Right, I've made you live, but if you wish to pause for maybe 20 more seconds, just to make sure that it's sort of going through clearly and uninterrupted, like the lag, I mean. Okay, thanks. Welcome. I can confirm you're now live. Thanks. Thank you very much. Good morning. Welcome to the meeting of the licensing committee. Subcommittee beg your pardon to consider the application for a premises license of ONT wines. And I'd just like to welcome Mr Theo Goff. Can you confirm Mr Goff that you are hearing me okay? Yeah, can confirm that. Great stuff. Good morning. My name is Joe's house for the moment, and we're just going to go through the protocol of starting this meeting up. Members and officers could ask you to maintain your microphones to mute for the moment while we do this and then as you are required to speak. Thank you very much. As I say, my name is Councilor Howes. I'm a member for Melbourne and the other members of the panels present are councillors Anna Bradman and Deborah Roberts. First of all, Mrs Roberts, may I ask you to introduce yourself please on your ward. Thank you Chairman. Yes, I'm Deborah Roberts. I'm district councillor for the Foxton Ward. Thank you and Anna. Thank you Chairman. I'm Councillor Anna Bradman for Milton and Water Beach Ward. Okay, so before we we could proceed any further, we need to formally approve the chairmanship or nominate the chairman for this meeting. May I have nominations for the chair please? I'd like to nominate Councillor Howes as chairman for this hearing.  Thank you very much. Agreed. Thank you very much indeed, Deborah. Right, so as I am now nominate as chair, first of all, for anyone listening and including Mr Goff, the application has to come to the lighting committee because the applicant is a family member of a serving councillor. That's councillor Neil at South Campus District Council and this is a process of protocol which is followed for all types of applications such as this. Now, there are also officers members present. So can I ask our legal advisor to introduce himself please? Good morning everyone. My name is Paul Weller. I'm the legal advisor for the subcommittee this morning. Thank you and our licensing officer. Good morning. I'm Jane Jackson and I'm the licensing officer. And our clerk. Good morning. I'm Victoria Wallace from Democratic Services and my role here is to keep in note of the proceedings. Thank you. In a moment I will ask the licensing officer to present their report. I will then invite the applicant to present their case and the subcommittee will then be invited to ask questions of the applicant. Other representations will be then invited from the police and other responsible authorities. Mrs Jackson, I've expected any such representations to be made. We've only got the environmental health officers representation. Sorry. In that case then, may I ask the environmental health officer to introduce herself? Good morning. My name is Suzanne Christie. I'm the environmental health officer for South Campus who commented on this application. Thank you very much. Following representations, members of the subcommittee will be invited to ask questions. Once the discussion has concluded, the hearing will close for the panel to conduct its deliberations in private. At this point the applicant, legal representative and the licensing officer will leave the hearing and the live stream of the hearing will end. Actually that should be the licensing officer. We will leave the hearing and the live stream of the hearing will end. Members of the panel will remain in the meeting and deliberate and then reach the decision. The panel's legal advisor and clerk will remain with the panel for the deliberations. Following the deliberations, all parties will be notified of the decision in writing and this will be published on the councillor's website as soon as possible. Apologies for my hiccup there, but I actually think that should be licensed in office and not already legal representations from Mr Goff. Thank you very much. Agenda rights are number two, which is declarations of interest. Do I have any declarations from members? Yes, Chairman. That's councillor Bradnam. And what would that be? So firstly, I'd like to make the declaration that I know councillor Goff, the applicant's father, but also this application is in my ward, but I come to this matter of fresh. But could I also ask that when people speak, because the applicant is taking part by telephone, he can't see us. So if we could say who we are before we speak, that would be helpful. Thank you. Councillor Roberts. No declaration, Chairman. Thank you. And then also I have a declaration as I also am familiar with the applicant's father, councillor Goff. Agenda rights are number three. Mrs Jackson, would you be willing to present the report, please? Yes, hello. The application to grant a new premises license for O&T wines at Pegasus House, Pembroke Avenue, Water Beach, Seabilly 259 PY was received by the licensing department and sent for consultation on 5 October 2020. They requested days and times for opening and the sale of alcohol for consumption off the premises only are Monday to Friday, 9am to 6pm, with Saturday and Sunday closed. The application was sent to all responsible authorities for consultation as part of the licensing application process. Notification of the application was sent to 48 neighbouring properties and the blue notice was correctly displayed and an advert was placed in the Cambridge evening news. No representations have been received from interesting parties, but a representation was received from environmental health. This representation was sent to the applicant who confirmed that he was happy with the conditions the environmental officer recommended. Members have the right under the Licensing Act 2003 to determine this application after considering any relevant representations. Members may accept the proposed application as submitted, reject the application, agree the application but impose conditions that promote the relevant licensing objectives. All parties will remain a right of appeal to a magistrates court after determination of this committee. Thank you. Thank you, Mr Jackson. Okay, agenda item number four. This is where the applicant gets the chance to present their case to the panel, Mr Goff. Can you still hear me okay? Yep. Thank you very much indeed. Would you be willing to please give your side of the case? Thanks. Of course. Good morning, everybody. Thank you for attending and apologies to put the council through this process again. So shortly after the last time. So to give a bit of background, we're a canned wine company. So we sell canned wine. And this location, this premises is where we store the products and where we fulfill online orders. We were previously at broad lane in Cottonham but had to move to COVID circumstances with our previous landlord. And so we're looking for a premises license at Pegasus house to, yeah, fulfill online orders. So anything out of CB is one to five and 21 to 25. We use a trusted delivery partner for they're the only delivery partner we use. There's one pickup each day from the premises normally at about two o'clock Monday to Friday with no trading over the weekend. And for postcode CB one five and 21 to 25 myself or my business partner conduct those and we operate challenge 25 policy on those so when we actually meet the recipient. Anyone who looks under 25 will ask for ID and for all orders online. That are outside of those post codes customers have to go through an age verification check that make sure that over 18 on the website. And then the delivery company is also under instructions to operate a challenge 25 policy. And we are able to see all instances where the delivery is. And yeah, if you've got any other questions. I'm sure members will ask you questions. If you say if you're if you're done, I hope I did not interrupt you there. Yeah, no, that's absolutely fine. Fantastic. Okay, in that case, the gender item number five is to ask for representations. Miss Jackson, I understand that there is only the environmental health office. Miss Christie. Yeah, that's correct. Okay, in that case, Miss Christie, would you be able to present your representation please. Yes, thank you, Councillor Hales. So I commented on the original application for broad lane cotton. So this was in addition to the conditions that had already been accepted from the previous application. There were just a couple of additional things that I suggested would be good to be included in these in this premises license. So they were, as I read, reviewed the premises license application plans, location plan and history of premises on M3. And I have the following comments. I'm not aware of any records of formal complaints having been made to this department in relation to noise nuisance or the license of the activities at these premises. However, I've reviewed the operating schedule of section 18 of premises license application, and although many steps have been considered to promote the licensing objectives, my view is that some additional steps, which if incorporated in premises license conditions, in addition to those stated in section 18 of the application form would improve the promotion of the licensing objectives. These are its environmental health opinion that the inclusion of the following conditions in addition to those steps already outlined in section 18 of the application form will assist in promoting the licensing objectives. Under public safety, ensure that an incident log is maintained, which shall include each and every occasion, identifying the date and time where there has been any refusal to sell alcohol and or any antisocial behavior relating to alcohol sales, including reasons for refusals. This is to be made available upon request to authorised officers of relevant statutory organisations. Ensure that all relevant people are appropriately ensued to be instructed or trained in relation to the requirements to check persons identification, establishing age, the adopted nationally recognised age restriction policy, not supplying alcohol to intoxicated persons and adhering to legal requirements. And under protection of children from harm, ensure prominent legal clear and legible information is displayed at all points of sale, indicating that is an offense to buy or attempted by alcohol by or for a person under the age of 18. That's it. Thank you. Thank you very much, Miss Christie. Mr Weller. Before I go to Mr Goff, those extra conditions or enhanced conditions that Miss Christie has suggested. Is it now proper for me to approach Mr Goff and ask him if he would accept those additions? I've got no problems with that at all. No. Thank you. Mr Goff, did you hear Miss Christie's presentation? I did. Yep. And I am very happy to accept all of those.  