Good morning, everyone, once again. Thanks for joining. I hope you all are doing well. Good to see you. Good to see you. Thank you. OK, I shall thank you for sharing. Thanks for sharing that, Asha. OK, let's get started, guys. Can I request one of us to spray and to get started? Thank you. I'm audible, right? OK, it's a strict request. Anyone of you to just start us off with a word of prayer, please. Shall I pray first? Father God Almighty, the creator of heaven and earth, we come to you with thanksgiving in our heart for this new, beautiful day, for this time of fellowship and learning about Father. We thank you that you have promised and you are with us and that you lead us and guide us through the power of your Holy Spirit. We pray to you, Father, blessed pastor, as he teaches us, Father, talk to us through him about Father so that we may learn how to worship you and spirit and in truth to be well equipped for the ministry that you want us to complete on this earth, Father, and be submitted to you in all ways. Bless everyone who has joined in. Bless everyone and lead each of us to do your will, Father, in all the ways and walks of life. Continue to be with pastor and continue to bless him and guide him. Once again, thank you for everything that we are learning because it's your grace and mercy upon our lives. We give you glory, honor, and praise and ask this prayer in the precious and matchless name of Jesus, our Lord and Savior, amen. Amen, amen. Thank you, Anthony. All right, guys, welcome once again to the worship ministry course. I'm excited about just continuing to teach because I'm continuing to learn. I'm not surprised that every time I prepare or teach or talk on the subject, not necessarily teach, I get excited because I learn so much. That's one of the reasons why I enjoy teaching on the subject. It just moves me and it humbles me. It keeps my heart in check every time I speak about a character from the Bible or things that they've sacrificed or what they've done and how they pursued God passionately with all their heart, how zealous they were for the presence of God. It moves me and I'm sure it moves you as well. So I'm excited to just continue teaching so I'm looking forward to learn along with you guys. So in the last class, we discussed about the tabernacle of Moses a little bit in detail. We started off with how it was a blueprint that God gave Moses. Hebrews chapter 8 verse 5, it says, it's a copy. They serve as a shadow of the heavenly things. The tabernacle and temple, the pattern, it came from God. We know that. And then Moses made a note of all of that and he gave it to the Israelites to build it, build the sanctuary. And we see as it progresses. Now, every time we spoke about the tabernacle, we always start from the outer courts, inner courts, and the holy place. Maybe we started off last week with the gates and the significance of it. But then from Exodus 25, from the first time that God tells Israel, people of Israel in Moses to build the tabernacle, he starts from the inside out. What is on the inside always matters to him. That's what he is going for. And I don't think I have to go deeper about that, what matters on the inside. In this session, what we will be talking is about David's tabernacle and one of the things that God tells Samuel, Prophet Samuel, is the man looks on the outside, but I look at the heart. So he is always, what's on the inside matters to him. So he moves from the inside out, from the holy of holies to the most holy place to the outer courts and whatnot. You can praise God with the multitude of people in the outer courts. You can serve him with just a handful of people in the inner courts, like with the team of your ministry. You can serve. But when you get to the holy of holies, there is no more doing anything.  And you worship him only one on one, face to face. And in the outer courts, there was the natural light, the sunlight, and when you step into the inner courts, you have the light from the golden lamp stand. But in the holy of holies, there was divine light. It was the glory of God that lit up that space. And just to that space, we've been invited, says our father, says, come boldly to the throne of grace. He's not only saying, come. He's also addressing the attitude in how we can come. He says, come boldly. I have made a way. So in every progression we see in the tabernacle of Moses, we see the blueprint and Jesus in every single thing. The altar of burnt offering, we see that he is our sacrifice. And John chapter one verse 29, John 1, I think John 1, 29, John the Baptist says, there's just too many, too many John's, sorry guys, behold the lamb of God who takes away the sin. He is the lamb of God who takes away the sin of the world. At the water baptism. I think I need to have my coffee. The water baptism is water-based in the bronze laver, where the priests have to wash their hands and their feet. And in parallel, we see that our righteousness is nothing like filthy bags. We know that because now Jesus is our righteousness. We don't attain righteousness by doing things, by works. That's what's hand signifies, right? But we still continue to walk this walk of life. And hence, we are encouraged to cleanse ourselves with the word of God, right? And we saw multiple references to that.  He says that in John chapter 6 verse 35, that I am the bread of life, right? Man shall not live by bread alone, but every word that proceeds from the mouth of God. All these very popular scriptures, which we've heard a lot growing up, but then it's very important for us to pause and ponder, have those sailor moments, as you would say, right? I am the bread of life. Okay, what does it mean to me, right? And so we continue to see Jesus in every symbol, in the tabernacle of Moses, Golden Lampstand. Again, Jesus in John chapter 8, verse 12 says, I am the light of the world, right? And also light brings revelation. And when you read the book, John chapter 9, the whole chapter, it's about Jesus heals the man who was blind from birth. And then somehow he's like drawing a parallel with the blindness of the...  So I am the light of the world. The light brings revelation. And I'm reminded of this quote by C.S. Lewis, anybody here like C.S. Lewis? Yeah, I knew Tharun's hand would go up for sure.  