First of all, I've been very stuck for a long time. Economics isn't working, politics isn't working, our relationship with creation, with the ecosystem isn't working. But I've been very stuck as to how we might progress that. If you like, I've been very intellectually and emotionally constipated. A lot of composting has been going on, so new frontiers certainly loosens up a whole bunch of stuff. So this is going to be kind of free flowing for the next... enough of this. Let me start with a little plug. But actually this is a nano story. I'm not, it just kind of... Anyway, this is a... I told you I wasn't going to get through these 20 minutes.  So these are some New Zealand school kids. Remarkably, very few children in New Zealand cycle to school. It's because their parents drive them in SUVs, streets are considered too dangerous for them to cycle on even pavements. Schools are very risk averse. These are really lucky kids because they've been the benefit of this man who's so humble it's hard to find a photo of him. So this is Paul McArdle in the Hawkes Bay who came home from... he and his wife came home from ten years overseas in Holland, where of course everybody cycles, and wondered why kids weren't cycling. So he developed a programme to build cycle tracks like this inside schools. So to give kids the confidence and the skills to ride. At our Kina Foundation that had been involved in from the start, the organisation back in 2008 until it achieved a complexity that I was incapable of exercising any governance over, which I very gratefully retired and handed over to Anarchy. We helped Paul develop bikes in schools. This coincides my next point with another enterprise, social enterprise we helped get going which was the tour of New Zealand cycle race. Team Arcana has taken part in the three tours so far. The fourth one is coming up first week of April this year. This is the team at Cape Reinga at the start of the race two years ago. I'm organising two teams for the South Island. You don't have to be a fantastic racer. It's not about that. It's about doing things like raising money for bikes in schools. I'm still a few riders short for the two teams. So if anybody feels like cycling on average 100 kilometres a day up the South Island and with a fabulous peloton party every night and then meeting the riders from the North Island for criteria and races in front of parliament, a treacherous little 600 metre course around the steps of parliament and down this exact drive and up Mollsworth Street and back in the top end. Talk to me afterwards. But it's about of course social enterprise. It's about community. It's about active transport. It's about confident healthy kids. It's a micro story about this about how we reimagine cities and therefore try and find a bit of hope in the Anthropocene. This is now officially according to the geologists the human epoch where we on our activity we humans are the greatest driver of planetary change. So of course it's and you saw this chart earlier the Stockholm Resilience Centre's work. It is about crucially the biggest overshoot of planetary boundaries is the biochemical flows and that's how we grow food. And so that's right. To hear what Severin's got to say and all the other things we've been hearing about food and of course related intimately with that is the biosphere integrity there at 11 o'clock and very desperate loss of genetic diversity. And the only answer to this is completely radical. So this is an American writer from two a couple of years ago Roy Scranton's book. Sorry it's really can you all read that from no. Fantastic because I hate it when people read other people's words. I just let them you read them yourself. When I first read that I thought man I'm really scared that the civilization is already dead. But then I originally came round to thinking well how exciting you don't often get to build a new civilization. So let's get on with it. So this is about cities and it's about the rapid rise of cities. So round about 2007 2008 we crossed an important threshold that first time in human history that more than half of people lived in cities. But that's escalating very rapidly and it has enormous economic and technical benefits. So if you just look at the 40 mega regions of the world they are responsible for an amazing amount of economic activity and by far the greatest outgrowth of science and technology as well. And of course problems happen so that's a picture of Shanghai on the left most days and occasionally it looks like that on the right. And that's the measure of what happens just in those 40 mega regions of the world. At that threshold in 2007 2008 the Tate Modern in London held a fabulous exhibition about it and I took these photos which speak for themselves about the sort of impact cities have on the planet. But it also posed these two incredibly important questions about how we organize ourselves. So this is population density. In the left hand picture that flat little pancake on the right hand side is London and then the big ant heap behind is Mumbai. On the right hand side you can see that's grown 1180% in a very short time. So how we imagine and then design and build and run and manage ourselves and our cities is really important. So here are the two big questions. Can cities be improved by design? And in many ways far more importantly can cities promote social justice and greater equality. So do we want to go heading screaming off down to the planet of slums or do we want to be international curators? This is a picture from Sao Paulo and I don't whether Sharon Lucas recognized this how it turns out in many cities. If lucky few have Babylonian hanging gardens and tennis courts and swimming pools and then there's the rest. Cities are also important because of what they do to us positively and negatively. This is a wonderful thought and again I'll leave you to read it from Lewis Mumford, the American sociologist. So we know that our cities are brutalizing us and that's the conditioning of the mind that's going on. Trying to understand this a bit better I went walk about September of 2015. I went only to Beijing, London and Chicago over those that month interviewing people. Not across section of cities in the world but it's places where I could stay for free knowing people. And also I've got long history in the three cities and although I've never lived in Beijing but I first visited in 1979. So it was also a chance to reflect and that's the result of that was a book published little BWB text that Mark mentioned. Three cities seeking hope in the Anthropocene that I BWB Bridget Williams books published last September.  I said oh my book's on Kindle and it says it takes two hours to read. So I said it's kind of a book or a rugby game and they all looked at it and said who's playing. This is an incredibly beautiful cultural centre in Beijing given by the people of Holland. So it's not to say that China isn't incapable of imagining and one of the very strong themes going on in China is this quite extraordinary phrase, eco-civilisation. And it's China trying to imagine how to solve its great ecological and economic and social issues by reaching deeply, deeply back into its culture. And I was bowled over by that phrase. I hadn't seen any reference to it in English. And the back of the book I could offer now some references. And I was hearing about this from really senior people who are trying to make this happen in China. And it's turning up in the current five-year plan, for example, there are projects around eco-civilisation. Massively ways to go because essentially people in Beijing were telling me well we're kind of still building cities the way we were. So it seems to me fundamentally important that we can't get this right in terms about what cities do to us and for us and what we do for the planet. If so many people are going to be living in cities, we're heading to 80% of human population living in cities, 90% in Latin America, that we've got to bring nature back into the city. And I don't mean in a manicured way like parks and back gardens or window boxes, but finding ways to make cities largely self-sufficient for energy, food and other resources. And that of course is in no way to undercut what goes on outside the city but about connecting the two. And the great role of that deeply restorative restoring of the landscape and the ecosystem as we produce food as Severin outlined. So then these also have