Yeah. Obviously you'll get a copy of the updated version of that, I'm sure. Is that correct, Miss Christie? Those will be added to the... Count the house, I'll defer to the licensing officer on that. I do apologise. I'm so sorry. Yes, Miss Jackson. Sorry, it's Suzanne here. Yeah. Yes. Yes, Theo Goff has already confirmed he's happy for those as well, so they'll be added to the conditions of the licence. Fantastic. Thank you very much. Miss Jackson, are there any other representations? Better check just before we move on. No. Okey-doke. In that case, a gender item number seven. This is where the subcommittee get the opportunity to ask Mr Goff questions. Okay, I have two hands. First of all, Councillor Bradenham, followed by Councillor Roberts. Where you go? Thank you, Chairman. On pages 25 and 26 of our pack, we've got the maps, which were obviously drawn up for the purposes of confirming fire safety. I just wondered, Mr Goff, could you just describe to us how you get to your offices? It's not very obvious how you get in. Yes, I don't have the plans directly in front of me, but there's a door mark. Let me just... It's possible that if you went into a door and turned left, your offices are on the left, are they? Yes, and then there are...  There's a first door, which takes you into the first office, which is where we store the product, and then there's a second door that takes you into our office, which is where we have our desk. So in fact, what is labelled on one of the plans as fire exit is in fact the main entrance to the building. Yes, that's correct. And that's all I wanted to ask. It really wasn't clear to me how you got in. I have no other problems with that. No other questions. Thank you, Chairman. Thank you, Councillor Roberts. Thank you very much, Chairman. Good morning, Mr Goff. Can you just doubly confirm to me, because I am reading it here.  Is that right? Yes, that's absolutely correct. There's no collection on site and no consumption on site. There's actually no reason for a member of the public to ever need to come into the premises. That's what I needed to know. Thank you very much. Oh, actually, and Chairman. Councillor Bradley. Sorry, one other thing was, Mr Goff, you said that you and your partner are responsible for deliveries to CB1 to 5 and CB21 to 25.  We do, that's correct. So we use Yodel, the company that carry out our national deliveries. And they, oh, sorry. So you do that, that's the next point I was going to say. So are those deliveries in the local area or are they national? Those are national. And then we just cover CB1 to 5 and 21 to 25 ourselves. But all other postcodes are handled by Yodel. Thank you very much. Tasha. Thank you. Members, any more questions? No, thank you, Chairman. No, thank you, Chairman. Great. Mr Goff, this is your second opportunity just to sum up if you wish. If you have any questions for us or any other clarification or you just wish to say something else, it's over to you. Thank you. I don't particularly have much to add, but just to say thank you for your time. And, yeah, if you have any other questions kind of at a later date on a thing, then please feel free to get in touch. I think that Jane has my email and phone number. I'm more than happy to answer any questions but thank you very much. That's very kind. Thank you very much indeed. Chairman, sorry, can I just pick up on one thing? Sorry, I meant to ask this before. Is that okay? Yeah, sure. Thank you. Mr Goff, we heard at the outset that you when you gave your initial representation you said sorry for coming before you again as it were. Yeah. What actually happened at your other premises? Because I remember... Yeah, we were previously renting off a company called N&M Wholesale, who are an alcohol company based in Cottenham on the borderline estate. But due to Covid, they actually had to close up operations and have sold the property. So we needed to find a new premises. Okay. Thank you. That explains it. Thank you very much, Mr Goff. Thank you, Chairman. Okay, thank you. Okay, agenda item number eight. This is the legal advice. This is where I go to the legal office and Mr Weller just to check that any for any legal guidance that he may have. Chairman, there's nothing additional I can add. You've got the application before you. You've got the representation from comments from health groups with the proposed conditions that have been accepted. Clearly, in making your decision, you need to take in mind the licensing objectives. But other than that, unless there's any specific question, I think you can retire and consider. Thank you. So just to go back to Ms Jackson. Ms Jackson, do you have any other points you'd like to make? No, none at all. Thank you. Thank you. And Ms Christie? No, thank you, Councillor Hales. That's lovely. Okay, so agenda number nine, which is the decision-making process. So Mr Goff, this is very much for you and your good self. I'd like to thank everyone for attending the hearing today. The panel now retire to consider its decision-making in private. For the benefit of any members of the public watching the live stream at this subcommittee meeting, this will now be closed for deliberations to take place in private. And the applicant, lighting officers and representatives will all leave the meeting. All parties will be notified of the decision in writing as soon as possible, and this will also be published on the council's website. So in that case, it leaves me with the unenviable request to Liam. Could you please kill the feed? And thank you very much to everybody else who shouldn't be here. Could you please now leave? Mr Goff, thank you very much for coming. Ms Jackson, Ms Christie? Thank you. If you'd like to leave, and Liam, when you're done. Thank you. Thank you, Councillor Hales. Bye. Thank you. For this stream, is this completely finished now? You're not coming back in? No. It's now going to be in private now, Liam. Sure. I'll end this, and I'll give you a confirmation. Thank you.


Hello, my name is Shelby Benson and I'm from the band Crimson Apple. I picked up the guitar because I just really liked rock music. I was really into bands like Paramore, Panic of the Disco when I was in high school. Growing up I was really into the arts and theater. My parents got me into piano and I literally hated it. I thought it was so uncool, no offense to piano players but I just wanted to play the guitar so I like begged my parents. They finally got me a little squire electric guitar and from there I just loved it. I learned all my favorite rock music, alternative music and here I am. My biggest influences are TK from a Japanese rock band called Ling Toast de Segure. And I like this really cool musician, I actually found him on Instagram. His name is Radbud Withar. Some of my favorite features about the HD20 Mark II are just kind of the tone I can get. Different settings I can use. I'm able to just do a really strong clean, a really rockin' gain distortion. The sound that I can get out of this amp is just vast. There's a lot of variety that I can have there. Another thing that I really like is the effects loop in this amp really takes well to the pedals that I use. I'm super into ambient tones, a lot of reverb, really washy and this amp takes all of that but delivers a really nice clarity which I haven't really had with another amp. For my sounds, I really like to rely on the amp tone itself and then kind of compliment with pedals. What I've got right now is I've got my guitar running into just a couple of basic volume pedals. I've got an Ibanez Tube Screamer and that runs straight into the amp and then through the effects loop I've got my delays and then I use an Eventide H9 just to kind of fill things out. The effects loop makes those pedals sound really amazing. It gives it a really good separation and clarity from my normal tone and yeah, that's kind of my setup. When writing a song, I really like, I want the guitars to sound really big and really emotional. What I'll do is I'll sit down kind of with an idea or if I'm working with my bands, something that we've been working on and I like to just run through all the different possible scenarios I could have and I just go from there, oh I like the way this felt, this made me feel something and I'll just work through that. I really like big wide open chords, I try to incorporate that and basically almost every song I just think it sounds really cool and you know, it gives music a very emotional feel I think, so that's kind of my process going through. I just go with what feels really good, what makes me feel something. Once again, I'm Shelby from Crimson Apple. If you guys want to stay up to date with Crimson Apple, you can find us on Instagram, Facebook, YouTube, TikTok, basically anywhere there's a social media platform, we're probably on it. Thank you guys so much for watching. Bye.


