Golden Thread Productions has been able to accomplish through the forum, and I've been honored to be a part of this process. So thank you, and of course we send our thanks to all of you for attending and participating. So without further ado, the last finale of the weekend with our very own Toran Giacchiazore, I'm sharing the last panel from War on Drugs to War on Terror Parallels in Chicano, Latino and Middle East American Performance, and I'll briefly introduce the panelists, and they will say more about themselves, I'm sure, or Toran Giacchiazore. So we have joining us Angela Barino, Roberto Varela, and Octavio Solis. So let's give them a welcoming round of applause. The background our various panelists picked came from. We at Golden Thread are very interested in the intersection of cultures. We define the Middle East inclusively and broadly, and we acknowledge and pay reverence to all the various cultures that are represented in the Middle East, that the Middle East has influenced and have influenced the Middle East. And one of them is very much the Latino culture. Obviously there is the shared history of Andemisia and the presence of Islam in Spain, which I think our panelists will speak about more. But in more recent history, when I first came to the US as a teenager in the aftermath of revolution in my own country, I was looking for other revolutionaries in the US, and the revolutionaries at the time were either from Central America and Latin America or Palestinians fighting for independence. So those two communities are the communities that really informed my sensibility in my early years in the US. And I was very struck by how people around me, my family, didn't really connect with what was happening in Central America and Latin America. And even then, as a teenager, it really seemed pretty obvious to me that if something like this can be done to one group of people, at some point it can also be done to your group of people, which is exactly what happened. In the 80s, the Reagan White House waged war on drugs. On Central America, basically, Nicaragua, El Salvador, Guatemala, fighting communism in the guise of war on drugs. And a similar thing happened right after 9-11 under the umbrella of war on terror. So for me, there is a parallel there, as well as our two people's sort of common journey as immigrant populations in the US and how Chicano and Latino theater has been able to establish itself as a voice in American theater and how that can inform what Middle Eastern American playwrights are going through and what's ahead, maybe some strategies. So with that introduction, I'd like to hand it over to Angela Marina, who's a professor at UC Berkeley, Professor Heather. She's in the Theater and Dance Department, and you will say more about your own background and then go right into the presentation. Sure, I'm an assistant professor. I have the great honor of working with people like Heather. We have a terrific program at UC Berkeley. In addition to a number of classes that are dealing with issues that we've talked about, colonialism, decoloniality, race, empire, other kinds of courses that are offered to graduate programs and our undergraduate programs. So thank you very much. Thank you very much for being here. I appreciate you just kind of a conversation, because I do feel like it's kind of a conversation that brings a kind of staff to staff in a global war context. It's urgent that we start to think about what is going on in our lifetime present and the strategies that these different communities have had to engage in in order to survive really over centuries, and so I think we're also talking about a long history and also the trajectory of our future. So we're talking here at the time, obviously the stakes are really high. We have extremely large and diverse communities of people that we're talking about, and I think we're really working on just trying to find colonial equivalences here. What we do find that there are some shared experiences that can help us identify what we're dealing with, what is this, what generates these structures of power, or the way that wars have been perpetuated for so many years, particularly in women and men. So when you see what in this community is that people in this country rounded up in the same person, in the same detention centers, you see people held at the borders, you see people profiled at the insertions, and otherwise at least in unprecedented proportions in this country. So I'm going to ask if the slides can come on for one minute. I'll get to the play where this image here is taken from in the minutes. But I want to focus first on the idea of the state of crisis that we're finding ourselves in, and to think about the hope that we have in the theater to strategically expose what is at times these absurd but also very real underpinnings of racist ideology that we can see through economy, and that also exposed the ways that the economy institutions such as Homeland Security can have depended on and fall by. They need to show an enemy in order to substantiate their own existence as protectors and ultimately producers of what war morphos are going to mean to democracy. So I'm going to refer to this play a little later that I think does that work, called The Eleventh Entrance of Chaldeity by Christoph Dias. So the second slide. So close to the idea who prosecutors swore to lock up no matter what, and the what being torture, poetry, evidence, failure of any semblance of human rights, became this kind of repeating mirror of what Time Magazine called it, the sum of all fears. So the Time Magazine reporters should point out that what that meant was the Latino ex-gang member, ex-con, turned Muslim, who potentially hates the good people of the United States. I think what we missed from that report was the extent to which Pidea and his case reflected this, the construct itself, this extension of the centuries old match between good and evil, the so-called evil that led these crusades really to this hemisphere, to steal and hoard from its people here in this hemisphere, and ultimately what supports the 1.2 billion, sorry, trillion dollar industry of war that steals and hoards from us, the taxpayer. So, and I want to point out here, some of the audiences of my co-panel, Roberto Lovato was working in immigrant rights, and has really important me a lot in this thinking also to consider that immigration is a part of the Homeland Security as an institution. So we need to keep that in mind that immigration is directly at the core of these institutional frameworks. So, one of the shifts that we saw in Theresa's idea that I'm going to crusade is in the 1990s when there was a kind of military activism, where this idea that we had to go meet the enemy wherever they are, and again it's an extension of this missionary project. I want people that had to convert, you know, that there was the grand income from the conquest period. So, I think that we had plays, I think in the late 1990s, that was one of his millennial plays, and one that I want to show you is the poster image of Madi Sol, by Jose Fiededa. And in this play, it takes place in New York, and it's an apocalyptic upheaval where Madi Sol, who lives a young professional Latino working for a publishing firm, has to shape herself under this denial that the world is, in every sense, gone unwack. It's just, there's imbalance everywhere. So Madi Sol in the next two plays, I'm going to mention that he gives us a chance to see how these cultural reorganizations work for worldviews. And I think that might be one of the parallel moves that's going on with Latino plays, and also with some of the work that the professor was doing. Where in this case, the history and future imagination is altered by Madi Sol from this God in revelations that takes up arms to defend chosen believers against all others. In this play, Madi Sol joins a band of women and angels that fight to save the world by bringing back the moon, when it's the sun, this incessant sun that has symbolized empire and patriarchy and growing all the way back to Charlemagne, which I mentioned here in the last panel, where, and in this play, God has disappeared from the action altogether. So instead, we're left with a millennial kind of apocalyptic narrative of a very different sort than what we saw in invitations in personal training. And I think what's at stake in this play is really an answer to the so-called mythic clash of civilizations, where it actually finds that apocalypse is a self-fulfilling prophecy called an impression. It's not one that's necessarily, you know, propelled by this essential conflict between two decent people. Rather than, if there is a central conflict, it's because there's an unsustainable empire that's been afflicted by a disaster, capitalism, kind of uneven development, unfair management resources, and so on. So Madi Sol re-orients this from the center of apocalypses where the nation tells it, where God is this punitive reminder that some will sin and go to hell and others will come obey and save. To an altogether very different center in the idea of immunity and rebirth and renewal, and so it's all about trying to re-achieve balance and delivery. And so in this play, I think there's also a little tie with science together, we found that she's actually connecting to the global world. So these are belief systems to the Americas, indigenous belief systems that are a very, this is a strong center, I think from which Latino and Chicano playwrights are speaking from, is the combination of having to contend with the multiple ways that Catholicism has been imprinted, imposed, and sort of become a part of who we are. But at the same time, finding the sources and inspirations for our history and also our future in indigenous thoughts and belief systems and ways that we can express that for our plays. So in this next slide of the Popo Roo, you can see a room like the Altocana Sema which has decades of theater history work here in the larger Bay Area. And it's a beautiful play telling the story of the Popo Roo for most of Latino audiences in a public park setting. Satchuan Valtista, California is outdoors with giant puppet figures. These are coming out of the long practices of yesterday's traditions in the Americas. There are narrations in multiple languages including Napa, indigenous languages, and the staging of theater and the sphere, right? It's intergenerational and so forth. So in another example, there's an image of a poster for a play by one of the most theater companies. So I'm just going to give you a perspective of one play from South America here. And this is a theater company called India Sucano, which is a casual word, and it means I remember through you. And this play turns the story of Santiago Matamoros and Santiago Matamoros, so the Moors layer and the Indians layer, into one of memory and reversal. So where the patron of the fiesta, the character of the church, switch roles in this play. And they end up kind of upturning this whole conquest narrative. And it literally is just beating the horse. So I'm going to take you just a little bit through these because I think we're also going to have another reference to Santiago and the points of this symbol through where Progreso has been represented. So the next slide shows you these images of St. James, of Santiago, St. James. So this is the legend of the battle of Paladino in Spain in which the miraculous appearance of St. James in the battlefield terrified the most forces in the sky. So in some cases, I mean it's like the, just like a repeating mirror of Paella, we see this nearly identical story repeated in Cusco Peru. So in this case, Santiago is the killer of the Indians, so it becomes Matamoros, or the indigenous who are now the new target, but part of the same mechanism of this imperial domination. So there's Santiago in the horse, you can see in this play that he was kind of dipped by spinning the horse and kind of refusing to be either on the top or the bottom was a straggler, a way of questioning this entire mechanism of imperial domination. So next I want to get to what