to be places which are delightful and inspiring because then those 80% of people who live in cities are deeply reconnected with recreation, reconnected for many of them, it'll be for the first time. Now I grew up in a big industrial city in England, Auckland's the smallest city I've ever lived in. And nature was something that was deeply manicured in the city and we would go off to the mountains or the coast for wildness for nature. Well that's completely crazy. I want my wildness in the city. There are some technology pathways. Biomimicry is one, people like Janine Benius in the United States. And this is where we borrow and barely adapt technology from nature, the old joke that nature has been doing R&D for four and a half billion years. It knows some stuff. A couple of examples from the slide at the top, that's an office building in Harare in Zimbabwe. Zimbabwe is pretty high up so it's hot during the day and it's cold at night. But that's a modern office building with no artificial heating or cooling. So that the ventilation system is based on the ventilation system at Van Anteep. So if you can heat and cool in Harare with extreme temperatures without mechanical, sorry there's a little bit of fans blowing some stuff around but not much, then what else do we do? And then there's wonderful things like self-cleaning surfaces that borrow at nano scale from the surface of a lily pad.  No. Wonderful self-cleaning. It goes on like that. I don't know what to make of cellular agriculture at all or airponics. Part of me says, crikey, 10 billion people need to feed well, eat well even if we stop wasting food. But look at a mess we're making, the ecosystem, the way we make food. Maybe there's something in this because this apparently has zero environmental impact. But deep down I can't believe if you grow some hamburger meat from meat stem cells that all the nutrition that we barely understand is there. Mwfri milk is based on a vague smulchrum of real milk. How can it possibly have all the deep, deep nutrition of real milk? But how do we do milk that's fair to the cows and the land? So I really wrestle with this and I don't know the answer. In terms of looking for people who integrate these things, a person that many of you are familiar with because Kate Scott quite a following these days is Kate Rayworth, a British economist who for many years was the co-editor of the United Nations Human Development Report every year. And when she worked for Oxfam one day five or six years ago, she kind of let up and started drawing circles on a whiteboard and here are the two circles. The outer circle is the most important one, that's the environmental ceiling. Those are the stock home resilient centres, planetary boundaries. We can't breach those because if we do, we have no future. Or the planet will be fine, it will morph into something else as it's done over four and a half billion years. But humans as we are now won't be around. But to get that deeply profound scale of change, speed of change and complexity of change, we've got to have communities where everybody is in on the journey. So we have the courage to move faster but the compassion to bring everybody along with us. We have to have common sense, a common understanding of what needs to happen, common purpose about what we're going to do and real common wealth about how that's shared. That only happens in communities with a social foundation where of course it's food, water, income, education, gender equality, all of that. But between that floor, that wonderfully strong floor and that absolutely unbreakable ceiling is the safe and just place for humanity where inclusive and sustainable economic development can happen. Kate's got a big book about this coming out this year because it's going to completely overturn economics. And so she was one of the people I interviewed and there's a bit of her in the book, so do watch out for Kate's book. Then there's the people. Think about some cities like Marseh which is 30% Muslim and 70% Christian. I put Christian in inverted commas because some people wouldn't call themselves Christian but whatever. But Marseh is a very peaceful city compared for example with Paris or the other end of France which has the same, has a lower percentage of Muslim citizens. Or Kerala, the state in India where pretty much equal mix of Christians, Muslims and Hindus. And yet that state has India's bets, literacy, life expectancy and health care. Or indeed Queens, New York City, a borough that's bigger than Auckland, 2.3 million people, 138 languages spoken, a crucible of creative diversity. So these are the observations of two Americans, Karl Mayer and Shareen Bresak in their books, in their book packs ethnica that came out a few years ago. And they travelled the world to find these sane oasis in a rabid world. So these are oasis of civility where human ingenuity and determined statecraft had diffused potentially explosive civil conflicts. So as we go about this there's an awful lot of fun that could be had. John Berger, who sadly died at a great age just a few weeks ago said this about cities. Every city has a sex and an age which has nothing to do with demography. Rome is feminine, so is Odessa. London is a teenager, an urchin and in this hasn't changed since the time of Dickens. Paris I believe is a man in his twenties in love with an older woman. I put this to people in Auckland and the best answer I ever had was from one of my daughter's great friends, Catherine, who said that Auckland is a middle aged Pachihar semi sober businessman. There's work to do. But how does New Zealand contribute to this? This is what's happening for example in China. Jing Jing Ji brings together Beijing, Tianjin and parts of Hebei province around it. An awful lot of people, very high density of people. That's New Zealand by comparison and Jing Jing Ji would occupy about three quarters of the South Island. It makes no sense that we have anything to contribute but this is in Shenzhen. This is a wonderful marysfrolg, high end ladies fashion, wonderful designer. This extraordinary building has been designed by Van Brandenburg, an architectural firm in Dunedin. And pioneering architectural construction techniques which are right for local people in China. So there's some wonderful concrete stuff going on here. It's like the concrete's a problem but the building's very inspirational. This was Auckland shortly after Hobson planted the flag at Brittenmark Point in September 1840. What a most extraordinary physical place with the two harbors and the bush and volcanoes. This is Tamaki Makoro today. Our ability to make this an extraordinary city as the same sort of opportunity that Wellington or Christchurch has means that I think we do have something to offer. But it's probably more about the way we work and a lot of the cultural things rather than say oh well we've got big cities too, we know what it's like doing big cities. So what we've got to do is to make sure that everything we contribute in this and this is why the global impact visa is so important about bringing people here from places like Sampalo or Beijing or wherever to be able to help support them in a different kind of way than they would in their own countries to tackle some of these issues. And we would benefit hugely from it of course. But we've got to do this in very distinctively New Zealand ways. In a fast homogenising world where one country, one culture looks ever more like another, our identity and what we can contribute to the world is really important. So this building is the first living building in New Zealand, a very demanding standard out of Seattle where buildings are self-sufficient for energy and water. And it is dead right that this is Tuhoi who built this in the Uruguay era. I'm going to let you read this because I don't think I can get the words out but it's better you read them. This is Alan Kerno in 1943 at the depths of the Second World War and when we last saw fascism on the ascendancy, he wrote a poem celebrating the 300th anniversary of Tasman's sail-by of New Zealand. What?  Anyway, he sailed by. But what was going on there, innovation and this is what Alan Kerno's wonderful poems about is innovation then was, heck, you just had to sail in a different direction for everybody else and you need to bump into some new land. How hard was that? Well actually very hard. But here is just a few lines from that poem which I think is the challenge.