So there is a new bug within the game I feel everyone should know about, say bug I've been hearing about for a long while now, actually from way before the laze patches too. But it seems as though it's still here and although it isn't as bad as the inventory white bug, it can be just as frustrating. Today we check out this bug, it actually showcases you guys footage of it and we also have an update on the damage mitigation bug too. How's it going guys, my name is DPJ and if you enjoyed the video leaving a like really helps out and if you like what you see I want to see more outriders on a daily basis be sure to subscribe. Firstly let me apologise if I sound tired, it's because I am, I've not long come home from the gym and I'm absolutely shattered, but I thought you guys should be updated with the latest news surrounding the game so here we are. Okay so for weeks now I've seen reports and people mentioned to me that they've had a loot disappear from the inventory, I even had a pal claim he had a legendary that turned into a rare item. I've also seen people mention loot dropping in level to a point of it somehow being reverted to the item it was before it was leveled up. Now seeing reports like these you always question them because you don't know if that said person reporting issue is mistaken somehow or I don't know, first the wrong button or something, you just don't know. But the other day I was here by a guy on my discord and he mentioned a fact that he somehow had loot disappear but he actually recorded it happening and it's absolutely weird people. So we first put this clip on Reddit and well to be honest he was met by the many scumbags that were over there that were just dismissing what happened even though it's clear as they what went down. So the clip you were about to see the dude marks and dismantles loot he doesn't need no more for those materials. Upon doing this it somehow also dismantles two pieces of gear he is wearing. His best real gear somehow just vanishes. Looking back at the video the gear he is wearing isn't marked which I don't even think he can mark gear you're wearing either. It's just like the game bugs at and deletes two pieces of gear for absolutely no reason at all, making his character more or less naked in those areas. And this clip is recent guys so just a word of warning be careful out there because it does seem as though when dismantling loot that you don't need is quite clear there is a bug where it will also delete equip gear too. Now thanks to the kid for bringing this footage to my attention as it just proves it's not all perfect yet in regards to what's going down. It is a truly difficult situation and I kind of feel sorry for people can fly as most videos we are seeing now are negative ones and it just can't seem to catch a break. But bugs like these are quite easily ironed out and I feel it will get sorted before you know it. But again guys just a word of warning although these instances seem pretty rare they are still happening. If anything like this has happened to you let me know down below in that comments section. Okay so guys we also have an update on the damage mitigation issues people are still having me included so they tweeted out earlier they linked to Reddit which states the following. Latest update attempt from May 2021. Testing for the patch to resolve the damage mitigation not working properly throughout this week. Until testing has been completed we will be unable to provide a precise release date for the patch in case the testing indicates that further work is required. Important we have identified that the issue regarding enemies doing excessively more damage all of a sudden is most commonly but perhaps not exclusively triggered by the specific steps below. Join a multiplayer session as a client leave the multiplayer session. Additional trigger as either a host or a client attempt an expedition on a lower challenge tier level for example playing on a challenge tier 12 with a level 50 character. The issue will become more prevalent the greater the disparity between your armor and the enemy's level in such cases the game called encounters a bug that prevents it from pulling an important back end stat table. If you tend to hop between multiplayer sessions with different partners you may therefore be more likely to encounter this issue. Staying with the same partners for the duration of your play session or playing solo should help mitigate against this issue occurring. Restarting the game fully should force the game to once more pull the correct stat table which in turn should prevent enemies from dealing more than intended damage until the bug reoccurs. We are additionally locking at what we can do to short term mitigate particularly against one shot kills from certain enemies such as the brood mothers. However as such changes will affect everyone rather than just those who have encountered the issue we need to be careful here. If we go down this route these changes may be a potential hold over and told patch releases but we will share more news around this when we can and that is it guys. So yes an update on the damage mitigation or as I like to call it migration as you know but yeah an update on the damage mitigation bug it's super annoying bug a lot of people are experiencing and I hope this gets resolved soon too. But yes guys that's been the news for the past few days on Outriders. If you enjoyed the video leave a like really helps out if you're new around here want to see more Outriders on a daily basis be sure to subscribe and if you never want to miss a video upload can turn notifications on by hitting that bell button but guys thanks as always for stopping by and hopefully I will see you on that next one.


Kempo will never work because no one's going to stand there and let you hit them 20 times. And you never see any Kempo techniques to use in MMA.  Today I'm going to tell you why those answers are correct and why we do Kempo anyway. So as a disclaimer, for the purpose of today's episode, I am specifically referring to Ed Parker's American Kempo and any of its derivative arts that still retain the general structure. I've been through about five distinct versions of it through the past 27 years. I'm not going to go into my background history in this episode. I've already done that. And for anyone interested, there is a link in the video description. OK, look, I know not everyone is going to like Kempo, and that's fine. But if you're one of those who said that Kempo sucks because a person's not going to stand there all day so you can hit them, or because you have never seen anyone pull off five swords in a real fight or a cage match, then my goal today is to have you leave this video with a new appreciation of the art or at least a different perspective of it. Interestingly enough, today's episode was inspired by an almost unrelated question by one of our Patreon members. Timothy Korowski recently asked me if I think Kata has a purpose, and if so, what is its place within modern American Kempo? I think we can attempt to break two boards with one punch today on this one. Now, both criticisms of Kempo are correct because these remarks are based on an assumption of what Kempo self-defense is. Kempo was broken out into basics, kata slash forms, self-defense techniques, and sparring. Basics are our individual moves, such as blocks, kicks, punches, foot maneuvers. Katas are our forms, which you see many martial arts have. Self-defense techniques are kind of unique to Kempo in that these are our basics arranged by belt level and preconceived choreograph sequences. And depending on what curriculum you're working on, there can be 10 per belt, there can be 16, 24, or 32, that varies. But these are individual sequences that are taught as techniques and self-defense techniques. We're going to get back to that in a minute. Also, there are three phases each of our techniques in Kempo. And there's where a lot of I think the confusion comes from is we've got the ideal phase. The ideal phase is assuming everything goes perfect, every move works exactly how you intended it to, and the bad guy reacts how you want them to. We all know that doesn't happen that way. Something always goes wrong. But for the basis of learning technique, that's the first phase we learn it in. Once a student has learned the motion and learned what the technique teaches, we then go into the second phase called the what if phase. The what if phase posits, well, what if they do this instead of this? Or what if they don't react the same way? Or what if you miss? They get the student to think about Plan B, Plan C, Plan D. Where can you go from there? What can you rely on? How can you adapt to the situation? And the third phase is formulation. So basically, once a student understands what the technique is teaching and how to apply it in sequence, and then how to overcome any potential obstacles or anything that goes wrong, you go into the free form in which a person attacks you and you should be able to construct your own combination and own reactions based on what you've learned and how you've learned to apply them and what the situation dictates. So those are the three main phases of Kempo. And the problem, though, is a lot of the criticism for these techniques is that most people who have not experienced the art have only seen the first phase. They've only seen the ideal phase. You see it in technical lines. You see the tournaments. You see it in demonstrations. So people look at that and be like, oh, well, that's never going to work. You're not wrong, but you're seeing a demonstration version of it. However, these techniques are not meant to be memorized and taken verbatim onto the street and applied in those exact situations. The best way to consider them is thinking them as mini-katas. They are meant to teach you individual concepts. There are certain principles that are introduced. There are certain combinations and relationship of techniques that are in there. They're actually just teaching tools, more or less a recipe of different variables and opportunities you have in specific situations. I also want to thank one of our viewers and good friend, Michael Morris. He found an Ed Parker quote that sums us up perfectly. You see, none of the things that we show you might be ever used in a sequence that we show it to you. One of these days, you might use movement number three out of technique number 20 and bring it together with movement number two out of technique number two. And you may be able to create your own sequence of movements because that's what the situation calls for at the moment. So what does he mean by that?  