you promised at the beginning of this slide, which is this play, the 11th entrance of Charity. So this is a play by the young Puerto Rican Masada Miyakega who's coming out of the Bronx with a childhood-born passion for the wrestling ring. So he becomes Mace, working for the white producer as basically the Latino follow-up for this rigged match with the star of the show, African American Charity, until Mace teams up with this fast-talking East Indian kid from Brooklyn and the two of them devise the ultimate terror. So here they are, the chade, rebel, sapatista, poncho, media, border crossing, migrant, the Mexican planted next to the big Latin Brooklyn-born hip-hop fly guy. They figure out how to make the box as the ultimate threat. So you might guess the name of this Brooklyn friend is the fundamentalist and him the Mexican. And all of these different investments in either maintaining or tearing down this fantasy of the match that's increasingly built up intentions throughout this play. So I think in the next slide, I think what's interesting here is that Diaz doesn't shy away from complexity. So instead he's embracing complexity, the game he contents in all of us as children exposed to the play, at times building alternative imaginations inside of it, and we're also influenced into blindness and rationalizations of this game. Nevertheless, he suggests that there's a strength to be on the inside of it, there's a strength in his perspective as actors, as producers, inside of this spectacle of power. And so to seize operations in order to expose it and potentially turn it upside down. So another tactic worth noting in this play, and this will be my last point before summing up, is the staging of this entire apparatus of the spectacle in Chadeau. So it's a mass by these ladders and lights, the ring of the notch, the kinds that are reminded of this outside of the spectacle, the lights and the whistles that make it grow. And we're giving plenty of complex kind with the white producer that's willing to reverse the roles and spin each character onto the other just to keep the ratings high for this production of the wrestling match. And so that's what makes this, I think we're very fascinated as a metaphor for the media and industrial state complex as a spectacle of power. So in sum, a play like Marisol and Pablo, I think attempt to re-center a historiographic lineage of Chicago and Latin plays to culture identifications that have contested this world view of the clash of civilizations. And plays such as Uyash Kami's Santiago literally spin the entire course to suggest this popular dismantling of colonial domination. And popular is important there because it's a fiesta, so many people walk in that process. And then in the curve that plays in the US such as Diaz's elaborate entrance of Chaldeity bring this entire spectacle into view as a means to challenge the modern media battles of racist ideologies that play out in war and terror. And simultaneously on a racial and other so-called attractionist policies in the United States. Thank you, Angela. So our format is going to be each speaker will speak for 7 to 10 minutes and then we'll open it up to your questions. Because I think we want to, yes, 10 to 12 minutes. We are really interested in your participation in this conversation. So Roberto is a professor at University of San Francisco and a dear friend, if I may. And a lover of wine, which always is good. Which is all really important. Take it away. I'm not. So, well thank you. She's so nice. I am happy to be here today to share some thoughts with you. And I'm happy because at some point this conversation of a lover of wine, which ends up with a ranch. I guess we ran into it so much we forgot about it at his room. And, of course, also something that is pretty free, that is painfully relevant to what's going on today. A ranch perspective, my Latino performance class. And my Latino performance and culture course. The guys are known a lot. And it was really interesting to be able to see that as an important space. Where theater occupies both cultures. So, I am a rambling man, so I put some thoughts on paper. And just keep me. More of an introduction I think I'll talk a little bit about. So there's a personal dimension to this and that. Of course, as someone born, raised in Latin America, in the United States, embraced, mutually embraced, Latino, Chicano community here. The theater community in particular. Becoming a Latino. And although some of my, that's an important distinction. Some of you have questions about that. Maybe we can talk about that too. But I will focus on examples that relate a bit more to Chicano here, that you're not interested in. So, Los Moros y Los Morenos is the title, right? So, when pondering the question of this theater, similar to Chicano Latino Theater, the first image that came to mind to me was that of Juan de Oñate, the commander, the colonial force that moved from what is today's Mexican territory, to claim lands to the north for the Spanish crown. This was a rough campaign. There was a little server of gold that we found. We had to put down mutinies and other forms of discontent, primarily amongst those who objected to being discovered, like the Hopi, the Pueblo, other nations. In 1598, they celebrate, as fell of misfortune, after having crossed the Vioranga next to today's El Paso, on the town of Octavio, in Tecas, he states the pageant Los Moros y Los Cristianos. The Christians and the Moors, a play that glorified the Reconquista, or re-conquering of the land held for more than 700 years by the Moors in the Iberian Peninsula. We'll say that Oñate cast local native people as the Moors, which may or may not have happened, but it is clear by the abundant colonial iconography that we saw before throughout the Americas, particularly in Latin America, that this actually took place in the Spanish active colonial imaginations. Santiago, N.K.A. St. James, the Christian patron saint, whose name became the battle cry going into battle with the Moors for the Spanish army. Change is known to get from Santiago Matamoros or the Moor Slayer to Santiago Matainos or the Indian Slayer. So images of Santiago took his voice voice, serenely trampling on the Moors were changed by thousands of the religious image of the Holy Gallant Jockey and his mount, something native people. The Moor for the soldier, saint slash conqueror, and duty to rule over the darker skinned other on the one hand, and the latter's death sentence as infidel determined by the true God on the other was thus cast in the Americas. A burden that in the aftermath of the Spanish-American War was taken up by the United States, a nation that synthesized the term America to be applied just itself as opposed to the Holy Continent and continued its own expansionism under the quasi-religious ideology of manifest destiny up to the put very long road, doctrine, America for the Americans in that context. I was born in Cordoba, Cordoba de la Nueva Andalusia, that is like New York City, you know, from the old York in New York, my hometown is Cordoba de la, of the New Andalusia, and a city that's also revered with the family memory was my grandfather, my grandfather, Vareha, who came from Andalusia, born very close to Cordoba in Spain. He's passed on this Vareha moreno, which moreno comes from war, and he, according to my mom, because I never met him, he died when my mom was young, was very proud to refrain with himself as an heir. There's some photos of my grandfather that actually, you know, I know, it's funny, we look at, for example, his Peña Chicavenian project that, if you put a somewhere on a list of persons, you know. Yeah, so that was the place with my grandfather. I am, as you can see, from the lighter side of the family, right, the skin side of the family. So Cordoba was Culuva, so it was the head of the Caliphate of Cordoba, and it's important to remember this, because at the time of the 10th, 11th century, it was not only the most populous city in the Western world, in Europe, but it was considered to be the most cultured people in the world. It was the largest library since Alexandria had been assembled in Cordoba, where hundreds of thousands of volumes and all sorts of things came from, and of course, if we, it's important to remember this to a degree, Spanish history did not cover much of that either, because the Moors were the bankers today, but for a degree, a revisionist look at colonial history in Latin America and Argentina, particularly where I studied, brought this to light, and of course, the military in 1976, when they went over everything and looking for subversive thought, they included Latin Americanism, or anything that spoke to a larger Latin American consciousness, censored all the references to the achievements of the Moors in Spain. And, you know, this is the town where Seneca was born, of course, it's a different from Rome, thanks to the poet Lucan, and of course, Averroes. How do you pronounce that? Ibn Arabi. Ibn Arabi. Ibn Arabi. Are you familiar with this person? Yes. Because we owe... Ibn Roos? Yes. Ibn Arabi. Uh-huh. We say, ¿Habicenas for Averroes in Spanish? ¡Habicina! No, it's abicina. Yeah. Okay. And then... A philosopher, scientist, an incredible mind to whom we all really, to the Arab culture at the time, basically, that the keeping of the foundations of Western thought, because these were the people that were keeping all of us, Greek philosophers' ideas, recopying them, commenting them, and of course, Averroes' comments from Aristotelian philosophy are critical to understanding their thought. So... Let me see where I was at. Right. So, Latinos, by extension then, are the repository of so much Arab Muslim culture that its own rights to... I mean, that Spain's own rights to world super power following the defeat of the Moors, would have not happened without its influences in thought, science, and art. Our common words are referred to cultural factors like... like camisa, pantalón, zapato, anything that starts with al, like alfombra, almada, pillow, carpet, shoes, pants, shirts, all of this in Spanish language are Arab words. Granada to the Spanish armies in 1492, which, not by consonants, is the year that Columbus moved to Peru. So, the idea of the native as the Moor of Nueva España lays the grounds for the narrative of liberation via religious conversion that makes the genocidal brutality of the Spanish invasions so-called discovery or conquest a much better oil machinery. And, of course, the theater was at the heart of it. Los Moros, los Cristianos became the first European theatrical performance and what is today the land of the United States In Diana Taylor's words, a theater of oppression later to be confronted by the theater of the oppressed a term coined by Alusco Roal a fear applied in the larger sense a theater born out of the necessity to affirm our own culture, language, memory and experience to account a narrative without a hegemonic power. In other words, a narrative of resistance to vilification stereotyping and other violent forms of reductionism transforming to one of self-definition inquiry, examination and yes, celebration. We can trace an arc of for the direction of Chicano like in the theater by connecting a few dots allowed by time which is very tricky and asking for forgiveness for our conditions can tell you there, but but we know birth of Chicano theater will forever be connected with this by this. We see in the early actos of the Diatro Campesino a theater born fierce along the lines of oppositional as a prop blending not French farce as in the case of Al-Hakeem's War and Peace from the festival but Italian Commedia dell'Arche with brevity and lurch took it less in place of perhaps Manassas the letter is also indelible. The next landmark in our art moves us onto a more elaborate narrative of contestation and denunciation Diatro dell'Enuncia as is referred in Latin America with works such as Diatro dell'Esperanza the victim no sacco nada de la escuela I get nothing out of school seems present in this stage find interest in parallels with Middle Eastern theater as this