What's going on everyone? Sam here with late sports cards. We're ripping it one box of choice 23 moment draft choice for to make up for some missing autos in the last jumbo case We didn't end up missing three autos total. So number seven very number seven. Thank you. Um, what did I say? No, you didn't say okay for this is for number seven. It's in the title um, so again, this will just be uploaded a separate video all these three autos will go with the ones from the Number seven obviously so good luck everybody. Sorry about that again. That's the first time we've missed any Everything has been pretty much dead on with that one. Yeah, three autos in the entire one We had like it's like one missing in three of them or like four of them and then one and one had like five or something It was ridiculous like weird It must have just been one extra. I'm uh, that's on me. I must have just miscounted to be honest Um, so good luck everybody. Good luck. See what we got We've got a or an a j ewing to 150 on the choice exclusive auto grads on that mets This one there Mets aronis New York Mets filler card Uh base auto is going to be of set the keener for the uh, white socks grads on that shot town Very nice. Very nice White socks that is shot on white socks And then we've got a green lava of joe whitman going to the giants 299 that is uh, 69 of 99 on the green lava log So congrats to everybody who hit again. Sorry about that. Like I said, I just wanted to get some confirmation Make sure that I was allowed to do that. We are good. Those will be included with the uh, the last break So again, sorry to apologize on that and I'll get those out to everybody


As defined by law, cultural heritage refers to the totality of cultural property preserved and developed through time and passed on to posterity. Cultural property refers to all products of human creativity by which a people in a nation reveal their identity. These include churches, mosques, and other places of worship, schools, and natural history specimens and sites, whether public or privately owned, movable or immovable, and tangible or intangible. In the series of lectures, esteemed educators from our national university lend pertinent discussions thus open academic discourses on Philippine cultural heritage relating to their respective fields of discipline and expertise. These can and may be used as resource materials for further learning and study. Respected archaeologist and professor Mandy Mejares points out that archaeology and cultural heritage cannot be decoupled from each other. Archaeologists must be concerned with the preservation and protection of our cultural heritage. They are lectured beyond archaeology and cultural heritage. First, we find what is archaeology. Cultural society's past likewise is focused on materials that have been remained by past civilizations and understand and construct their likewise. While cultural heritage is defined by Tikkobos, it is an expression of the ways and healing developed by the people and pasts on the region, including hostels, practices, and most of our cultural behaviors. When we talk about cultural heritage, they mostly think about large scale monuments such as, for example, in Europe. We have a stonehenge on the famous site in England. And of course Asia, our biggest monument, in such a case would be the Angkor Wat. So when people think of cultural heritage, always think of this grand scale. Unfortunately, we don't have any really large ancient monuments in the Philippines. And we would have to rely on something else to be able to understand our cultural heritage. Most archaeologists would focus on the artifacts per se. The cultural remains instead of the good monuments. Like, for example, stone ghouls, batteries is different designs, and the beads or glass beads are metal-implemented. So these are the artifacts that are focused on archaeologists. No longer the bigger monuments that most archaeologists have. For me, when we talk about archaeology, it's just not talking about the artifacts, but that's to be concerned also with the site. The site is the matrix and the context of these cultural materials without understanding them using the artifacts plus the beautiful materials. So most archaeologists focusing on artifacts devoid of the matrix would have just been describing it without really understanding the cultural past. The top of the site, as a building example of the open sites, is our large-scale habitant sites. The one up there is a booth. The one down there would be Pona Pampanga. We also have cave sites for which I primarily work on. Cave sites would depict a different types of enclosed excavations. And of course, we also have underwater cave sites. Especially, wreck sites that we've been able to recover mostly in historical materials. Take example of this site that was created in 1995 at Ngbatanes, in Guz Island, excavating these bones, bone shape barrels. The bones always been the burial and the bone shape as a heritage. And of course, it's also granul. You can see this nice bone shape excavated to see these human remains. But if you only look at the bone shape and the burial, without this surrounding environment, we're losing a lot. For example, this is a site of a plenary of what Pampanga is. We see the bone shapes, but the bone shapes has to be connected with the lab bahayans, the old structures, the jans. So, both as we understood, as told to each other, other than look at the bone per se, we have to look at the environment and its social context. In order to understand the past, context-wise, we need to understand if we do research on the matrix. So, we do a lab now of context-understanding the artifacts, we understand the soil, soil structure, using soil mineralogy, using technical analysis to understand how things are being deposited. And we do it so we may be able to reconstruct the history of how the artifact was buried, what transformed after the burial and what transformed after the burial. For example, it's invading soil sediment. We are now going over a lot of charcoals. Charcoals are not just simple circles. If you look at the microscope, they can be different types of plants. For example, this is Pampangaima. Pampangaima is basically the skin of a corugra. When it's buried, it can be preserved well. And if you be subjected to another analysis, like samples scattered in the microscope across the field, we're in to see the details of the class structure. And with that, should be required whether it's Pampangaima or wood. So, it's not just simply collected charcoals for dating anymore. It's collected, tending charcoals for identifying the plants remains of the past. This is an interesting story. We're in to find an biological sample associated with the future remain. This eye is our bone marrow portfolio or ramean. Ramean to what rameans are used for is fiber. This model is called the white ramean. It's being used again as fiber to give a type of viewing. So, let's see at the background. There, these are basically the states that we will go over archeologically. And you have the fiber that's derived from the stem. So, you have the biological material and we have the artifact used to spin the fiber. It's one of the rare questions when you have the correlation between the plants and the artifacts. So, skin on walls like this are used to spin it before weaving. And these are samples that are dated to about at least 3,000 years ago. Because a lot of what you call microtonicus, such as asphyxidids are samolong morasea or bread food. You have the samples for the cibera or coconut. So, we know from this plant remain that they were actually using these plants 3,000 years ago. The human types of grass, bamboo and seprasea. Seprasea