And for that, I'm going to need a wipeout. Let me see. This specimen will do. The very first technique we learn for wipeout is called delayed sword.  It's actually setting up the foundation for a lot of different lessons that the techniques teach. So for example, every single capital technique teaches the same three things at the beginning. One, he grabs. So the first thing I'm doing is what I do. I step back. I'm getting my foundation, my base. So you always establish your base. That's the first thing that's what this technique is teaching us, we establish our base. Next we have to use, we have to neutralize the attack. Neutralize the threat. I'm gonna block, knock the arm away. There's a nice radial nerve that runs up the arm right here. And it's also one thing it teaches. We're showing a new striking point. You hit someone hard there, it should feel like a little jolt of electricity going up the arm. Two, so we neutralize the attack. Three, we have to cancel the body zone. There's height, width, and depth. How far he can reach, how wide he can turn, how tall he can stand. So for all of our techniques, we have to establish our foundation, neutralize the attack, and then cancel one of the body zones. I step back, I establish my base, I neutralize the attack, and when I kick, what's the natural reaction when a person gets kicked in the groin? So they come forward. I've now lowered his height. At this position, him dropping like this, that takes away his ability to kick. And of course I'll land here and land with my strike. To look at it further, you know the reason we're doing it we're ending with a hand sword is also this. He grabs, I step back, I block, I kick, and I'm landing. So he bends forward, I'm landing at the chop. Well one, I'm also learning contouring. I know from this contact here where his body is, I don't have to guess. I can follow it down, track it to his neck. And also I'm using the sword hand because it fits nicely right here in the collarline. Yes, I could do a backrest, I could do a punch, I can crawl in the cross, I can do whatever I wanted. Right off the bat, the white belt is learning for the first technique. They're learning how to get their balance. How to do it with a first block. How to do the first strike. They're learning the nerve zone already. They're learning the concept of contouring. They're learning for the weapons, they're learning the hand sword. So that's a lot for just the very first lesson. And when you really break it down, and of course I'm sure I've got a lot of people saying well you forgot this, you forgot this, you forgot this. Yes, because you could spend years breaking these techniques down. And once you start to understand them, you start to see how they relate to each other. There's another technique. Some schools teach it, some schools don't. It was removed from a curriculum. I personally like it. So this technique is called intellectual parter. But it's based off a front kick, front right kick, right to my midsection. He's coming with that hard front kick. And the idea here is we step back and we're gonna establish our base, but now my block, instead of doing an upper block to the arm, I'm gonna block his leg. So he comes in, I'm gonna inside block and catch it. What did that do? That opened his stance up a little bit. So we landed that position. Well, I need to cancel his own. Bop, groin's right there. What would happen? His head comes forward, land, and get that snapping back fist. That's a delayed sword. He'd block, kick, chop, come with the kick. Block, kick, chop. It's a delayed sword flipped upside down. So it's showing you the reverse. In Kempo, every move has an opposite and reverse motion. And sometimes you'll see in techniques, sometimes you'll find them in forms. Those ideas are everywhere. So when you learn the whole curriculum, you actually start to see an example of every single move, every attack, every strike, every block, every combination, flip, flop, reverse, back and forth. So that way you understand the motion. So it's not about memorizing the sequence. It's about understanding it, breaking it down, and being able to rebuild your own based on the rules and principles that they teach. With over 150 techniques, you could spend your full martial arts lifetime exploring and always finding new things. 27 years later, and I'm still discovering new ideas and wipeout techniques. And personally, I find that exciting. Kempo is not, okay, I memorized this technique. Now I'm ready for the next one. And 150 techniques later, it's time for a black belt. No. This curriculum sheet, this is not Kempo. Kempo is recognizing positions and understanding the relationship between your basics and combinations. So Tim asked me how I feel, how caught this fit within today's American martial arts. Using Kempo as an example here, here is how I can best explain it and hopefully provide at least a new perspective for those skeptics out there. It's like learning a new language. First, you learn words. You learn your vocabulary.  Those are your vocabulary, your words. Then you learn the grammar, which are the rules of language, or in Kempo, concepts and body principles. You got body dimension, you got control, power generation, purposeful compliance, angle of incidence, et cetera, there's a whole list. Those are your grammatical rules. So you've got your vocabulary and you have your grammar. Then you practice them together in sample sentences to demonstrate how the vocabulary and grammar work together. Those would be the Kempo self-defense techniques. Think of them as sample sentences. You're not expected to memorize these sentences exactly and use them exactly, but they're designed to teach you how the words and rules work together so that you can learn to read and write your own sentences. When it comes to forms or kata, they're like the essays in the language. They're a longer form literature that highlights specific ideas and topics, but they're own mini-thesis. And it's actually kind of funny because our forms are actually broken down into dictionary forms and encyclopedia forms. We'll get into that in a different video. Then comes sparring. Sparring is kind of like learning how to speak a language fluently. You know the words, you know the grammar, you now put them together to try your own sentences and you see if you can hold a friendly conversation. Now when it comes to real life fighting, well, hopefully you understand language at this point well enough to win a debate. That's also why it's not common to see full Kemple sequences done in a real situation or even in sparring. What you will notice, however, if you're familiar with the art is the timing of certain footwork, positional checks, contouring strikes and some familiar striking combinations. So does Kemple work? Well, it absolutely can. I have several Kemple brothers and sisters that I know that have used it to defend themselves. I even myself have used it a couple of times to defuse situations. I've used techniques, those of you who are familiar with crossing talent, I've done it from sitting positions, I've done it in real life and I've actually done it in different jiu-jitsu settings. I even taught a seminar recently using this technique as an example in different ways to apply it in different situations.  It's the full seminar. If not, please be sure to check out our Patreon page to take a look at it. Now, if you still don't like Kemple, then that's fair enough and no hard feelings. I'm not trying to sell you so much as I'm trying to offer a different perspective on the art and why so many choose to spend a lifetime in it. If you can find a good Kemple school that can break the art down and teach it at this modular level, then trust me, you will have a lot of good stuff to work with and even blend into your existing training if you have experience elsewhere. And unfortunately, there are a lot of Kemple schools out there that don't teach GR in the level it needs to be taught at and only reinforces the assumptions such as what we talked about today. Also beware of the Kemple school that never spars. Sparring, in my opinion, is critical. If you're teaching self-defense, you need sparring, you need to put these ideas up against a resisting partner. And beware of the Kemple school that badmouts other arts and refuses to acknowledge other effective disciplines. This is why a lot of Kemple schools are now implementing Brazilian Jiu-Jitsu and grappling into the curriculum because the Kempleists who scoffed at the concept is likely to spend a lot of involuntary time on the floor. So to quote Ed Parker again, we're not trying to make robots out of you, we're trying to make individuals out of you and that is what Kemple is all about, making the art suit you. So thank you again to Tim and Michael for your contributions to this episode. This is a topic that we're working on expanding for a future seminar and I hope we're able to at least provide a tiny nugget of appreciation for the art today. I'd love to hear your comments below. Please be polite, please be civil, share them, we can have a constructive conversation and we'll see you next time. Thank you guys for watching. Understand the principles that are involved throughout. You understand principles, you're now become a mechanic of motion. You become a mechanic of motion, you can dice it, take it apart, put it together on your own, okay? Then after a while, you're gonna try to be an engineer of motion.