work bring forth the first full formal use of bilinguality in Chicano theater right that I mean not only the issue bilinguality as part of the resistance to one language one thought machinery of assimilation but the aesthetic and expressive potential of Spanish clashing with English and of course the code-stretching of the borderings of language that are part of the Latino culture in the US Boring from Professor Davashi's presentation is that the mongrel form of expression mongrel's form of expression of the colloquial as well the calibanization of language just in caliban so the monstrous other of the tempest it is important here to acknowledge the connection between Latino Chicano theater and Latin American theater long engaged in anti-colonial cultural resistance projects that really blossomed in this time particularly through the tenacity movement which in the early 70s brought about meaningful dialogue and collaborations and with this engagement with the Latin American colleagues and the creative the collective creative process of being perfected in Latin America the people that would have been doing Colombia and so forth which of course influenced theater worldwide including very much the United States anti-war works are central to this period not only marked by the Vietnam War as the interesting kind of places we saw yesterday in Chicano classes like Dark Root at the Spring or Solgado Rastro that that is Valdez but by one of the most not only by the Vietnam War but by one of the most violent chapters in the United States relationship with so-called a term that refers to a good portion of the continent south the Rio Grande that even Barack Obama used to refer to Latin America this brings up another interesting parallel between Latin America and Middle East marked in the coming of age of the CIA the coup d'etat that brung down Mossade in 1953 to protect the Anglo-Persia whole company and other imperial holdings in the region was followed by the coup d'etat of President George Ford to protect primarily the United for good companies of seen hold on land and exceptional taxation in Guatemala the legacy of both of these simultaneously orchestrated CIA coups can be counted by in hundreds of thousands of them the official numbers for Guatemala alone are over 250,000 and we're talking about official numbers right and also countless displaced people who have safe pay the war on drugs conducted by the U.S. which has rippled from Peruvian and Bolivia in the 70s before it became monetarist to Colombia in the 80s and now in Mexico has left a violent pornographic proportion pornographic both in scope and in regard to the explicit staging of mutilated bodies in death that in Mexico alone in fewer than six years or again officially has already topped thousands deaths just as the campaign to pacify or democratize the Middle East Latin American war on drugs has much more to do has much more to do with who owns or controls the land and its resources than fighting the drug dealers as a war on drugs it has been an absolute failure but as a land and resources war it has been incredibly successful Chicano-Latino theater has been a failure continues to mature into more reflected processes of cultural expression and in doing so as Professor so eloquently put it it has also continued to dent and cheap away the bulletproof armor anglo heteronormativity this has occurred in a number of ways but I will mention a couple a more elaborate manifestation of its native roots and consciousness known as indigenismo which brings us full circle back processes of resistance to colonization and also by taking on controversial issues within the community such as domestic abuse rape homosexuality as in the work of Sheree Morari a shadow of a man used in saints and now more recently new fire which is ritual in form of course the inclusion of indigenous languages in the work the work of Risa Alfaro the performance art of Guillermo Gomez Peña we are talking about the Chicaregnian project you can look up online a good a good example of this way of Chicano drama blossoming in new words the master's taste language and complex story lines is my my co-panelist Octavio so it's this media a sort of high hanging fruit nurtured on the south of Chicano scenes and forms that ripens around the loaded paradigm metaphor of the border the border not just which is central where we're not not just as dividing online but but itself made strange and unsettling meeting place where cultural play, frictions and trespassings between US and Mexico which is also the border between the US and the rest of Latin America European and indeed the European and indigenous the documented and the undocumented the straight and the queer the many truths and many lies that we even tell ourselves very great performance ultimately the border as the most fertile ecosystem of creative expression of our consciousness rooted in difference and not in exceptionalism Thank you for gathering from Roberto's presentation he was instrumental in developing this panel and that conversation over wine I think really did its job so thank you so much for that and Octavio your playwright local Bay Area and Lydia I think Roberto has also introduced you do you want to just take it away Sure I'm a playwright and I've been working here in the Bay Area since 1989 and but I come as Roberto intimated from Opasso that's my pedigree that's where my parents moved to from Mexico that's where I was born and raised and that's where I whenever I arrive I always dream the landscape again and go back there again for the fertile stories of my imagination and it's funny that you mentioned Oniate in quite that detail because Opasso does have a very very complicated relationship with Oniate he is credited with naming the city itself of Opasso del Norte finding that passage through the mountains that leads for the north but he was also notorious he was a notorious man who instituted a policy of of subjugation against the native populations there by having the mail anyone who ran away anyone who rebelled against his forces the children, the male children and the male adults had their their foot cut off and so he went down in history as really one of the most brutal oppressors of of North America and yet there was a a statue that was commissioned of him and it curiously enough you showed these equestrian images of Santiago well it's they have erected a large the largest in fact in the world the largest equestrian statue of Oñate that is now situated at the airport in Opasso and it's part of a series of all the important figures in Opasso who are part of that very troubled history and there was a movement to even not even have that statue built at all but because it seemed to celebrate him it seemed to sort of honor him to ask everywhere about him all over wherever you go in Opasso because he sort of founded the first settlement there and that play that he put on is the first play that was ever performed in the continental U.S. and it's it's curious to me how and somehow appropriate that it would be the first Peter oppression that was performed so well said very well said but that's part of the complexity I think that I have to deal with whenever I go back to Opasso and I write about that area one of the very first plays that I wrote was called Santos and Santos it's very first performances were here in this very space and it was based on the Chagra Brothers of Opasso, Texas in the 70s who were very celebrated flamboyant legal family of Lebanese Lebanese in origin who were heroes in the community but somehow got mixed up with the narcotics trade and since then I have ever been very interested in how that narcotics trade how that border and how immigration have touched the lives of people in Opasso by extension the rest of America and I've come full circle the last couple of works I have been working on which two are commissions for EO Rev one is a commission for Magic Peter touch upon go back to those things and the one that I'm working now at the moment is a commission for EO Rev and it's a and it's called Cicario Cicario is a Spanish word for assassin and it's the first play that I'm writing that deals directly with the with the cartel violence the horrific brand renewal of violence that is overwhelming all in Mexico but really has completely buried the city of Juarez with so many violence and it's a tough work to write about because it's it is so brutal it is so horrific and it's so complex there are no simple answers there are no simple enemies to point at there's no like black and white kind of portrait you can sort of develop about that and on top of that I have to deal with the prism of being I see the play the prism of my being an American and right and now I'm writing about another country people in another country but it's Juarez is the city that I feel tremendous kinship to it's a city where my parents live it's a city where I still have relatives a city we visited often even a few years ago but it's a city that I can't go to anymore and my parents forbid me to enter there my brother who is a defense attorney in the class of Texas won't go there and says if you go you're coming back in a box it's really treacherous very dangerous city and yet in the city of 1 million there are people that have to live there day to day and conduct their lives normally but I have that prism as an American to deal with when I'm right there and I have and it's a little like that me, Fable we saw earlier that story about the elephant and how everyone had to purchase one part of it they find it according to what they know without one aspect without seeing the entire picture well we're just not even getting the entire picture of it right now it's just looked upon as a law enforcement issue a law enforcement problem but it's really, really much more complex than that it touches on so many social economic factors human factors spiritual factors and they all have to come into play in this work which at first I was thinking it's gotta be a tragedy it's gotta be some men's tragedy but the more I wrote the more research I did the more I found that it was turning into a farce it's just so ridiculous it's a laugh I said the only way I want to get to this is if I think of it as a kind of comedy because it's just the violence is so outrageous and so you write a pornographic it's the only way I could sort of imagine it is to write it as a kind of comedy and here's one example in the year 2010 there were over 3,000 deaths in Guadalcanal and that kind of comes to like 19 deaths per 100 100 people in the city in a year and 19 deaths per 100,000 per capita it's just it's unimaginable in the city of over a million people nothing like that has ever happened in the city in that scale is short of the Civil War except in the 10 years after its cessation from 1869 to 1870 in Louisiana we could see any kind of violence in that scale and yet El Paso at the same time in the year 2010 was voted by Fundenaz as the safest city in America the safest city in America there were 5 homicides that year over the entire year and why? why with the city with the river separating it where it has not the violence has why hasn't the violence filled over in this country when a lot of those narcotics are actually a lot of these cocktails are fighting to get across this nation across the river into this nation for their safety so I'm doing a lot of a lot of research on that and trying to find my way through and that's that's one of the works I'm working on another one that I'm writing for the Magic Theater it's called Sunset and it's about my neighborhood Sunset District in fact it's part of my mission to try to write a play about every major neighborhood in San Francisco I've got several already and this one is for the magic and it touches on that it's about the paranoia of the violence and how it sort of creeps into one's soul even if it doesn't happen even if it isn't directly there in the neighborhood I was touched by a story I read about editors who were being killed by Cicadius cartel members for writing negative stories about the cartels who were being