type of grass that grows along the riverbanks. So, we know that they're collecting grass from riverbanks and probably using that as mats or baskets. Suppose you think that okay, organics don't survive, but there are remains that can be used to identify the plant remains. This calo cave, malama main at low to the side. It's a very exclusive place. It's one of the biggest cave sites in the formation. It's located in the northern zone. And it's called the Calo Man's Formation. There are 25 hundreds of cave sites. And most of them are not yet even excavated. All of us make around 12 cave sites in this area. But it's also the home of the Calo Man. 67,000 old fossils discovered in 2007. During the excavations, as you can see in this map, thousands of excavations in the 70s and 80s. At this time, the excavation started in 2003 until 2003. It's always been a problem in how the artifacts, the bones were being deposited. Most of my colleagues will think that this big gap here of rock wall was the former ceiling that collapsed. If we take that view, the mouth of the cave is farther south of what's now okay. But during my excavations, it seems that there must be something wrong with the depotations. Because when we excavated, just from the area, I'm not even sure about any fossils. So what's wrong with the depotations? The problem is, it's not actually part of the falling ceiling, but actually it's a falling wall. So the wall collapsed around in the homes ago. And during the time of the cave being used, there was actually no entrance. The only way to end the cave is by a simple. See if you'll be able to see the form of a circular meaning a digital structure of a safe home. So when this 70-years-old company was working around this area, he or she did not enter via the cave mouth, but via the safe hole that looked down before we were able to access the cave at the chamber A. In understanding that, then we have to check now how are things being posted. Looking at the different types of rock formations we've excavated since 1990 in 2003, you'll see that most of the caves rock formations are deep in south-west. So why are we saddening now? Why are we saddening now? Looking back when this creature was living in this area, there was actually a spiral river across where this is the most-being-impossed cave of the outside cave. People came via this spiral river. Understanding that, then, enough people were, most of the fossil would be, and they would be mostly along the side of the wall. So without understanding soil sedimentation and the structure, the context of the aquifax, the more difficult to pass, the more pain-point where to locate our excavation sites. So that understanding made people understand different depictional history of the usage. Now, we know that the bones was washed in, that this person did not take this at the cave, but he died outside the cave but the bones were washed in by the palm of the river. You see that this is a cave site. And the main agent for the position is watery water pigs. Even if it means removed to the palm of the channel, to the eastern cave, is the water of the cave. In the palm of the channel, with this side of the palm of the river, the brexit at the probation for serving all the fossils. Archaeology and cultural heritage did actually be separated. One, two, three. And for me, if you're an archaeologist, one has to be concerned for the protection and observation of all these heritage sites. It would be unethical for an archaeologist to just excavate and leave the site without any protection, or form of safeguarding at the area at the same age. I think it's because the it's because F word towards seeing the site as part of a full guarantee of heritage or in the artifacts, the void of the site is meaningless. But the problem is most archaeologists are just focused on the the artifacts per se and most often the sites are forgotten and sometimes even subjected to elemental destruction or the worst human destruction as a shahandi. When I was excavating the channel cave in 2007, we need to be able to protect the site yet make it part of the learning process that comes in into the cave. So what we mean is we did a story of the wall to make sure the walls won't collapse. We put an iron in parts as explanation for tourists of coming into the cave that they may be able to be educated. We have even placed a number of artifacts along the wall. So when people comes in the cave it means able to see what artifacts would be over to the site. The problem is when I left the site I thought the management of the cave would be able to protect it. What happened is that they removed all the art and then they created a long cave type that basically consumed the whole excavation area. So people will be able to see what's inside Once the site has been done what happens at the inside is that the cave becomes a big garbage pit. People are going there to stuff there. So it's a lower interactive as possible. The plan is if it be like a site museum so it would be quite partial of that penalty. But when people will have the close test that the site will say it's also as important as the artifacts the sites. In 2015 when I went back to the excavation at Calo Calo cave again had to excavate deeper wider and even going beyond the fence area. I'll destroy it part of the pathways. But that's not important once you stop excavating you go to the next stage of post excavation preservation. So what we did was again created a structure pull up on the sacks so sediments and before we left after a scene nothing happened. So for me and that's how you preserve sites you need to be able to really it's really expensive. One has to invest if you have money to excavate you have to have money to preserve if you don't if you only have one half of it then why excavate? It's nice to have all these artifacts being brought in to the museums. When at the museum you see them all these dioramas but the problem is it's devoid of this proper context. For me the site percent as part of the heritage that once we leave the site we also be able to develop it normal people there can be able to appreciate their heritage if you remove the artifact out from the museum to satin there anymore for the local people to appreciate without that they won't be educated and they won't be protecting the site. The only way to put the site is to get them involved in the protection but this has been done where indeed we are able to see that there is a proper way to preserve the heritage based on the local situation based on the local environment That's why for me I don't keep the heritage to know artifact in the site preservation I'm Dr. Armas Egotomi Harris U.P. at Dollar Stardust Program Thank you