Hello and welcome to the session. Let's work out the following problem. It says a train travels a distance of 300 km at a uniform speed. If the speed of the train is increased by 5 km an hour, the journey would have taken 2 hours less. Find the original speed of the train. So let's now move on to the solution. We have to find the original speed of the train. So let the original speed be equal to x km per hour. And we are given that train travels a distance of 300 km. Now let T1 be the time taken to cover a distance of 300 km with the speed x km per hour. Now the time taken is given by the formula distance upon speed must write this formula. So T1 is given by the distance which is 300 km and speed which is x km per hour. Now when the speed is increased by 5 km per hour, therefore increased speed would be x plus 5 km per hour since original speed is x km per hour. And now the speed is increased by 5 km per hour. So now the increased speed is x plus 5 km per hour. So now the time taken with increased speed let it be T2. It is 300 upon x plus 5 hours since the distance travelled is 300 km and now the speed is x plus 5 km per hour. Now we are given that when the speed is increased the journey would have taken 2 hours less. That means when the speed was x km per hour then the time taken by the train was 2 hours more than the time taken by the train when the speed is x plus 5 km per hour. So to equate these 2 times we need to subtract 2 hours from this time. So according to question we have 300 upon x minus 2 is equal to 300 upon x plus 5. Now this implies 300 upon x minus 300 upon x plus 5 is equal to 2. So taking 300 common and taking LCM in the numerator will have x plus 5 minus x upon LCM would be x into x plus 5 is equal to 2. Now plus x gets cancelled with minus x and we have 300 into 5 is equal to 2 into x into x plus 5. Now taking 2 common on both sides or dividing both sides by 2 we have dividing 300 by 2 we have 150 into 5 is equal to dividing 2 by 2 is 1. So we have x into x plus 5 which is x square plus 5x. So this implies x square plus 5x minus 150 into 5 is 750 it is equal to 0. Now we will factorize this quadratic equation so we have x square plus 30x minus 25x minus 750 is equal to 0. Now this implies taking x common from the first 2 terms we have x into x plus 30 taking minus 25 common from the last 2 terms we have minus 25 into x plus 30 is equal to 0. Now taking x plus 30 common we have x plus 30 into x minus 25 is equal to 0. So this implies x plus 30 is equal to 0 or x minus 25 is equal to 0 and this implies x is equal to minus 30 or x is equal to 25. But since x is the speed of the train it cannot be negative so this is rejected as speed cannot be negative. Therefore x is equal to 25 hence original speed of the train is equal to 25 kilometer per hour. So this completes the question and the session. Bye for now. Take care. Have a good day.


So the other day I was scrolling on instagram looking at one of those music accounts It was either our generation music or say cheese one of them one of those popular rap accounts and I saw the infamous comment And you know what comment I'm talking about Hey guys, I'm a 15 year old rapper from Idaho My dog has leukemia and it would really help me out if you guys could check out my soundcloud That that really exaggerated self promo comment That's in every single comment on every single music page And I would like to preface this by saying I hate those spam comments.   But it got me thinking What would I do if I was a 15 year old rapper? Like if I could go back in time and turn back into 15 year old corey and 15 year old corey wanting to be a rapper What would he do? Like what would he do to get himself and his music popping? So that's what today's video is going to be about what I would do if I was a 15 year old rapper What's going on, my name is corey I am a music marketer co-founder country brand and I'm here to give you some tips tricks hacks and everything in between That you can use to get your music popping and finally get you some fans Now today's episode is about what I would do if I was a 15 year old rapper And once again, this video was inspired by Comment sections everywhere. We've all seen it. We've all seen the spam posts of a 13 year old rapper A 15 year old rapper or whatever whatever your old rapper from wherever Trying to get that music popping by spamming in the comments and why I personally think that is the absolute worst method you can do Understand it. I get it. You just don't know any better. You don't know what to do So today's video is going to be about what I would do if I was a 15 year old rapper Trying to get my music heard and trying to get to a point So I'm actually kind of lit and I have fans and all that stuff going on And I guess that the tips in this video Don't really just apply to only 15 year old rappers like a 17 year old rapper could do it A 30 year old rapper who just started today could learn from these same tips Anyone could really benefit from this video But this is for all of you 13 to 17 year old rappers out there who post those comments every single day Don't ever say I do nothing for you But before we get into all that come and follow me on instagram and tiktok link will be in the description below Come talk to me come engage with me come give me some video ideas All that good stuff. You know what they've been said? Let's go ahead and get into it So before we get into the tips in the walkthrough Let's set the rules of this universe because there has to be rules for this make believe world Well, I'm suddenly 15 years old again, and I want to be a rapper. So first rule of the universe is I'm not rich I'm going to assume that I am your everyday Random meal broke teenager. You know, I'm not a trust fund, baby. I'm not like this rich youtuber I'm just your everyday youtuber trying to figure out how to get bread. You know what I'm saying Second rule of the universe is I am not well connected in this scenario So my dad isn't a label owner. My best friend isn't a rapper My mom isn't an influencer. Nothing crazy like that. That would give me an edge Once again, we're going to assume that I'm your everyday random the wheel None connected none paid teenager the next rule of this universe is that I somehow know everything that I know today You know, it has to be that way. I'm sorry. I know it doesn't make sense But we're going to assume that 15 year old kory knows what 28 year old kory knows today cool cool And the last rule of this universe is that I have somehow figured out how to make music And I say this because every time I see those comments, the people are always like, yo, go check out my sound cloud Go check out my sound cloud. So I'm going to assume they figure out how to make music somehow So me in this scenario has also figured out how to make music. Maybe I have a big brother that wraps Maybe my friend of the street makes music. Maybe I have like a teacher in high school who believes in me It gives me access to the studio. I don't know, you know what I'm saying But we're going to assume that in this scenario, I have figured out how to make music And now I'm now moving into the fact is what I'm just trying to figure out how to get people to hear that music And get that music lit. Are we cool with that? Are we clear on the rules of the universe? All right, bet. Let's get into it So the first thing that I would do in this scenario is I will make a sound cloud account a youtube account And the audio map account the reason I will make accounts for these three platforms is because they're free You don't have to spend money putting your music on any of these platforms And it's a great way to start being able to get used to dsp's and Uploading music through dsp's and going through that process of getting a cover are uploaded making sure things meet certain requirements Having the right files to upload all that cool stuff that you're going to need When you're moving down the line and jumping into the big boy leads of Spotify and Apple music Um, but these platforms still give you practice and they still give you a way to get your music heard Without having to spend any of their precious money that you probably don't have and if you know of other free platforms that you like I know band camp is a pretty popular option. I'm sure there's others out that I may not know of You know, the big thing that you're looking for in this stage Is creating a place for you to be able to host your music And then once again just getting familiar with the process of uploading your music to a dsp or to a platform in general The next thing that I would do is I will find communities and groups that I can use to post my music in and get real time feedback I'm talking about reddit threads. I'm talking about facebook groups I'm talking about discord groups and any other community or thread thing that you can think of In between now the goal of this stage is to one get you comfortable with presenting your music to people One thing I've noticed with a lot of artists and really young artists But I'll say artists in general is that sometimes you hold yourself back because you're scared to show your music with other people And once again, I see this very common in artists that just really started putting their music out They're not used to people like prying on them and looking at them and themselves being the center of attention And sometimes just with music being such a personal thing, you know, it's art Some people don't like to share that and they're not comfortable with sharing that But if you're going to be an artist full-time you want to be an artist as a job That's one of the first things you have to get over Like you have to become perfectly fine with presenting your music to the world Having people judge you having people judge your art your emotions your thoughts all that stuff You got to be okay with it or you won't be able to survive So this is a very risk-free way to do that because a lot of these communities a lot of these reddit groups and threads And forums and things there are people in there who will listen to your music There are people in there who would give you very honest feedback Best case scenario is your music is dope and you get a real fan out of it worst case scenario Somebody doesn't like it and they give you some feedback.  