assassinated on the street and told to not write about any violence at all and then I was also touched by the murder in K-Ran of Nida who achieved a kind of symbolic status after the murder and I kind of brought those two things together to tell a story in which an Iranian professor who has fled the country is now teaching here in San Francisco and has a manuscript by a young poet who is like Nida that he swore to her that he would translate and publish in his country but because he is afraid of some repercussion to him or his relatives back in Iran he won't do it he won't do it so he keeps it hidden and then they they inspire a baby sitter to watch the baby she's a Mexican saint and she's got an interesting story too she seems to feel that she's being followed and constantly wonders if their foam is bugged always looking over her shoulder makes him paranoid too because he's already had that sort of present and then they find out that she was actually correspondent for a newspaper in which her editor was murdered and there's a price on her head and she's hiding out in this country so the two of them are not and her presence in this house reminds him of his own responsibility to try to get the manuscript published even if it means trouble for him at the same time that she also feels a responsibility to try to get back or at least reveal herself and write the truth that she knows it about what's going on there so that's roughly what's going on there's a lot more of course but those are two of the works that I'm working on right now that touch on that there is something else there is a there's another dynamic at work too and it's a fantastical dynamic that I find really fascinating that it seems tailor made for the kind of work I do over the last couple over the last couple of decades the emergence of of two in Mexico of these two figures San Malverde and La Santa Muerte and they were they just arose as full religious icons for for drug dealers and people who work in the trade or even innocent people San Malverde is the patron saint of Narcos and people pray to him they set up altars Catholic Church doesn't sanction it at all they try to see people away from it but he's this gallon who can figure with the mustache that they pray to for a an expeditious assignment with successful transfer of goods without any bloodshed and then there is also the cult of La Santa Muerte which is reminded that we can well loop it as an icon of for a feminine icon to whom people wish to pray for the same thing for blessings to keep from being killed and so my play Sicario is going to have La Santa Muerte present as a factor to guide my Sicario through his assignment um so some of the things about I want to start by asking one question just as a in terms of creating a space for I don't know if you identify yourself as a Tupano playwright Tupano American playwright and being a playwright that is maybe um how have you benefited from the work of the pioneers who have established the Tupano theater in the U.S. and then how do you see that journey in terms of a community carving the space for itself in American states? Well I came to Tupano work late growing up ironically growing up in El Paso when I grew up I grew up going to in my undergraduate years of college there was absolutely no instruction in that I wasn't exposed to any of that material it wasn't until after I graduated then discovered the works of the Royal Tupano Air Force for instance a group of poets that did a lot of performance work that was anti-war and spoke eloquently about the issues I cared about and then later learned about Luis Valdes but it wasn't academic at least were not revealed to me academically those programs were just starting to begin and in private universities they never existed in theater programs I was alone I felt very much alone as a Chicano mostly white institution I felt like well if I was going to be an actor and that's where I wanted to be at the time I felt like well it seems to me I had to lose my accent I have to sound more Midwestern so I can do Shakespeare and acting in a check off place but that wasn't going to happen I could tell what was going to happen so I decided to start writing my own works so that I could sort of cast myself in but and that was a disaster because then everybody said those are interesting plays but you're acting I don't know so but but it's only later that I came to know about Luis Dato de la Esperanza and all those wonderful pioneers of the movement and I was very fortunate to work with Luis at his theater at the Debra Fence and the one who did Prospect out there he's been used in 1992 1992 1993 and developed a terrific relationship with him very close to him but it was part of my initial it's interesting sort of struck by the role of religion also in Latin America the first conversion to Christianity and then also the way W invoked images of the crusades as who sort of unleashed the troops on Iraq and Afghanistan and after the discussion I don't know it's just a really complex mix of how religion plays a role in the way we are I'll open it up to the audience questions please Mitch a question for I was following your argument step by fascinating step until the very end when you pointed out that the war on drugs is a failure but it's a success in terms of keeping the land and the structure together who is benefiting who is benefiting by the war in the United States down on that it's it's kind of complex as to what the ramifications of this is profiting from this it's mostly the old alliance between American corporate interests and the oligarchy the elites in Latin America countries that either by virtue of businesses associated with them or by virtue of their access and control of power in countries like Guatemala and South Carolina and Latin America basically the same 10 or 12 families have had power since the Spanish land and these are the people who are profited from basically selling out the land to American interests in exchange for perks to a degree a few of the prompts of there isn't a lot of money of course and access and validation and so forth their children and educated in Oxford and Yale and they come back to continue to enforce that elite so in that sense all over the world we think places like Colombia which are emblematic of the war on drugs where we also have the FARC which of course have their own issues and most often the campesinaos the peasants are caught in the crossfire but I would say with an understanding that the FARC are saying that they're also not as bad as they're being painted because to a degree a FARC presence allows the peasants to continue to control the land and work the land because when the paramilitary and the army walk in with the war on drugs as the main excuse basically they're taking this land away from the peasants they're passing it on to corporate control Monsanto and corporations like that are making tremendous profits and having access to enormous tracts of land that were that in being displaced by the war and Colombia is the country with the largest number of displaced people in the world so that's if you think of the Middle East as some of the most important conflicts are taking place and the displacement of people there or Somalia Colombia is being first so the displacement results in empty land that falls into the control of corporate interests so that's a tremendous success it's not a failure and I feel it's one of the reasons why there's still after this and of course there's no interest as in with immigration which is obviously deeply connected to all of this they never go after the corporate interests that hire the businesses that hire and documented immigrants they go after immigrants and in the war on drugs they also don't go into it's deeply addressing the issues that make the consumption of drugs the addict is the market and of course the area that's marketing in ways but instead of dealing with say, well there's going to continue to be the eradicated it from Bolivia and Peru it moved to Colombia and I mean eradicated in some ways of course there was a backlash for that and so forth but the production because the consumption the demand continues to be so there's no interest in going after that that's why there's no violence no violence in New York on the scale that we see in Mexico it's curious it seems to me how the the rise of all these cartels and all this violence in Mexico started to really explode at the time that NAFTA was signed when Bill didn't sign NAFTA at the law that changed everything and so many small farmers in Mexico lost their farms especially those who grow the basic crop mains as Supercorn keeps getting shipped into Mexico all these indigenous farmers are losing their crop and when they lose that they lose their livelihood and they leave these villages and turn them into ghost towns and flood toward the border towns or large cities to find work for which they're not equipped or at least to get across because they know that at least in the U.S. there might be opportunities and there the attraction to just make a quick I'm $70,000 in the day moving narcotics it's just too tempting it's so tempting so it's created this workforce for the narcos it wasn't there before it's so much more attractive to grow marijuana than it is to grow corn because corn has all come from the U.S. as well as other enterprises subsidized subsidized so much for free trade Angela do you want to add anything to this? there's it's a long list for this what you described what I think Columbia is exactly the effort from the activists there what this is not about drugs it's about land operation and the purpose of this my basis the establishment of U.S. interest corporate interest the displacement, violent displacement the exacting the proportionate move of those populations into cities are very well understood there and I think most activists very much agree with that and understand that where they're seeing money being routed into paramilitary interests in line with government interest in order to obtain huge trucks of land for the cattle industry for example so I think more people are documenting that in some ways talking about softwares kind of moving to different forms and suspecting that and hoping to see a lot more substantiation over the change in rights and we have to look at where's the United States invested in that area Columbia where else are there other places pushed out absolutely pushed out but where the United States is most to be invested are the very places where the allies right now of the U.S. and Latin America are the two places the legacy of this violence the violence also got really bad in Mexico when when that party in that party came to power it upset one of the almost unacknowledged big leadership for over 70 years and we sent the facts and started sending troops to fight the cartels under Felipe Calderón the next president it was even worse he actually declared more on organizations and that's when the violence got really really bad as they were fighting for more turf and and is it sort of upset a kind of structure that was already present in Mexico now the gree has just gotten back into power is it the new president Nietu yes thank you he's a new president with gree and they're hoping that the policy will change and the cartels so they can resume business and so it's a very complex situation there are members of the lower houses of congress have been indicted for their application with the narcos the head of the office of the federal police have been indicted for being involved in them so many officials in the government are implicated with a lot of these cartels how many of them are in our government are also implicated with them remains to be seen but I think that the that the reach is deep we see other questions jessica please project I want to thank you especially professor I would hope to get a copy of that if it's published and we're so this is incredibly inspiring and I'd like to steal it I'm sorry a copy of what? Roberto's incredible summation of all of history you are the greatest but I really appreciate the bringing in of