In this presentation we will discuss employer responsibilities and processes related to payroll. One of the things that the employer will need to do and will need to do whether they are a corporation or a partnership or even a sole proprietor is to get an employer identification number from the IRS that done with the form SS4. So this is going to be a just a reporting type of document that we will need to have we'll need to use this employer identification number when we process our tax documentation and of course any type of a regulation body is going to know us from a number and in terms of processing payroll for the federal payroll we need to have a separate number that being the employer identification number now this number is going to be important because it's it's it's more standardized in terms of just employment meaning any type of organization can get the an EIN number even if we're a sole proprietor a partnership the or a corporation so the corporation as we know is a separate legal entity and it's going to have its own its own corporate number when reporting income taxes but the the formats of a of a company such as a partnership typically have different types of reporting requirements in terms of the number when reporting income taxes and a sole proprietor possibly could be in a situation where they're using a social security number so we have a different type of format for reporting and a number basis to the IRS for income taxes so the the employer identification number can be used then to give the IRS more of a standardized process when we're talking about payroll no matter the type of entity that we will be using the employer identification number can also be useful for sole proprietors if they want to process 1099 type forms and not have to use their social security number in certain types of documentation as well so even if we don't have any employees in essence if we're a sole proprietor we're kind of our own employee in some ways and we may want to have some other number representing our business other than social security number and that could be these the employer identification number the process for for applying for the SS for fairly straightforward you can do it online an online application as well or go to irs.gov irs.gov and if you go to forms and go to the SS for you'll find the application form and you can just go through the steps for the application form it's a one-page form pretty quick form to fill out and get going notice some of the key components will be the type of entity here where we have the sole proprietor the partnership the corporation so we have all the all the different types of entities that we can have here applying for employer identification number using the same form that's part of the purpose here and then we've got also the the reason for applying if it is it a new business or did we have new hires possibly that are that are taking place meaning we're starting to have employees and therefore need an employer identification number once we have that then we're going to report that on our federal forms that being the 940 the 941 payroll processes could change and differ when we're talking about large companies and small companies obviously the larger company is the more complexities we have the more legislative requirements we typically have we oftentimes have to meet more legal requirements and we need more internal controls to safeguard ourselves as our our company grows one problem with large companies is is we obviously have more employees we have more time to track we want to have some system that can possibly be more electronic and serve as having more accountability even if we don't have the direct supervision as easily to track more people so we're going to have probably some electronic type of devices to clock in and clock out within larger companies devices that employees can can use to log in and log out those methods are going to need some type of of good security system and including security secure login so that we can make sure and safeguard against the proper logging and logging out we can safeguard against we might have some type of requirements to make sure that the person logging in is the actual individuals whether people can't log in for one individual and start start their time clocks we might have some individual identification methods we could try to limit the log ins by a location as well so make sure that it's not an online login we can try to limit the login to a specific location we might have the time clocks that have to be punched in at you know a specific location when we're talking about people in different locations we could clearly have some type of online type process as well for people to log in over the web to have the login access and report their time and then supervisors be able to collect that time over a web based system as we do that we want to make sure we run into problems with cybersecurity to make sure that all of our information is secure as we're as we're processing the payroll information we want to have more complexity in terms of the database system to limit the types of people that have access to different things to be able to separate duties between individuals who are logging in and approving time and recording time in the payroll process therefore to have that separation of duties we will typically have multiple types of divisions within payroll as the payroll department gets larger as we have different payroll we're going to have different divisions and different segmentations that you will have access to within the payroll system to allow for the separation of duty to allow to reduce the likelihood of fraud or theft now in order to deal with this type of complexity payroll will often be outsourced so payroll is becoming more and more something that many companies will specialize on companies like adp or paychecks these are just going to be a few uh type of companies that will specialize typically in just payroll and they'll provide a lot of these types of resources now there's a lot of pros and cons to outsourcing or ensourcing or doing your doing your payroll within the house or outside one of the pros of outsourcing to a third party like adp or paychecks is that they specialize in payroll and therefore they have the knowledge needed in order to process payroll and typically have hopefully the ability to keep up to date with new laws and regulations as well as dealing with places in different parts of the company country different parts of the world some things we need to be careful of of course is that because we have adp and paychecks processing we still need to put it into our accounting records in some way or another and so what that could differ the way we do that could differ depending on what we want to set up how we how we're going to set this thing up so in some way or another the outside individual is going to have to get that information input we're going to have to integrate that into our system so that our financial statements represent and reflect what has been recorded by payroll and paychecks the other problem of course is that it is bringing in an outside source that we are becoming dependent on we're dependent on payroll and paychecks in order to process a key component rather than having the full control over that processing in house good job


Hi there and welcome to the channel. So in today's video we are going to be planting up a whole pile of flowers today and we're going to talk about why you should be adding flowers into your vegetable garden. So introducing flowers into your garden has a lot of perks besides just adding beauty and color to your garden. Flowers can be used to deter pests and attract all sorts of pollinators. So we're going to go through a bunch of flowers that I'm going to be starting here today from seed and talk about why they are a benefit in your vegetable garden. One of the favorite flowers that I like planting and putting amongst my vegetables in the garden is the nasturtium. I have a couple different colors here today that I'm going to start from seed. These are also very easy to collect seeds from in the fall. I just didn't do it last year but I definitely will try to do that this year. So it is said that the scent from the nasturtium helps repel pests. I like to plant these around my tomatoes and peppers. I find the nasturtiums really spread around once they get into a garden space so I like to just put them right into the ground as opposed to containers just to let them really spread. We are about a month away now from last frost date which is mid-May. We're in mid April here. Most of these flowers I'll be putting out probably towards the end of May once they're