It'd be cool if you fix this about your mic Boom, they know what you gotta get fixed. Yo, this is cool But I think it'll have been a lot better if you did this here Now you have something to think about in terms of being flexible with your production style In the way you do things, you know, um and the great thing about these communities is they're usually free like most big Uh Most platforms have some type of group on it. Once again, facebook has facebook groups reddit has their own threads Their own forums And I've learned that a lot of big creators and a lot of big platforms seem to have a discord group and you know A lot of times they have rooms in there where people can post their music So this is what I would do, right? I figured out how to make music I've now put this music on these free platforms youtube soundcloud audio mac And now i'm sharing my music to these threads and to these forums Getting real time feedback while also getting myself over the fear of putting my music out and getting judged by people for it The next thing that I would start doing is Researching how to build a brand now you can do this while you're doing the other stuff Perfecting your sound perfecting your craft getting that feedback from the groups all that stuff Something I've noticed uh that seems to be hard for a lot of artists is the whole process of brand building Now in this stage, I don't think you necessarily need to start building a brand because you're still working on the technical aspects Of your craft you're still figuring some things out But in this stage you should at least start to think ahead to what your brand could possibly be Now I also want to preface this by saying that a brand is ever changing It's always evolving and who you want to be at 15 could be completely different than who you want to be when you turn 21 25 30 and so on But if you're thinking about it and you at least start to look into things like what constitutes a brand How are artists putting their brands out? How are artists defining their brands? How can I start to define my brand and figure out what I want that to be? If you can at least start to think about those things and start to jot that down put it on paper and get the gears turning Then whenever you're at a point where you are ready to start brand building and you're ready to take that seriously You will already have a leg up because you at least have an idea of how you want to move on it And you probably restart some examples and ways to get it done by the time you're at that point So once again once you're at this stage where you're sharing your music You don't have to actively be building a brand yet You haven't fully jumped into the race yet, but at least think about it think about it No, think about how you want to build your brand. Look at artists whose brands you like And see what things you can emulate and kind of build around yourself Do research literally google or youtube how to build a brand Look at all the information that's around brand building whether it be for artists individuals Influences of businesses that all counts it all asked to the ask to the information bank Either way, I at least want you thinking about it once you hit this stage Or at least I will be thinking about it once 15 year old Corey hits this stage So the next thing I would do right. I figure out how to make music. I put my music online I'm getting over that fear of sharing my music and having people judge it. I'm posting in these groups I'm starting to form an idea of how will my brand to be and how I want to look What's the next thing that 15 year old Corey is going to do right the next thing that he's going to do Is figure out how to make money now This is the hard part. This is the part where I can't 100% give you an answer But the truth of the matter is that things in the music industry do cost money Um, so I'm assuming that once you've made it to this stage You're at a point where maybe you do like the quality of your music And you're ready to put it on dsp's like Spotify like apple Like title and really get in the game where it costs money to put stuff on those platforms You need money to use a distributor like a tune court or a distro kid And you need money for other things like paying for beats and paying for cover arts and Just doing other little things around your artistry that requires a few bucks to be spent, you know, I'm saying Now like I said, I can't 100% Tell you what to do in this situation. I've seen artists make money all types of ways I've seen young artists make all types of ways some ways. I can't talk about on this platform They did what they had to do, you know, I'm saying so wherever you are in your space Whatever resources you have available, you have to cut some neighbor's yards You have to if you have to sell lemonade if you gotta learn how to flip cryptocurrency Whatever you have to do Around this stage is when I would at least start trying to figure out how I can make a couple of bucks And I know it's not easy for a 15 year old everywhere to get a job But at least start trying to figure out you know what can you do to make some money and put a little bit Bread in your pocket so you can move forward to the next things that are going to help you Take your music career to the next level and make people look at you seriously It's also around this time that I would start doing research into things like publishing Things like distribution things like royalties and how certain stuff gets paid out Now the process of educating yourself about the music business is another ongoing process It takes a lot. There's a lot of intricacies that you have to learn about Very small pieces of the industry and all of that Shit will have a major impact on you if you don't learn it, you know Um And I don't say it to scare you because I do understand that you're not going to learn everything about the music industry in a year You're not going to learn everything about the music industry in five years You know I'm saying just to be real with you But I think that one of the first things that artists should start learning about Is how publishing works and distribution works and royalties and all those things work because that directly affects how you make money You are now learning what it means to be a professional music artist And what are the ways that music artists make money in general, you know, so I'm not the guy to teach you that I have an interview with my guy david I'll link it in the description below We talk about publishing stuff and I'll probably bring another person on the platform at some point to talk about it But definitely at this phase That's what 15 year old car will be doing I would start researching publishing and all the little ways that artists make money And all the little intricacies of how artists need to set those things up so they can make sure they're protected And they're in the right and they're getting paid so the way when you're ready to move into the big spaces You will get all of your monies Because who doesn't want all of their money So once you've got that figured out right you're doing your research in the publishing you've researched your distributors You probably picked the distributor that you want to use and you've now figured out how to make some money The next step I would do would be to put my music out on our platform spotify apple music YouTube music every single platform. Um by this point You should have been getting a good amount of feedback from those forums You've been posting in and you should have a good handful of songs that you think are worth being put on the platforms I'm ready for you to get into the big leagues if you're not Staying those steps that I talked about before until you're ready to move into this step But that is the next step because having your music on a major dsp A major dsp in general is how you get into the game for real when your music is only on soundcloud And youtube and audio mac. That's cool for a time being that's cool When you're in the mode of when you got to do what you got to do But I can tell you as a music industry professional I do not trust any artist that only has a soundcloud link in their bio I nearly don't take you seriously because I'm like, yo If you were not willing to pay the x amount of dollars to put your music on spotify apple And all these things that you need to be on as a music artist I just already don't take you seriously. I already don't think you take it seriously So if you are an artist who is trying to be taken seriously Who wants to be looked at as a professional who is looking to make it as a professional music artist You're gonna have to put your music on major dsp People judge you about that you know what i'm saying So that will literally be my next step here will be to sign up for distributor Whether that be tunecore this show kid a wall whatever you have connections to united masters all that stuff And then start to put my music out and figure out how I can put music out consistently On these dsp's and start building up a catalog. This is what russ always talks about This is what any artist who is really trying to help you would tell you all about you know Building up catalog releasing music consistently and stacking your content on these dsp's that will be 15 year old cori's next step once he makes it to here Now once i'm good in that direction right music made over the fear of putting music out I got my music on platforms. It's on apple. It's on spotify. It's on youtube music It's on deezer. You know what i'm saying? I don't figure out how to make a bag I'm cutting the grass four times a week. You know what i'm saying? I don't know in my neighborhood making a cool little little amount of change So I can afford to put my music out. I'm in a good space. I'm here. I'm with it. I'm happy things are moving What should you do next or what would 15 year old cori do next right? This is the part where I think that if you are serious about trying to grow as a music artist This is where things kind of get serious and things kind of get real The next step that I would do is I would start to figure out my content strategy and how i'm trying to grow Because at this point i'm going to assume that you know what i'm saying? You still you may have figured out how to get money to put your music on the dsp's But you're probably not