history especially this time in which interest me was also a time when Jews and Muslims were somehow living together so I think I appreciate bringing you coming back to the theater how you always bring a kind of historical and academic but not dry academic tilt to this and to bringing back to the theater the stories that need to be told so we can have this incredible political historical discussion but then what gets put on the stage so one personal thing I want to say is that Kavya we were in a playwriting workshop in 1990 together at the Eureka theater when we were both 10 years old and it was like children's theater and but the one thing I remember so clearly about you as a playwright is your generosity is your incredible you taught me something amazing because I was working on a play about pirate women and you were amazed and you were incredibly generous with every single playwright in the room and I never forgot I taught me something about theater and what is what is actually necessary for us to create across cultures you with no real interest I'm sure in female pirates but you were incredibly invested in the ideas of others and it seemed to be a revolution of how theater changes the world so I just want to thank both of you for bringing your heart and your brain onto the stage and thank you both of you too for this wonderful and fascinating thank you we've been asked to wrap up so I want to thank my panelists for very informative and insightful presentation and conversation and this is our final panel for the Reorient Forum we have tonight a concert following this but I don't know about you but I feel like it's been two days of invigorating thought provoking conversation and I'm reminded with this conversation of the ties that bind us that are beyond borders and walls and nationalities and our shared history and how much richer the conversation would be if we moved in a reach out to what was that? where is the group affiliation where is the group affiliation if there's one thing we want to walk away this weekend we have some very informative speakers this weekend both yesterday and today and this morning Sara wrapped up yesterday's conversation so I just want to remind us of the conversations this morning about engaged performance and also mechanisms of protecting artists I do want to say that theater without borders and three dimensionals are program partners who Reorient Forum their logo on our website is or if it isn't they'll be linked to their website so that by just going to the Reorient page you can find your way to their website and all the amazing information and great work that those two organizations are doing as well as TCG and TBA and other program partners we're very grateful to their contribution and their social inspiration thank you again to the amazing Reorient team and all the people who made time and enjoy the concert and their healthism is an amazing musician I can't tell you how amazing he is and he's incredible and the work he's doing is incredible the way he's mixing jazz improvisation with classical Persian and Arabic music the risks he's taking is just inspired so I invite you to come back for the concert and there will be a reception and there will be actual food so hang out, share and celebrate with us the amazing work that we have all together done this past two days and three weeks from the festival thank you again for being here carry on


Barbara, Liszt is one of your guys.  I do love him, yes. How did it happen? I think you even converse with him, is that right? David, don't make me wacko, but you know, every pianist I think who studies Liszt music, you love what the man could do with the piano. I mean, besides reading about this wonderful charismatic personality where people flock to him and I mean, he aroused such enthusiasm, but it's the joy and the passion that he had for the instrument. And I have to confess, when I was younger, I kept wishing I had been born 150 years ago so I could have gone to Weimar and sat at his feet or could have been one of those beautiful ladies who flocked around him. But the past three years I have been living with this man because we started this DVD series where I immersed myself in his letters because this is a personality who is so misunderstood, musically as well as personally. And this was a man who was so religious and spiritual and generous. I think people forget the generosity of soul and even when he did these wonderful theatrics as his, he felt that he was getting his inspiration from a higher source. It was always about going beyond him. I would actually in all ways agree with you, wouldn't you, Marco? Absolutely.  This is a man that probably, I'm doing a lecture at Juilliard next Monday, four-hour seminar on Liszt. The title is The Greatest Life Ever Lived. Well, he had 10 lives. 10 wondrous lives and you know, someone would say, how could he have been so great because Toscanini, the son-in-law of Horowitz, Horowitz would always say, why don't you play more Liszt, the symphonic poems, you only play Le Prelude, why don't you do that? Oh, I don't like Liszt, the man. And he said, why, what does that have to do with it? He said, oh no, nobody could be that good. That no one could be that good. He was never good, you know. And Horowitz said, looked at him and he said, it must have been a pose, Toscanini said. And then Horowitz said something so perfect. He says, well, if it was a pose, it was a good one. So this was a man of- Certainly religious and spiritual. Spiritual and everything. Oh well, of course he became, that was, it's too complex to even go into the vastness of this man. Everyone should study something about him. Why don't you, because he doesn't write just etudes. He was very inspired by the greatest etudes of that era called Chopin's. And he then said, well, I'm gonna write transcendental etudes. And so, Barbara's gonna give you the number one, just a little overture to the cycle of 12, the whole thing, 65 minutes. Maybe seven or eight pianists in the world could do justice to the whole cycle. And then you're going to do number two, which is a real Paganini type virtuoso etude. Why don't you try? Okay, and let me, you think the number two is Paganini, but I always hear Beethoven fits because of that bop bop bop bop all of that theme. But the first one is really just a warm up for the pianist at the keyboard. It's like a overture to the whole cycle. It'll only take one minute. So we'll warm up on the piano. But I wanna tell you, it'll take many more than one minutes to play it.


Good afternoon. Good afternoon. Good afternoon. Shout out to the Henzie Army, one of my new favorite YouTube channels. You guys are amazing. Over in the UK, I don't, I never know what to say, the UK, Great Britain, England. I never know what to say. Anyway, shout out. I'm gonna talk more about them in a second, but I'm up on the roof as you can tell. I think I could, if I wanted to, if I wanted to write a parody documentary on the swamp cooler. Yes, the camera is sitting on the swamp cooler. Again, yesterday's vlog. Go check it out. I sprayed it one more time with Flex Seal, something different than what I used last time. Is it gonna work? It's 95 degrees Fahrenheit, not Celsius, Fahrenheit in Denver, Colorado today. And the clouds have come forth, which means I may be able to delay turning on the swamp cooler for a couple more hours. It's hot, but the clouds are here, so that's a great thing. And the Flex, which may give me a couple more hours to allow the Flex Seal to really cure or settle or harden, essentially, to in the pan of the swamp cooler that I'm looking at right now. So not gonna turn it on yet, but man, I'm just cranking here at the patio. You saw the sunrise there and keep you guys posted on the swamp cooler. See how it goes. See how it goes. Night writer. Night writer. I think you live in New Mexico. I might have to hire you to come up to Denver and fix my swamp cooler. Just saying. Just saying. As we await True Love's arrival, gonna get some new flowers from the Rose, Rosebushes. Not too shabby. Hold on. Gotta open the door. Got you some new flowers. I got you some new flowers. So I've got me flowers from our garden. It's that I love them. Good. Thank you, baby. Thank you for my waffle fries. Oh yeah. Come on. Fat Tuesday. Appreciate that. Fat Tuesday. Well, here goes nothing, everybody. I don't know. I'm gonna give her another shot. Fire it up. Fire it up. Got the interconnectivity that is happening on YouTube. It's blowin' my mind. Blowin' my mind, everybody. Maybe about six months ago I talked about this very topic. Before, a lot of you were even connected to this channel, this vlog. And a lot has happened through Fabio, through McKenna Jonesy's channel, Andrew, through Kofusi, through Robert, and who else? I know I'm leaving people out. Well, even Bud. Basically, we are connected. And I know it's not in the real world, but it's happening. Like, we're connected. And guess what? I only watch maybe four or five YouTubers per day. I just don't have enough time. And I don't even, I hate to say it, but I just come clean. I don't even watch every single vlog all the way through. There's just not enough time in the day. So, today, I saw Kofusi launched his little DJI Spark drone, the one that can take off and land on your hand. Well, I was intrigued by that, of course, because we have the new DJI Mavic Pro drone. And basically, I asked him in the comment section below his video, like, how big is the Spark? Like, I want to know the exact measurements, all right, exact measurements of the Spark. Now, I know I could look up the dimensions online, but I just want to see it in person with a tape measure from Kofusi. So, I'm also going to measure this guy in a second, the Mavic Pro, for Kofusi and whomever else, just so you get a really good sense of how big this thing actually is or how small this thing actually is. Basically, all I'm saying is we are connected and it's insane. Like, how much we're able to communicate, dialogue, share ideas, share opinions, answer the question of the day. And so, on that topic, I want to get one last shout out to this new family who I've begun to watch fairly consistently and I found them through Andrew over in the UK. So, their channel is HenMz, H-E-N-E-M-Z. And they call themselves the HenMz Army? No. The Mz Army? I don't even, I'll type it right now. All right, so that's the name of their channel and I just love them. Hold on, it's getting a little bright. Let me adjust the camera. Hey, we're back. Okay, so anyway, I just, I found this family through Andrew over in the UK and it's just, once again, blow in my mind. I'm loving their content. Keep going. I think they are about 150 vlogs in, no, no, no, no, no, no, no, sorry. I think they're about 100 vlogs into their YouTuber experience. So, all I can say is just keep uploading, borrowing that from Roman Atwood. And it's like, it will get easier. I promise you it will get easier putting these on to get a little bright. So, don't give up. And if you can stick to that daily schedule for 200 vlogs, it gets easier. So, all right, now let's measure the Mavic Pro for Kofusi and whomever else is intrigued by it. Let's keep connecting, people. Keep connecting. So, the drone for the, when the arms are fully extended, they are 12 inches by 9.5 inches. But if you fold up the arms for traveling in a bag, or like a camera bag, or even the box that you've already seen, you can fold these, fold these up like that. And then it gets nice and small. So, that once again, is 8 inches by 3.5 inches. And the remote is 5.75 inches long by 3 inches wide. So, there you go. That is, those are the dimensions of the drone. I guess I'll do give you the depth as well. The depth of this drone, now this is folded up, but is 3 inches. So, 8 inches, 8 inches by 3.5 inches by, excuse me, 3 inches. Capiche makes sense? So, there you go. That's the DJI Mavic Pro dimensions. Hopefully that helps you get a better idea of the size. And bada-bing, bada-boom. Time for date night. I love you, Tush. Happy day night. Seek beauty, work hard, love each other. Nope, that was it.