well-established and I've done some hardening off with them. So the cosmos and the zinnias are another couple great flowers that attract the bees and the hummingbird. They make wonderful cut flowers as well. You can see zinnias have a whole bunch of beautiful different colors. I collected some of my pink zinnias seeds last fall so I'm going to try planting a little bit of each of these. The sweet to lesson was something that I've often bought and just used as a filler in my pots for my flowers to go with my flowers. I didn't realize that the elitism was also a great flower to have in your vegetable garden. Especially the white color they say attracts the most beneficial insects to your garden. It also is very effective as a living mulch because its shallow roots hold the soil in place. The elitism flower is supposed to make a good companion flower to plant along with your potatoes. So this is something I plan once these get well-established here I will transplant them directly into the ground amongst my potato crop this year. Something else I want to introduce more of into my garden is native grasses and ornamental grasses. So these are some that I'm going to try starting from seed today that make a really pretty flower in pots or in your flower beds. So this is the ornamental ruby grass and the bunny tail grass. I'm also going to try some of this amaranthus which is not really a grass but I like to use it as a centerpiece in a lot of my flower pots. It makes a really pretty flower. So I'm going to be starting each of these from seed. I also had started some of this ruby grass in the milk jugs using the winter sowing method. So that is still sitting outside no signs of sprouting yet. So hopefully in the next few weeks we will see if this works in the winter sowing method. So both the native grasses and the flowers also help to maintain a healthy garden ecology by holding the soil in place and by feeding the beneficial soil organisms when their roots die back. So here in the Saskatchewan Prairies we are lucky to have very long days of sunlight starting now. The days are always getting longer every day. Sun comes up around 5, 5.30 right now. So being able to put all my plants here in a sunny window is a great way to get a lot of flowers going without having to use any grow lights. And of course if you don't have the time or the space to start flowers indoors yourself a lot of these are easy to find at the greenhouse or grocery stores, the big box store sells most of these types of flowers that are great for your garden. Sometimes I just directly plant my flowers right into the containers that I'm going to be setting them outside in. These are my impatience that I actually saved last fall from cuttings. So I grew these impatience all winter indoors and then took cuttings a couple months ago, rerouted them and now I'm putting them back into these pots to go outside again this summer.  And as you can see it's really taken off. I probably will take a bunch of cuttings off of this and try to multiply it into several more plants to go into the garden. Merry Golds are another flower that are really easy to collect seeds from in the fall and they are a great companion plant to put into your garden. I like to just direct sew them into these old coffee cans that are kind of rusted up and rustic looking. They seem to like growing in there and then once they get going just set them out in the garden in different areas. You can move them around. Merry Golds are very good for deterring pests from your vegetables. These are some strawberries that I purchased from a local greenhouse just as bear root crowns. I got a package of 24 of them. I think they were only about 75 cents a piece. Brought them home and potted them up and I got two or three different containers going plus a whole bunch of extra more that I can probably put directly into my garden. I like to plant strawberries in with my asparagus. Strawberries in asparagus are supposed to be good companions in the garden as well. Some other flowers that I'll be just directly sewing into the garden are poppies. Lots of sweet peas. Sweet peas can be direct sewn into the soil. Fairly soon they don't mind a little bit of cold in the spring so I got a couple varieties of those. Those of course attract the bees and the butterflies and sunflowers. I'd love to have those all over the garden as well. Some of these I may start indoors but a lot of them can be directly sewn into the ground as well. Some of the things that I included in my winter sewing jugs this year was borage and calendula. Both are great for attracting the bees and also from deterring pests. I should also mention that in addition to flowers your herbs that you may be growing in your garden are great companions amongst your vegetables. Basils are great to plant close to your tomatoes. Things like the dill and the cilantro if you let them go to seed and let them bloom they make a great attractor to a lot of pollinators to your garden. So to be sure to add these to your vegetable garden as well. So it could be that I maybe want a little overboard on the amount of flowers that I've started indoors this year but I really cut back on the number of vegetables, tomatoes, peppers, cucumbers that I've started indoors and I think you can never have too many flowers in your garden. There's always a spot that you could stick them somewhere. So this is what the garden is looking like today. It's still pretty cold here on the Saskatchewan prairies but the ground is slowly starting to warm up and I'm excited to get outside and start getting my garden ready. So hopefully on the next video we will be outdoors checking out my garden getting it ready for the summer. I hope you enjoyed watching this video. Please don't forget to leave a comment, hit that like button and subscribe so that you don't miss out on the next video coming to the channel. Thanks for watching.


From the heart of the jungle comes a savage cry of victory. This is Tarzan, Lord of the Jungle. From the black core of dark Africa, land of enchantment, mystery and violence comes one of the most colorful figures of all times. Transcribed from the immortal pen of Edgar Rice Burroughs. Tarzan, the bronzed white sun of the jungle. And now in the very words of Mr. Burroughs, the story of Tarzan and the Manuema. Once again the moon was full and still the rains had not come. In the Shamba near the village, the half-formed ears of the kaffir corn had dried up. The plantains were like hard stones and the cassava roots were dust that would yield no meal for bread. The men and women of the Pugna tribe that grown gaunt and the children cried because of the pangs of emptiness that racked their small bodies. Hush, Tarzan. Hush, Tarzan. Hungry. Nagama knows her bailu is hungry. Her heart weeps. But there is nothing to do if Tarzan's friend Tarzan were here. He could do something. Nagama is afraid that even Tarzan could do nothing. What's that? The people of the village. They are filled with excitement. Perhaps Kisanda of which doctor has found rain. It will take more than a divining rod this time. Nagama, she better open door and see what people... They come this way, Tarzan. Why should people of the village come to us? Why, it's Tarzan. Tarzan. Jambo Nagama. Jambo. Tuggle, he is all right. Tuggle right behind you. Hello, Tarzan. I will speak with you later, people of Pugna. Let us go inside. Oh, you are thin, my small friend. There has been little to reach. Oh, but now, now the rains will come. Tuggle, Tuggle, Nagama, that Tarzan could bring rain. Oh, no. No, I'm afraid I can't do that. Oh, but Tuggle, Tuggle, Nagama, that Tarzan could... I, uh, I plan to do the next best thing, though. I'm going to take the people of