balling you're not ready to be spending money on the publicist and a marketing agency And all these other things that you will need at some point, but you're not there yet You know, but you still want to grow and you still want to get fans You still want people to listen to all this music that you pay to put out So what I would do is I would figure out my content marketing strategy I would go out and do my research on all of the social media platforms twitter instagram tiktok youtube twitch Triller all of them do your research and then determine What two or three platforms do you think you would like to grow your fan base on and grow your platform on? And once you have decided what those two or three platforms are going to be I want you to do as much research into those platforms as you can Determine what type of content does well on those platforms? How is content being found organically are people using hashtags that are using certain keywords? Like how are people finding content organically and then figure out how you can create content consistently on those platforms and stay active And the reason I want you to start here is because a strong content strategy Will get you further than the people who are just throwing money into everything And unless they spend like a couple hundred thousands and really really big bucks Um the strong content strategy will always be money And the thing about being an artist is that you're never not going to need a strong content strategy Like being a music artist and wanting to do it professionally is you deciding that you want to be a professional content creator So if you get a start on that now By the time you start to get to a point to where you are pretty serious You are starting to gain a really solid fan base You'll already be over that hurdle. You'll be comfortable making content. You'll have ideas You'll have a process you'll start thinking of stuff You'll see the world a little bit differently than most artists would see it and that will give you a leg up and an advantage And if the content is actually good and you've done your research And you've learned how to push this content out the right way on these individual platforms You will start to gain fans now At least fans of your content right and then as these people are coming in That will give you the ability to practice building community They will give you the ability to practice talking to your fans and learning how to engage with them and how to How to speak to them in their language And then they will also give you the ability to practice pushing people over from one social platform over to your music and to your dsp So that's why I always always always recommend every artist start here pick two or three platforms Learn everything you need to know about those platforms how those platforms work What type of content circulates what do people like to see and then start creating content get active with your content creation And use that as an opportunity once again to build community and learn how to push people over to your music Because if you figure it out and you get to a point to where you're doing it Well, you will get a lot of free traffic and if everything is good You will start to be building fans around yourself in your music and be doing it for completely free And the last thing that 15 year old car would do at least at this point, right? You made music gotten over your fear putting the music out you have it on some platforms start making some money Music is on all dsp. You look legit. You got a brand. You're thinking about your brand Maybe at this point you're acting on the brand because now you're putting out content. What would you do last? Well, you have all the pieces set up to really be in the game So now what I would suggest you start doing is One learning about other parts of the music industry that you don't feel well versed in seeking out Mentors and people who can help you learn these things that you don't feel like you're strong in And then also this is where you should start to learn about music marketing Things like facebook advertising things about influencer marketing things like I don't know Gorilla style marketing things that you can use to help push your content to another level Push your music to another level and bring in more fans, right? Because the game that you're going to be playing the game that you're now playing is a game of Not only maintaining the fan base that you have built but also figuring out how to bring new people into the mix And the reason I put this step last is because If you try to market before you cross a lot of these steps, you're going to waste a lot of money And you're going to be sad and depressed and butthurt That's just the truth. That's just how it is.  My dog has leukemia. I'm from Idaho Can you check my music out? And when you're ready to learn marketing come back here come watch some videos Check us out. Check out all the other dope youtube creators who talk about music marketing read some books Look at look at some podcasts, you know saying everything like you should be doing Any and everything to learn as much about marketing as you can because if you have the ability to create good music You have the ability to create good content You understand fan engagement and you know how to market or have someone around you that knows how to market You will grow as a music artist You will gain fans and at that point it's just a matter of patience and hopefully through all of this No, this whole process of doing all this you have built up some type of patience because Let's be real.  You're not doing all this in a week This is gonna take you a couple months at least like minimum You know saying and that depends on so many other things So there it is guys That is what I would do if I was a 15 year old rapper who was trying to get my music lit Now once again, I know this advice doesn't just apply to only 13 year olds 15 year olds Whatever this really could apply to anyone who is looking to start a music career and doesn't know where they need to get started So do these things Walk through this list like I talked about and you will be good, you know, like you'll be straight Once again, if the music is good the content is good. The hustle is there It's just a matter of patience.  Once again, my name is kory and I'll see y'all next time


Hi there, it's Sandy Alnok and today I'm gonna show you how to color this bell in Copic Markers and we're gonna do it with three different kinds of metal, even though this is one kind of metal. I decided to see if I could do brushed metal, polished metal and kind of a glittered metal because all three of those work for different kinds of ornaments and you might need those sometime this year. I realize some of you are not ready for the season as of yet but I know some are and I am because I got a lot of Christmas cards I gotta make and I created a printable digi stamp that you can print out at whatever size you want. I printed this so it works on a card and there's two versions of it. One has a lot of detail and the other does not and you can color either one or you can do what I'm gonna do which is use the detailed one as a guide for the other and then I don't have all those dots in there from the stippling but I can do the coloring and there's a few things I'll be pointing out as we go because there's some things I left out. See the openings? There's some places in the detailed one where you can see through to the other side. If you're doing the coloring on the one that doesn't have detail in it you could leave that in there and you know leave those openings or you could just forget about it. If you're doing one that's glass and you can see through it then don't use the one with the black in there because it's gonna look really weird if you're trying to do something that looks like clear glass and you want to do it on the more empty one but what I'm doing is taking my darkest color which is a Y28. This is all the Y2 family as much as I could do started with a Y21 and this is a Y28 and it's really great for gold objects and I'm just filling in all of the areas where the dots are on the other piece on the guide and then I'm going to start doing some blending around the edges of that and just start pulling the color toward the highlight area. The highlight is the center of that big area that's been left open and just kind of coloring that and blending it, scribbling over the edges so it softens. And I'm going to pull most of the color along the bottom because that bottom side is just kind of sitting in the snow. It's not getting much light because the light is coming from kind of over my right shoulder as I'm looking at the paper is what I was picturing. And yes, I realized there are no dots on that far left side. You know, it was just something I wanted to leave more light coming up from the snow. So there you go. But I'm using the whole Y2 family and I started with, you know, Y28 then Y26, Y24, Y23, Y21 in order to get that nice gradation across all of them. And when I got done with it all, I took the Y26 and just did a couple of quick strokes over the top to try to even it all out and bring it to kind of a common gold. And then I used a W7 inside those openings in the belt. I switched to a W6 because the W7 felt a little heavy and the W6 now I'm going to try to create more contrast because this was looking a little bit flat after all the coloring over top of things. That's what happens when you just keep coloring over and over and over again. So I'm just, you know, switching to a nice dark, rich kind of a gray color and then going back in with my golds again, and that's going to turn those grays into more gold colors. And you can see it looks like a really rustic kind of gold. At this point, the lighter golds in this Y2 family are very yellow orangey. So you can go over everything when you're done and bring all of that up to a brighter color. And that is the brush metal one. So now let's do polished metal, which is going to be super shiny, super shiny objects need really strong edges to things. There's some blending, but there's a lot of hard edges. And figuring out where they go is not something that I can just say, Hey, you always put one here. You always put one there because the reflections that hit a very shiny object like this are always different. And if the object is turned just ever so slightly, it's going to pick up different highlights. So here I have just kind of decided I'm going to go around the areas that are shaded on the more detailed version. But I'm making shapes instead of trying to do something that is going to feel like it's going to be blended and colored in. So just trying to do some, some solid shapes and then stepping it down next to those solid shapes with other solid shapes of a lighter color and just keep going through that Y2 family.  