dreams Okay Think that's all the snipers that were around How to twitch a lot of that happened to one of legit the largest channels is platform because I'm gonna tell you why and it's twitches fault And well, okay. It's not twitches fault per the law because DMCA believe it or not Believe it or not DMCA gives companies the latitude to do just what they did Now as far as the repercussions of what they did remains to be seen but DMCA Twitch has a no harbor policy or what I think it's called no harbor or whatever. So essentially anything DMC related. They don't enforce They give that power to the content providers. They have a tool that they have much like what YouTube has and they can specifically say that channels have my as my copyright material and that company that owns that copyright supposedly Can take down the channel for whatever reason they want and Twitch can't do anything about it. So that's that's no harbor policy or no harbor rule. I think it's called that So the power According to that law, you can blame the DMCA law because this is how it was written the power was given to the copyright owner explicitly and solely So the actual banning Doesn't happen by twitch You could think DMCA for this nonsense Now here's where here's where twitch can get involved Okay when somebody like lyric gets banned it better be for a really really good reason and the fact that This is where this is where twitch can can help us They should they should make a really large stink and a big brew ha ha to the UF ECA whatever they're called they really need to get in their faces and let them know how stupid this made their entire company look Um They need to be repercussions for this reckless activity because let me tell you lyric He was streaming probably the most popular game in twitch for all year Because I don't know if you guys saw 350,000 people were watching Call of Duty at the time Lyric was like number two or three on the list him and shroud were playing together Generating interest shroud had like a hundred thousand people. I think Larry had like 30 or 50,000 And he got banned in the middle of that one of the biggest days of the year now He got banned because somebody didn't bother to actually look at what he was streaming. They just looked at his title That's all that's why you want to know why he got banned. He got banned for his title his title was streaming misspelled stre M&i G and Apparently that title matched what some DMCA people or some DMCA strike people were doing because you probably noticed it on Twitch, there's some channels that have been restreaming soccer matches with a lot of people watching and They would use a title like that apparently. This is what I heard Somebody walk in over here, but I don't see where they are So his title match theirs So you look at the title and they banned them. They even I mean even look at the thumbnail. I Think he saw me. Okay, maybe not Let's see this guy Crap, they see me I did that the wrong spot Any electricity here, that's not lecture. Oh, that kind of hurt. Wow. He took that.  Come here. That's you Nope, not you.   Thank you. So we got him concuss these guys Ten swing kicks.  I gotta remember how to do that Is it held I forgot to do the swing kicks. I think it's both of those Triangle while I got him in here. Nope that actually does that But I don't know how I did that so I'm just gonna keep doing what I don't know how to do I'm just hit the square. Okay, you just keep hitting square What's the requirement for this suit? I Don't even remember dude. I forgot what I did honestly. Yeah Your square afterwards So we got five of them. So once you get up there, that's one way of doing So while I'm in the air, do I just hit? Oh Yeah again David thanks for the gift us up or we continue to give this up Was that the tier three? I keep these guys in here. There we go. I think I can do this That doesn't happen Let me do it. Come on Dude, I definitely dead Explosion protection. Well, I gotta hate for the stuff every time I try to get somebody in the air I get hit with a rocket. I wonder why that is cuz of these guys up here Okay, now what was I doing there we go. I got two more to do. All right one more See, we do it. Yeah, come here. Yeah, coach. We did it. We did the things It's like perfect. Oh, this is normal difficulty. I gotta learn how to do that on purpose All right guys, stand back. I'm gonna grab the door. Let's go. It needs to be level 41. Gotcha. Okay People that were locked up or headed back to their homes They still can like I don't know what it was. I don't remember exactly what it was I got it last night and I was just I was elated when I got it Thanks David for the bits Indeed Everybody wants some love in the chat. Thank you, sir.  I got to fight him No, back up.  I'm not ready for this. What do I do because of okay? I don't know what to do electronic Nope. No, definitely not that we're gonna maybe dodge and then do Do the King finish strap maybe crap. I don't know what to do Can't web him. He's rhino chat. Oh, there we go They use them wait, it's punching in me and do anything Is this even doing anything chat? So use the environment on them? All right, so we got to get these cranes on them Come in baby rhino come in baby girl. I can't see this I just waste that.   Okay. He's done. Can we do it again? Can we do it again? Can we do it again? No, it's smoking. That means I can't use. Okay.  I'm over here. I don't even know what happened. We're over here Okay, he hit me. It hurt. I could talk about it though of these things. I Hit that Back in the face Okay, rhino, let's wrap this up. No the goop. I got to fight both of these dudes I got hit with the stink I do have to stun him like I did in the dream. Okay, that's that's just mean Okay, we're going up here Okay, that oh my goodness Yeah, that's how you do it. That's how you do it. The dirty half doesn't chat This is very chaotic.  This is chaotic. Hold do it, please. Okay, dude. Would you stop? goodness chat this is all of them. I don't know to do This is not gonna do anything, but I did it. Okay, we're out of here. We're gonna get him over here to this We got to take our rhino first. Oh Get him, please Please finish him. Please Still talking to you No, too late. Yeah, I'm coming over here. I'm gonna hit you Okay Oh the pain No, rhino, stop it. Just please Boom boom. Okay. I can't see. Okay. There he is. I know where he is now. Okay. We're going over Okay, we're gonna grab this. I didn't do anything. Okay We're gonna grab this Please hit something. Oh, it didn't hit him. It didn't hit him chat. Can we do it again? Can we do it again? Please hit him for the love of why aren't you there? Why aren't you in the spot? There you go. Good job, rhino. Yes. Let's do the finisher on them. Please now you over there in the back You need to chill Okay, is he dead? I think he's dead. Okay. He's not dead. Okay. He's not dead chat.  Ah, please run. Oh my gosh. Oh my goodness. What is this life? Can you please come? No Okay, I hit him. Okay. Oh, please. Where's scorpion? Let's get you. All right, so I need I need I needed a super power What will hurt them maybe insults capital decoys maybe This this trial decoys. Hey, where's your where's your I lost them? My moment Where's scorpion dude, he's fight those. This is perfect dude. I can't time Okay, that didn't work. I'll take it. I'll take a green face. I'll take another green face Do I can't find him when I let there is Thanks for the 48 bits David. I just got hit with all the things in one little corner there Dude, this this fight Definitely one of the oh come on. It's about managing targets man and chaos pretty much what's going on here. Oh Come on, please get over there get over there freaking scorpion chill Did I hit him?  There he is No, I jump right into that. He's just not in the spots. I want to be in chat Please go for the dummies. Don't go for me Please don't go for me. You go for me Finish it, please for love of Pete No, I'd have mercy. I hope he's down. I really hope he's down. Okay. He's down. Oh For the love of Pete. Thank you. All right. I can focus on one guy now. Hey, that didn't work Oh, he slowed down. Where's the next one this guy? So I thought it slows down when he gets under it. I just noticed that oh My goodness Convenient. Wow. That was that was a rough fight mainly because it was just To him at the same time. All right, Yuri. That's four down just Octavius and Lee left The Oscorp is being coy about an anti serum. I'm worried. They're saying dollar signs in a seller's market I'd expect nothing less from our beloved mayor leave devil's breath to me. My best people is on it Personal files. I've already been through his office computer. Are you thinking his penthouse? That building's full of sable's man. If they spot me other residents could get hurt in a fire place I can sneak in find the lab's location and get out if anything goes wrong, I'll call you for backup Okay, it's risky, but we need that location wait for me to get nearby then make your move Stop locking on target now, please. Thank you Yes We desperately needed someone to bring down Okay, I'm Jay my couple blocks away. Let me know if you get into trouble Are we playing as MJ now? Let's see Thanks, Pete. Wish me luck Norman's penthouse is on the top floor, but the elevators on lockdown Need to get into the security room to unlock it There's the security room that guard will see me if I go in residents are pretty upset Maybe I can rile them up to create a destruction Create a version.  I heard they'll let you up if you claim special circumstances Health emergency might do it really come on.