Pugna to the rains. I've brought some meat and as many water bags as I could manage. Tomorrow your tribe must begin a long trek to the mountain country. The trip will be hard for a people weak from lack of food and drink. Well, I, I plan to make it easier. I'm going ahead and blaze a trail. I'll try to have some meat and some water at each night's resting spot. Do I, do I smell food now? The women are preparing what I brought. You'd better get out there, Tuggle. I want to see you looking fatter than when next time we meet. Oh, don't, don't leave Tuggle, Tarzan. Take Tuggle with you. You want to come with me as I blaze the trail and hunt for food? I would have as far to travel if I come with the tribe. Your small head is always ready with answers, isn't it? Oh, say that Tuggle can go with you. Oh, what does Nagama say? Nagama never worries about her bailoo when he is with Tarzan, lord of the jungle. All right, Tuggle, you can come with me then. Tomorrow we will lead the people of Pugna to the mountain country of Kenyatta, where there is bound to be much rain. But for once Tarzan was wrong. The people who lived at the foot of Kenyatta, the great slumbering volcano of the north, were as hungry as those of Pugna. A cannibal tribe, the Manuemas garishly painted faces shown in the firelight as they talked over the problem. The grizzly souvenirs of their victims, which they wore as decorations about their necks, tossed in rhythm with their swaying bodies, and their teeth filed to sharp points, gleaned wickedly as they faced their discredited witch doctor. We, doctors, you log in. No good. Aye, aye. Fruit dries up animals. Leave Kenyatta. Cuttle grows sick. Aye, aye.  Aye, aye. Kenyatta is angry. The great volcano frowns upon the people. A Manuema. Aye, aye. Manuemas need new witch doctor. More powerful, you log in. Make sacrifice of old witch. Speak witch doctor. What you say is true. The fruit has dried on the vine. The rain refuses to come to our country. And our people grow weak. It is true also that this is because Kenyatta, the greatest of all volcanoes of the Congo, is angry. But only I, Uroge of Manuema, can tell you why Kenyatta is angry. Then tell us. Kenyatta is angry because many moons have passed since we have made human sacrifice. You will be human sacrifice. Only I know what Kenyatta demands. He tells me he does not want me, nor any member of Manuema tribe. But no strangers come to our country now. Soon they will come again. In the lowlands it is even drier than it is beneath the shadow of Kenyatta. Our men must go forth and select from the strangers a small boy to sacrifice to the god of the volcano. Aye, aye. And we must also capture a grown man from those who come to our country. The biggest and strongest man we can find. From his flesh and from his blood will the people of Manuema grow strong once again. Aye, aye. We shall return with our story in just a moment. Even as the cannibalistic savages of Manuema started out to find a young boy to sacrifice to the slumbering god of the volcano and to find a strong man to appease their own inhuman superstitions and appetites, Tarzan and the small Torgo plunged deeper and deeper into the jungle thicket. Behind them they left a blazed trail for the people of Punya. Well, I think this is as far as we can go today, Targo. How long it take tribe to get here? They ought to reach this point by tomorrow. I only wish I could find a little waterhole near here like the one I found for them yesterday. They ought to be there by now. Or they must be much happy when they see there you kill for them and great waterhole you find. Well, not much water in it but enough so they won't die of thirst, I guess. Are you tired, Torgo? Oh, no, Torgo, not tired a bit. Oh, you're yawning. Aren't you ready to go to sleep for the night? Tarzan. Yes? Tonight couldn't we build a place to sleep on the ground somewhere? Oh, we haven't time to build anything. And it certainly isn't safe to sleep on the ground without protection, not with the temper of the stray animals who are left around here. But I get afraid up in the trees.  No, no, that is not the reason. Well, maybe not. I think I'll take you back so that you can sleep in your mother's tent tonight. Oh, but Nagama and the rest of the tribe are day behind us. A day by the ground trail we traveled but only a short time by the upper level. Oh, but when Tarzan swings from tree to tree and from vine to vine, he has to carry Torgo on his back like a tiny bell.  I often travel on the back of Tantor, the elephant, and that doesn't make Tarzan a bellew. Well, that is different. Not a bit. Nowhere is there anyone who's so great or so strong that he needs no help from another.  We'll see if we can find Mama Nagama. And so with Torgo's small arms touched about his neck, Tarzan swung noiselessly through the upper level of tangled jungle growth, like the great apes who had raised him from childhood. The members of the Punya tribe were retiring early in preparation for the next day's march, and the camp seemed almost deserted when Tarzan and Torgo dropped from the sky. I'm sorry, Sui. We didn't mean to. Sui always frightened by everything, not brave at all. Oh, Sui's all right. Sui, where is Hima of Nagama? Here.  Always left like dango de hyena. You stop giggling for a minute and tell me where Nagama is. Tarzan and Torgo ran through the forest until they reached a looming palisade of sandstone, below which lay the once abundant watering place. Now, in its fetid heart lay a great crocodile, and beyond the savage reptile was Nagama, cut off from retreat on one side by the great walls of stone, on the other by the hideous monster. Quiet, Torgo. Gimla's watching her. If she starts towards you, Gimla may attack. Be quiet. We creep up silently. Don't step on any twigs. I'm in a position to shoot. If only my arrow can pierce that tough hide. Well, the wounded reptile slithered rapidly toward the nearest human, Nagama, but faster still moved Tarzan. He died at the animal, his great hunter's knife gleaming in the moonlight.  But as Tarzan landed on the scaly creature, he wrenched it over on its back with almost superhuman strength. The knife rose, and then it flashed down into the vulnerable pale belly. The animal's great tale played the air with maniacal fury. The knife plunged again and again, and at last, a frantic lashing of the beast stopped. Tarzan put one foot on the dead crocodile, and then he raised his voice in victory. All right, my son. I have brought Torgo to spend the night with you. He doesn't care for sleeping in the treetops. The dangers here are far greater. Every living thing fights for the drop of water and the morsel of food that are left. Please, Tarzan, keep Targo with you. He is safe now, only with you. Tarzan. Well, it's not much protection, but it was all I could build in a couple of hours. Well, last night, before we went back to Nagama, Tarzan said he has no time to peel house. I didn't have time today, but I can't leave you alone with no protection. Alone? Yes. While you sleep tonight, I shall have to hunt. The game grows scarcer, and there is next to nothing here for your people when they arrive. They come soon? They should be here by tomorrow night. I thought by the time we reached the Kenyala country, we would have found many animals and fresh springs. Where will we go next? I don't know. All I do know is that I'll have to comb the jungle tonight and find some food and water. You won't be afraid alone, will you? No. Only it would be easier if Tarzan bought rain. You still think I'm capable of anything, don't you? Well, go to sleep. Who knows what tomorrow may bring? Sleep well, my small brave warrior. Treehouse, far up. Hard crime. We are here now. Look. The boy sleeps, and he is alone. Nedi. He's a fine-looking youth. Kenyala will be pleased. He will then send us a strong man to nourish our blood, and after that he will send the rains, and the manyuema will be powerful once again. Enough of talk. Anjali. Another scrap boy.  