, let's put billions of objects into the cluster in global. And so we did. We put over a billion objects into the cluster and observed how the change in performance changed over time. You'll see that it was relatively the red bar being the latency. And then the blue bar is the object population. So our latency stayed relatively flat until the point where we were taking up all of the SSD for our metadata. And then we slowly were starting to spill some of the metadata over to disk. So as there was a higher percentage, you can think of it as a cache mesh. So as less of it was on SSD, the more of it had to come from hard disk, that's why the latency was starting to creep up over time. And then for reads, it was relatively stable because it's still just going to be a seek to read. And there's not a lot you can do to accelerate a seek other than you can't cache the entire population of objects. So with those individual subclusters out of the way, what would a shoal look like? Well, in a SEF multi-site topography, you have these ideas of zones and zone groups. And these zones and zone groups are originally put into place in order to be able to do replication between them. But that doesn't necessarily have to be true. So by creating a realm, that's like a S3 global namespace for buckets. And then each zone group, a bucket can live in exactly one zone group. And then you can potentially configure, have multiple zones in a zone group, and then do replication between them. But if you only have one zone in each zone group, then you're basically just partitioning the namespace of buckets. So each bucket lives in exactly one zone group.  And the way this routing works is DNS, right? So if you go to your S3.example.com, it's going to map to the main IP address. Or if you go to use path style access, you're going to go through the S3.example.com. And this is going to round. You could potentially just round rob in this, around the cluster, in the most simplistic sense. But you could also potentially do something sophisticated in HAProxy, where you have some sort of Lua-based routing that actually looks into the cluster to find out where a bucket lives. And you could kind of do it, like, I don't know if anyone is familiar with an SDN controller, but it's kind of like a first packet approach where the first packet gets resolved by the control plane and then it embeds something in a lookup table so that SQL ones don't have to go through that logic. You could do something similar to that. And then you'd have a separate cluster endpoint per subcluster similar to how AWS has different endpoints for different regions, right? So you're effectively creating little regions that each have their own sef cluster. And then with some sort of DNS plugin, it would map. So if you say, you know, Kyle is the name of my bucket, I go to Kyle, right? You go to the DNS and you'd have a DNS plugin right now, someone has written one for Power DNS that talks to sef and then says, oh, okay, this bucket is in this one, and then they'll respond with the record that'll route them to that cluster. Well, you could do the same thing. And I think kind of the, where you could kind of take this is to take it and put it into core DNS. And then if you had an operator that was deploying multiple clusters inside of an open shift, it could automatically configure all of this wiring and route the traffic appropriately. So that's kind of, that was my quick, quick little talk. Thanks. Thank you very much.