It's not a big deal. It's like this. Smile. You're on camera. Mr. President, how do you feel about the rockets? The fire is on the tower. It's a big deal. The fire is on the tower. Are you concerned about it, for your safety and the safety of the others there? I'm concerned. What do you say? Will it have any effect on the discussions that you're going to have with them? I'm concerned. Do you have it for me? I'm concerned. I'm concerned. I'm sorry. It's not a big deal. I'm sorry. I'm concerned. It's all right. What about you? Thank you. We'll do three shots. Three shots. Threeinerys. You're on camera. Mr. President, how do you feel about the rockets? Are you concerned? Are you concerned about it for your safety and the safety of the others there? Good state. Will it have any effect on the discussions that you're going to have with them on terrorism? No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No.


Hi everybody it's Emma mixed up crowd thank you for watching my tutorial today I've got this really big 12 by 12 by 6 gift bag So I wanted to use the whole front of a 12 by 12 piece here So I've got this lovely piece with love on it And I just didn't want to cut into it and I wanted to make these lovely size gift bags You can see they are massive So it's a six inch inside six inch side here Sorry six inch base and then 12 inch in length and 12 inch in height And the whole thing folds completely flat So this is a shop brought size gift bag You can see there against my hands it's just huge And these are going to be so handy so I've made these for what I need So that's why they're the size that they are But you can adapt easily the width inside and your base as well But you want to keep the 12 by 12 So this is perfect if you've got maybe quite a lot of 12 by 12 papers that you may be not using You can really clash and use all different styles So I've got this on the front and then on the back It's all from the same paper pack which I show in a minute but I've got that Then on the side it's different again and on the base it's different So like I said you might have some lying around You might have some scrapbook pages Because this was one of the ones in the paper pack Which there isn't much you can do with Apart from maybe put it in a frame, scrapbook it Or keep it whole and do something like I'm doing But I just love it And again if you like to make everything and not buy it Then this is perfect because this is a really really large gift bag Finished it off with little eyelets there at the top And then I recycle my handles Which I buy when I'm doing my normal shopping So I've just put these through And again it just gives that really nice finished professional look as well And then I've got some tassels Using leftovers of the matching papers And then this was another tag from the pack Which I just put a little eyelet through Which you can just see there And then again that's ready now to just write my little message on And give to the person So I've got two of these so I'm going to be doing exactly the same again today So I just bring this one here Okay so I've cut everything down and prepared all of it This one I've done my tassels already I'll share the links to the tassel tutorials So you can revert to that But there's the two that I've done again using the leftover scraps So try not to have that much waste Because I'm aware that obviously a lot of card is used to make these Now you need two hinges I'll talk you through the sizes of that And then I've got my side panels are going to be This lovely foiled pattern And then my base is this one here So again all from the same pack That's another one of the cards Which I've just cut I've just rounded off the edges and popped an eyelet there And then there's the other one So that is it That's the whole 12 by 12 from the paper pack And it's just gorgeous And then that's going to be my back So I've just pulled out the detail from the behind the love there Which is this same design You can see all the foiled on it as well It's again stunning So this is the one It's a craft Smith paper pack It's from 2016 I got it on sale Again I'll look for any sale Any links that I can find for you But you can use obviously any paper packs you can But if you do have this one Or you can still get hold of craft Smith This particular one then brilliant But any good paper packs will have beautiful foil papers You know I love TrimCraft They have loads And then if you have any of these kind of Like scrapbooking pages like that That's where I cut my tags from Okay and these are what I use Just like journaling cards for your scrapbooking layouts And stuff like that So it's just another way to use it in gift bags And you know 3D box making It doesn't always have to be scrapbooking So that's the paper pack there Okay so you don't need to do anything with your 12 by 12 So you need to choose your 12 by 12 for your front And your 12 by 12 for your back So those are my 2 there Okay I don't need to do any scoring or nothing They are going to just stay as they are Then for your base You need a piece of 8 by 12 And along the 8 inch side You're going to score at 1 inch and 7 inches So all you're going to have is Just burnish over the edges there You're just going to have 2 1 inch Hit at kind of sides like that That's what you want to do just fold it up So again along the 8 inch side Score at 1 and 7 and burnish Then you're going to have 2 of your side pieces So choose what you want for your sides And again these are going to be 8 by 12 And this time what you want to do I've already prepared that one ready So along the 8 inch side You're going to again score at 1 and 7 inches And then you're going to flip On to the 12 inch side And you're going to score at 3 Then you're going to flip back again And you're going to score at 4 inches Down to that 3 inch score line That we just created Then once you've done that Get rid of your score board And then you will need your ruler Which is Grab my other metal one And all you want to do is From the bottom of this score line Here to that 3 inch score line You're just going to score To these 1 inch score lines On either side And this is just going to give us The And by doing those score lines It's now going to allow us To be able to fold the bag flat As you can see I've done on this one So once you've done this twice Because you'll need 2 pieces Just go and burnish All of those score lines And then fold this one in Like so And pinch it Just up to that 3 inch one And as you pinch it down You can see it kind of starts to come out Just Work in those other score lines Like so Ok, let's see how Just fold it like that In half to that one And then it will just start To kind of fall into place With all the others And then those will fold outwards Now I've got this 1 inch Double sided tape Which is the Scotch brand Just bring it up there Which I really love So I've just put A little 1 inch strip Along the sides there So I just need to do the same On this one here Ok, just always make sure Your double sided tape Is perfectly adhered To the paper Ok, so that's all nice and stuck down And then just with your scissors Just take a tiny bit Off of the ends Just a little wedge there Just off of all of them Just so you don't get Anything overhanging So you will have your two sides Ok, already like that Then with your base That was the other piece That was the 8 by 12 Sorry, I'm losing these ones here It's got them there You want to add that same Double sided tape or glue If you're using glue Then you'll do that in a minute Because I'll be showing you The step by steps To put it all together But double sided tape Down the two hinges here Of your base Ok, so it will be like so And then with The one back piece I said you didn't need to do any scoring But you do need to do one score line So let's just grab my score board If it's directional Make sure that you've got Your paper facing this Sorry, I mean This is directional So it doesn't matter Basically I'm going to score it Three inches That's now going to be The bottom So whatever pattern You've got You want to make sure it's facing this way And then you've got This three inch score line So pop it sideways So your print is facing this way Score at three inches And then when we turn it Because that now is What we're going to be doing To fold like so And then that will help The bag will fold flat that way Ok So now we can put it all together Ok So first of all You want your base And your front and back So get rid of your two side pieces So with your base I've already popped my tape on Everything's all nicely stuck down I'm just going to grab my Everything flying out at me In a minute Take my backing off And this is going to be My front one That I'm sticking down first Push that down flat And then with your piece of 12 by 12 I'm using my kind of Hand there to keep that Side down While I'm holding my card And then you just want to Make sure They should marry up perfectly So just get your End of your card Your top card And just make sure it's nice And in line with the bottom there And it will just completely marry up The other end there If you've got a little bit over Hanging like I have there I'm just going to turn it over And just snip That little wedge So just Get rid of any little bits there And you can see Ok So that is now the front And we've got the base coming together So turn it around And again Just burnish that down Just to keep it folded Over and more to that side Take off your backing And then with this piece Which is that piece that we've done The three inch score line Which is folded Again Exactly the same way Just holding that end down With the side of my hand And just start off From this corner Just making sure That it all follows nicely Along the bottom And again Just go over it Making sure That it's all nice and secure So now we've got Our front And our back And then that would fold flat Like so And this piece folds in That three inch score line Ok So you can see now It's a very It's a deconstructed gift bag So now we need to bring in Our side pieces here And also Our hinges Which I totally forgot to tell you about Let's get those ready as well So your hinges You need two pieces that are Two by One, two, three, four, five Two by six Ok, two by six And along the two inch side You're going to score it One inch down through the middle And then just fold it in half And that's going to create these hinges Now on the backside here I've again Popped this half This one inch double-sided tape On both sides there Of my hinge Ok So now With those hinges Open up your gift bag Start from one side here Take off one side of the backing And then again I would fold it in half And just line up The whole thing Like so Ok You can see now We've got that hinge on the side piece there So do the same Flip it over And do it now on this side Ok So you should have these two hinges On both sides With double-sided tape On this side as well Now ready to do our side panels So now Grab one of your side pieces And with the three inch score line And the triangle scoring That's the bottom We're going to stick this To this So also another little Trick and something that I've done Is if you When you're doing these