The objects that are shining or that are reflecting on it, you're usually going to see in the object itself. So if you've got trees on the other side, you would see kind of shapes of trees in the reflection. I'm not going to worry about that. Even though I know these bells are sitting in the snow and there's going to be trees and things, I was like, I'm not going to get it that complicated. I want to try to stick with putting the darks where they're indicated in the detailed version. So if you want to follow that after you buy the stamp, you can, you know, kind of use that as a guideline. And I'm going to put a picture of this in a JPEG that you're going to be able to download along with the images themselves so that you'll have it on hand. Just put it in the same folder wherever you store your printable images, and then you'll always have it. You can follow it as a guideline, but you can see it's looking really shiny, but that bottom is looking kind of weird. So I just kept darkening it and using darker and darker yellows until it just kind of went away. It kind of sank down to the bottom so that all that shine could sit up on the top section. I did have to go back into the interior of the bells because that, that dark gray was not dark enough. I went in with a black this time. I wasn't sure if it was going to need it at that point, but it did. The third one is going to be glittered metal. And this is probably the easiest one, even though it may look like the hardest. And what I mean by glittered, if you've ever, you know, gone into the store and you've seen all the ornaments, there's some that just look like they're slathered in glitter, almost, but they're not. It's more like a texture. I don't know. I'm sure if I'm explaining that right, but I'm going to call it glittered metal. It might be textured metal. There might be other names for it officially, but you can do this to anything you want to make it look glittered without adding glitter. Now, you know, I'm one of those people that's not going to want to add much glitter to my projects. I I just have an aversion to glitter. I know some of you love it and you could just color it and then put some glue over top of it and just add your glitter on it, have at it. And this would probably be enough coloring. You don't even have to worry about any blending, just like I didn't hear if you're going to add like real glitter on top of it. But I'm not going to add glitter on top of it because of the technique I'm going to use. So that scrap that I had printed that on, that piece of computer paper. I trimmed out the bell, nice round, simple shape so that I could spatter onto it.  Just keep an old toothbrush in the studio. You'll have to play around with how wet it should be and how dry it should be. Mine, you know, it kind of depends on the day whether or not it wants me to get my finger a little bit wet. But you don't want to blob anything on. You want to have just a really nice covering like this. And then take the mask off and dry it because you can't color over it with your markers if the paint is wet. And yes, this is paint. It's kind of like acrylic, I guess, inside that jar. So you don't want to get that on your markers.  But it's better to just make sure it's good and dry. So the first thing is to make sure that those really darks get redarkened so that it looks like a bell that has more of an interior shape to it. But once it's dry, you can go over the color, all of these bumps of the white paint with the same markers that you used to color it with. Now, when you do that, the colors aren't going to be as bright. And what I found was I ended up kind of pulling from a lot of other markers. I started using things that were a little bit brighter. I used a bit of a yellow and I thought maybe yellow will brighten it up and then it got too bright. I thought, well, how about an orange? Let's try an orange. Then the orange got too orange. So I added yellow to the orange and I just kept playing around until the color was what I wanted it to be. You could make an absolutely gorgeous pink one. You could make it rainbow colored. You could do all kinds of things on top of this texture. So remember that when you're coloring anything that would normally have glitter in it and you want to make it look like glitter without gluing glitter onto it because your recipients might be averse to glitter like I am. So you might want to save them from that. I'm going to zip through the coloring of the background on this, coloring the greens. And what I usually do, I like a color for my greens as a YG something. Any of the YGs work really nicely, but they're really close to these kind of dark greenish yellows in the gold. So I decided I would go a little bolder with it. And the G07 mixed with the YG95 actually looks really nice. I was kind of surprised by that. I did look at the bell and the more I looked at it, I realized I wanted a few highlights on it. This kind of glittery stuff won't really take a strong highlight like the shiny type of bell will, but it can handle a little bit more. So I just used a brush and after you use this stuff, make sure you rinse that brush out really well because you're not going to be able to use again if you don't. So next up is going to be coloring the snow itself. And that is one of my favorite things to do to scare you because the the dark colors that I use for snow make some people break out in hives. I do realize that. So I started with a B52 for that shadow, a B41 to kind of extend it out, lighten it a little bit and then switch to a B000 for the really lightest areas. And you could stop there. There's a bunch of points in here in which you can stop. I'm just going to let you do what you feel comfortable with. I just started realizing I wanted more in the snow, like more color, more activity in the snow because snow is not just a white blob. And especially if there's shadows, if there's some kind of a tree or a wall or something in front of it. And what I was picturing as I was working on this was Santa dropped some bells off the sleigh when they landed in the snow. Because why else would three bells be sitting in the snow like this? So I started making up stories to entertain myself while I was coloring. I started kind of scrubbing around with the brush of the marker. And this is the B52 still. I just started making kind of some some marks with it. And then I went, you know, I want to darken it more. I just I want to go crazy with it. So I grabbed a B34 and I want to see is that dark enough for me? And it kind of worked, you know, I was enjoying this more.  What else can I do? How much more realistic can I make it? I could put some shadows out there shaped like those pine pine branches. And then I could make another tree on the other side. Maybe there's just a little opening where there's some light between Santa's sleigh and whatever is casting that shadow on the other side. And I'm doing tone on tone texture here. So that's kind of going to disappear. It's just going to melt in as it dries. It's a little B41 to blend that edge. And add a little bit more texture into it, just so it kind of carries down across the snow. But I was realizing when I squinted at it, that there's just some spots from the bells that don't pop out from that snow now. So one of the things with snow is you have to either keep it really light so you get contrast or you have to go dark. And I have a lot of medium tone in here, so I had to go dark. So now is the point at which, you know, if you're breaking out into hives, I apologize. I'm using B99 in those dark corners and a B95 next to it to kind of blend that out. And here is la pièce de résistance B99 for a nice dark shadow from that sled. And it just adds some richness to it that that nothing else will. It's just being bold and being brave. And I know that's just me. I'm weird that way. But I did add some sparkle to the shiny areas of the snow, just the the whitest parts. I didn't add it all over the place, so I could just get it in those sections. Did have to do a little clean up on the bells to get some of that off. But a baby wipe while it's wet gets rid of that quite nicely. Pop on over to the link in the doobly-doo. If you want to color this one up yourself, make your bells red or blue or silver or whatever color you want. Just follow the same dark, medium and lights and you should be good to go. And if you're bold enough to color all that snow as dark as I did, then good on you. I'd love to see what you've made. So share it with me on social media or over in the art venture community. Would love to see you there and I'll talk to you again on Friday. Bye bye.


A high level of interdependence is required to be successful on the fire line. This interdependence will only be realized through effective team building. Team building typically goes through three phases, formation, development, and performance. The leader's ultimate goal is to develop team synergy. Synergy is that powerful force that allows the team to outperform itself. In the end, you should have a team where the whole equals more than the sum of its parts. The formation phase or form is when team members are eager to fit in and usually have high expectations. This is the phase you and your crew are going through right now. The development or storm phase can be described as a period when team members are frustrated with the discrepancy between their initial expectations and reality. During the performance or norm phase, team members are committed to the team vision and values. This is where the team will attain synergy. Your facilitator will now lead you in an exercise in which you will identify the leader's role during each phase of team building, form, storm, and norm. You may find it helpful to utilize the operational leadership section in the IRPG.