He must not cry out. Ready now? Aye. On the cross. Tarzan! Limbako Sokomo to appease your wrath. Limbako Sokomo. His body has been anointed with rich oil. He is great sacrifice. All right, all right. Stand still, spoil boy. You spoil ceremony. Dog or nothing, I do.  Tarzan big and strong.  Who is this Tarzan? Or he is Togo's friend. Even now he hunts in the treehouse for Dogo. He is big and strong? Huh? Or twice as strong as Sheetah the Panther. He is White God. Ah, then the sacrifice to Kenyala will not yet be made. We will wait until this White God comes to seek his young friend. Then we will have sacrifice for Kenyala and also sacrifice for hungry warriors of Manuema. In just a moment we will continue with Tarzan and the Manuema.  And high on a tree just beyond the circle of flickering firelight a great bronze figure stood voiced. Suddenly a spiral of woven rope flashed downward over the head of a twirling dancer. In the half-life the rope was invisible and all that the other natives could see was the fearful sight of one of their members being hurtled upward through space. Oh! Did you see that? Injala, he, he, he disappeared into heaven. It is some sorcery we do not understand. Injala behind me. I look round, he is, he flies in air. It is Injala, he has been thrown back from the heavens. And only a slender lion on his throat. Our enemy has strong Yorogi. Ah! He's taken from us now. He too. Speak enemy, tell us thy wish. Unless you release the small boy I shall kill your people one at a time. You hear that, witch doctor? I shall kill you one at a time. Let the boy go. Thank you. First Injala. This may be some trick. We not know that you are God of the volcano. Give us some sign. Unless you do, we hold the boy. The sign will be shown tomorrow night when the moon writes a sign so great it would leave no doubt. But if there is one mark of violence on the boy A dozen feet away from the encampment Tarzan dropped the hollow log he'd been using as an improvised megaphone. And then he swung to the upper level and hurried to meet the punya tribe that was slowly approaching the kenyara country. As dawn crept through the jungle he dropped to the ground near the weary caravan and he was soon facing Nagama making the most difficult speech of his life. Night, poor Bealu. First I wanted to burst into the camp and kill as many of them as I could. But there were hundreds of them who, Togo, would be killed before I could reach him. He was bound and gagged. But you think they will not hide him until you return? I'm sure they have accepted my voice as that of their God but I have to perform something more sensational than I did last night if I'm to have a chance of saving him. What can you do? Well I have a plan, but first I must ask you a question. Yes? Has anyone here felt any rumblings beneath their feet? Rumblings? A very slight vibration of the ground. But none of us had the acute senses of torsion. Well, if you felt nothing then perhaps the manuamers haven't either. Where is Sui? What can a silly girl do? I have to see her. Please Nagama find her for me will you? It's really important. Sui, do you remember those bullets you stole from the camp of the white men when they came to the Punya country? Oh now Sui, this is important. Togo's life depends on it. What did you do with those bullets? You were giggling. Look at me. Look, bullets are the small hard arrows that come from the Tamangani's thunder sticks. Remember? I found you with them.  You did not. I saw them later around your neck. You'd made a necklace of them. Where are they now? Man's bullets. And to think that this curse of the jungle may yet save the life of Togo. Not, Tarzan. We are almost to the top. Almost to the top of the mighty Kenyara. And I still haven't seen any suspicious looking fissure in the rock. Fissure? Yes, a cleft, a narrow opening, a crack. Over there, but that hard crust of lava. Is that a fissure? Yes, Nagama, that is. Come. Yes, this spot might work. Wait until I put my ear to it. Ah, this is it. My body will be saved. We can only pray. You have the gunpowder we emptied from the bullets. Leader. And the fuse of dried weeds I made. Leader. And you can see the camp of the Manuema from here? The camp in the ceremonial fire. Togo is near the fire. Yes. You will watch that fire, Nagama. And if you see it flare up, suddenly it will be from the powder I throw on it. That will be a signal for you to light the fuse and then run for your life. I understand. You... you know that you may not escape. Many times in jungle mother risked life for Charles. By the time Tarzan had reached the base of Kenyara, the moon had risen. He stood at the edge of the village. His face was painted with garish colors that outdid the Manuemas. And his body was smeared with a phosphorescent substance. His mighty figure, luminous in the sable night, looked for all the world like that of some strange jungle god. As he walked boldly into the camp and approached the fire. Who approaches the fire of the Manuemas? I am the god of Kenyara.  I fear not your anger. My anger is mighty. Unless you do as I say, I shall destroy all of you and your village as well. No, mighty witch doctor. Do not anger him. He is the god of the volcano. His body gleams like the moonlight. Last night his voice came like thunder and he killed two of our men. He killed them by a rope. I found it this morning. And his voice thundered through a hollow log. He is a faker. Capture him, men of Manuema. Wait. I give you one more chance. Unless you untie the boy, I shall produce the sign I promised you last night. And it shall mean death. Take him. The boy dies. And so does this defiler of a god. Stop. Put no hand on me. You see this bit of powder? I toss it into the ceremonial fire. So, men of Kenyatta. It means nothing. Take him. Oh, it is the sign of Kenyatta. Even now he prepares to wreak his anger upon you. Listen. Men of Manuema, the mighty volcano sends its messengers of death. The lava. It is coming down the mountain. The lava sprang from the volcano and rushed down on the village below. Native huts and fences and trees and rocks were swept away in the boiling inferno of fury that leaped forward. And all were killed. Save only the godlike creature who ran with the speed of bara, the deer. Beneath one arm, he held a small frightened native boy. And when he put him down at last, it was high on the hilltop from which the molten death had flowed. Oh, oh, Dargo. Oh, Dargo. I am all right now, Mama Maganna. Why you cry? I cry from happiness. You are unhurt, Nagama. You all went in the direction of the village. But when the last tide of destruction, we started to stop. Even now it stops. The rumble you hear is not of the volcano. It is thunder. Shaken from the sky by Kenyarra's might. The fruits and the grain will grow again. You see, Nagama.  We'll return to tell you about the next story of Tarzan in just a moment. In our next story, we relate Tarzan's experience when he forsakes the jungle for the city of Andumara. Andumara, hardly a dot on the map of Sudan, but the most important center for the thieves and outlaws and murderers of equatorial Africa, and the home of one of the most fascinating and deadly beauties of all times. Our story is called Tarzan and the Siren of Andumara. Tarzan, the creation of the famous Edgar Rice Burroughs, is produced by Walter White Jr., prepared for radio by Bud Lesser, with original music by Albert Lesser. This is a Commodore production.