bags that fold flat Some of your cup might not be so good It may be prone to cracking From the inside If you just run some cellotape Really neatly inside it No one's going to see this It's going to be inside But it would just mean That it gives your bag A bit more stability And a bit more longevity You know Especially if you're keeping it in storage Or you're opening it and closing it a lot By doing that It will keep those strong It's like putting in like a tie-vec Or something It's a non-rip fabric So it will just stop that tearing This card is very good But because it's foiled I wasn't sure if maybe over time With that pressure in that corner there So just a little trick there Just pop some cellotape On the insides Ok So now take off your backing here Again I'm going to fold this one over And you're basically ignoring the side tabs You're lining up this tab With the whole six inches of this pat in the paper Not this So don't stick it like that You want to stick it exactly in the middle So I'm just going to again Line this one up And just make sure it's all flush to the bottom Like so Ok This is very similar to the other big bags That I've made It's just we're having to add the hinges I've done 12 by 11 Or 12 by 10 I think in the past But I've never done a 12 by 12 in height Ok so And then Make sure that's all nicely stuck down Grab my What did I just put that I can't see where I put anything Underneath my paper There we go Just going to take the backing off again And then grab that Same piece Make sure it's the bottom piece With the triangles And just again Line that one up Ok So now you should have your two side pieces Like this You just make it out With your side pieces facing inwards And then I've got my back here With the three inch score line And the front Which is that big piece With nothing, nothing scored on it So I'm going to start with the back So I'm going to Whole fold this piece up here Right Bring this up And you want this tab Facing inwards Folded inwards And I'm just going to take off My backing Ok And what I would suggest is Just tack The bottom Just lining it up And then you can kind of hold the rest of the card up Making sure it meets the top Pull it really tall And then just go along And stick it down And then if you pop it on this side With your bone folder Just go and flatten That tab inside Making sure it's all nicely stuck down Now if I bring that up Can you see We've got a perfect join And that three inch score line on the back Will marry up With the three inch score line That we've done here Just at the top Of the triangle folds That we've got there So that's that side So now We need to do The this side here So again I'm just going to take off My backing Hopefully you can see all this Well enough And you can see What it is that you've got to do It is pretty self-explanatory Once you've got the base And everything kind of stuck on the bottom The sides are all pretty straight forward So again Just tack the bottom Making sure the kind of Three inch score lines meet up Because that means you'll get a nice fold When we fold it flat And then I just pull it really tall Up to the top And then the rest Will line up So now if you've got a little bit That comes over So if you see Just here For a very very tiny bit Just grab your snips And just very carefully Take that off And then you can just Take a little slither off Just to kind of line it back up again No one's going to notice that So that is my back All stuck Then you want to do the same With the front So again Those two pieces are going to fold down And then stick And then there is The box So you can see how it all comes together inside So again I'm just going to open this one up Take the backing off of here Fold this one over You can do both at the same time If you want I'm not going to risk it I'm just going to do one at a time So again I'm just going to pull it Right up to the top this time And then the rest I can just pop in And just make sure I'm pulling it in underneath Get that all lined Lined up Take your time with it Turn it over again And with your bone folder Just get that all nicely Okay See now I've got a nice Corner It looks so nice with these You know Different papers It's nice to have it all Kind of Clashing And then again I've just taken that one off And just Just tack it slightly on the bottom there And then you can kind of Just work your way Up along the sides Until you get to the top So Again Turn it over Another little bit That's just kind of coming Over the top there So I'm just going to See their start from there And kind of blend it Across So it's all nice Okay Now because you've already Worked those score lines With the triangle bits On the back If you put your finger Push your finger Like so Start getting it all in And then kind of Bring the back Bring it up like so And then the whole thing All filled flat Okay And just make sure You've got nice Yeah, it's all in there And you can kind of Just go And work your Score lines All in And now they're perfect For storing You can see there on the side So we've got a huge gift bag So now I just need to Add my tassels And my tag And make my hole punches So what I'm going to do Is bring in My pin pad here And then I came in At Four inches from each side Now Because the Pliers that I've got here For the eyelet Can only go in Go down so far That it was going to go right over the rose Kind of rose gold trim there Border Which I didn't want to do So I'm going to come up here Okay So go down as far as that goes really It's about one inch But I'm going to Come in at four inches from each side And I'm going to keep it within That top Kind of area here Okay, so four inches And again Four inches Which is about there Like so Then what I can do is Take the pin pad out And then just Mark the holes Through the bottom there as well And then I'm going to use This one To create my Holes So And again I've got all my eyelets here You know I haven't got rose gold And I haven't even seen Any rose gold Rose gold Rose gold But I'm just going to use silver It was fine It's such a small amount And it went better than Putting gold with it I'm just going to pull out Four silver ones there And then you just want to Carefully Kind of wedge them in Because they will fit perfectly Within those holes And then grab your pliers Use that one Just do the same on the back And the last one there on the back So if I just bring that up You can just see It's such a nice finish Because it's a big bag You're going to have something bigger And heavier in it You want to have A strong A hole there That's going to be Able to withhold Any kind of pressure So now These ones here Again, just ones that I've saved You can put obviously Normal ribbon through this Doesn't matter if you don't have these But Just feed it through the back there And then I've got my Gift tag And I want that one about there So I'm just going to Loop that one straight around Actually I don't need to worry about Notting that one Like so And this one I want a bit shorter So I'm just going to Knot that one And then Cut the top Knot it around This So that nothing moves around So And then I can just Tie a nice bow Like so And there you have it Nice tag already These are going to be Looking fantastic Once they're filled I'm going to have tissue Kind of coming out the top So they're going to look great So there you have it It's two very very big Shop brought size Gift bags 12 by 12 by 6 The biggest ones I've made so far I will share the playlist Of all the other Large gift bags And the fold flat gift bags I tend to always Make mine fold flat Because See it's nice to store them away And then we've got our supplies Ready for when we need them So I hope you've Enjoyed today's tutorial I'll share all the links To the supplies In the video description below Please give me a thumbs up If you've enjoyed today And subscribe to my channel To see more Thanks for watching Bye


A modern theory of continued fractions begins with Euler's essay on continued fractions, published in 1744, but written around 1737. In this work, Euler introduced a general continued fraction, where all terms are assumed positive. To evaluate the continued fraction, Euler considered the partial quotients, which he eventually calls by their modern name the convergence. You can think of the convergence as what happens when you leave off a portion of the denominator. Since all the terms are assumed positive, then A will be less than the value of the continued fraction. For the next convergent, since B is smaller than the complete denominator, A plus alpha B will be larger than the value of the continued fraction. For the next convergent, C is smaller than the complete denominator, so B plus beta C's will be larger than the complete denominator, and so the convergent will be smaller than the value of the continued fraction. And so in general, the convergence will alternate between being greater than the value of the continued fraction and less than the value of the continued fraction. Euler used this alternating property of the convergence to prove that continued fractions always converge. While this is true for generalized continued fractions, Euler then focused on continued fractions of the form, where all of our numerators are one. The motivation for this change is that the Euclidean algorithm allows us to convert a rational number a, b, into a continued fraction of this form, where a, b, c, d, and so on are the quotients that result from the Euclidean algorithm. The convergent property means that the continued fraction expansion of a rational number a, b, provides a sequence of successively better rational approximations, which will have smaller denominators. So to convert 235.19's into a continued fraction, we'll apply the Euclidean algorithm. 235 divided by 19 is 12, with remainder 7, then 19 divided by 7 is 2, remainder 5, 7 divided by 5 is 1, remainder 2, 5 divided by 2, 2, remainder 1, 2 divided by 1 is 2, remainder 0, and since we have a remainder of 0, we can stop at this point, and our quotients give what we usually refer to as the denominators of our continued fractions, while our numerators are always one. While the Euclidean algorithm gives us the actual terms of our continued fraction expansion, it's helpful to see why it works. So we can view this as follows. The fraction 235.19's, first we can rewrite that as the mixed number 12 and 7.19's. So what we'll do now is we'll rewrite 7.19's as the reciprocal of 19.7's. But now 19.7's can be rewritten as the mixed number 2 and 5.7's. And again we'll rewrite 5.7's as the reciprocal of 7.5's. And rewrite 7.5's as 1 and 2.5's. Rewrite our fraction as its reciprocal. Rewrite the denominator as a mixed number. And since our last numerator is 1, we've completed the process of converting this into a continued fraction. Our convergence, our first one, is going to be the whole number part. Our next one will include the first fraction. We'll include one more term for our next convergent. And because this is a finite continued fraction, our last convergent is just 235.19's. The important thing here is that these give successively better approximations to 235.19's even though the denominators are smaller.