It's brilliant. So one of his quote, he says, I believe in Christianity as I believe in the sunrides, not only because I see it, but because by it I see all things. It's a beautiful quote. And not to mention this, another popular verse from Psalm 119 verse 105, this famous song, Thy Word is a lamp unto my feet and a light unto my path, right? He reveals, the light reveals things. So Jesus is the light of the world. And at the altar of incense, is which represents, symbolizes the altar of intercession. Once again, we see that in John chapter 17 itself, where he intercedes for us, right? If you know what I'm talking about, you know what I'm talking about. And if you haven't read John chapter 17, I would encourage you to do that. We see how Jesus is standing in the gap who's interceding on our behalf. And yeah, I can go on, I'm just doing a very quick recap. It seems to be a very extensive summary of the last class, but, and the Ark of the Covenant. So we started the need for the tabernacle from Genesis, because of sin and how it separated us, our spirit from the spirit of God.  So the tabernacle of Moses was God's resting place, which he didn't have for approximately 2,500 odd years from the time of the fall to somewhere in Exodus 25. It was God building a bridge between heaven and earth, you know, trying to mend a tear. And it's very significant. And I always say that it's very important for every Christian to understand the significance of the tabernacle of Moses for us to understand the new covenant and what we've been given for us to appreciate the new we need to understand the old. That's my take on it, right? And so I hope you've been learning something about it as well. So this class, we'll start the David's tabernacle. Right, you guys okay? Yes, Pastor. Okay, all right, okay. Thanks, Stephanie. Awesome. All right, let's go. So in your notes, I think it's page 22. Now, just as a quick background, the backstory is always important, isn't it? This is at the context. Now, just as the need for the tabernacle of Moses was in Genesis chapter two, three, because of the fall, the tabernacle of David also has a backstory. So for that, let's go to the book of first Samuel, with me, way before David even is in the scene. First Samuel, chapter four. So there are you, Samuel. Okay, there you are. Okay, so first Samuel, chapter four. Now, another background in the background is, there's a high priest called Eli. He had two sons who were wicked. There was no relationship with God. And during this time they were doing evil in the eyes of the Lord right in broad daylight. That's what's happening. So basically, there is no relationship between God and the people because they were doing a lot of wicked things. But it is a time like this, they are being attacked. So that's where that's the setting, okay? First Samuel, chapter four. It says, now, the Israelites went out to fight against the Philistines. The Israelites camped at Ebenezer and the Philistines at Afak. The Philistines deployed their forces to meet Israel. And as the battle spread, Israel was defeated by the Philistines, who killed about 4,000 of them on the battle against the Philistines. When the soldiers returned to the camp, the elders of Israel asked, why did the Lord bring defeat upon us today before the Philistines? Very important. Let us bring the ark of the Lord's covenant from Shiloh so that it may go with us and save us from the hand of our enemies. So the people went, sent men to Shiloh and they brought back the ark of the covenant of the Lord Almighty, who is enthroned between the cherubim and Eli's two sons, Hophni and Phinehas, were there with the ark of the covenant of God. When the ark of the Lord's covenant came into the camp of camp, all Israel raised such a great shout. Okay, if you remember one of the Hebrew words for praise, it's Shabbach, which means a violent rage shout. In the first year, they raised such a great shout that the ground shook. Hearing the uproar, the Philistines asked, what's all this shouting in the Hebrew camp? When they learned that the ark of the Lord had come into the camp, the Philistines were afraid. A God has come into the camp. They said, we're in trouble. Nothing like this has happened before. Woe to us, who will deliver us from the hand of these mighty gods? They are the gods who struck the Egyptians with all kinds of plagues in the desert. Be strong Philistines, be men, or you will be subject to the Hebrews as they have been to you. Be men and fight. So the Philistines fought and the Israelites were defeated and every man, so the Philistines fought and the Israelites were defeated and every man fled to his tent. The slaughter was very great. I want you to underline this next line. Israel lost 30,000 foot soldiers. How many? 30,000. The ark of God was captured and Eli's two sons, Hophne and Phinehaeus died. And so not to read the whole chapter, the news goes to Eli verse 16, okay, just to fast forward verse 16 from chapter four. He told Eli, I have just come from the battle line. I fled from it this very day. Eli asked, what happened, my son? The man who brought the news replied, Israel fled before the Philistines and the army has suffered heavy losses. Also your two sons, Hophne and Phinehaeus are dead and the ark of God has been captured. Verse 18, when he mentioned the ark of God, Eli fell backward of his throne by the side of the gate. He fell and he broke his neck and he died for he was an old man and heavy. He had led Israel 40 years. His daughter-in-law, the wife of Phinehaeus was pregnant and near the time of delivery. When she heard the news, the ark of God had been captured and that her father-in-law and her husband were dead, she went into labor and gave birth, but was overcome by her labor pains. As she was dying, the woman attending her said, don't despair, you have given birth to a son, but you did not respond or pay any attention. She named the boy Ichabod, saying the glory has departed from Israel because of the capture of the ark of God and the debts of her father-in-law and her husband. She said the glory has been departed from Israel for the ark has been captured. Too much of reading for one day or for one class. But I wanted us to read, I wanted us to really kind of at least understand the gravity of what's happening. Talk about having a bad day. This is a very, very bad day in the history of Israel. So many things. So where do we start? Where do we begin? They thought they could just step into a battle, carry the ark of God into the battle without having any intimate relationship with him, doing all the evil things, living an immoral life. But because something has been done in the past for victory because they took the ark of the covenant into battles in the past and God gave them victory, God went before them. Because of that, they thought they could live off history, but it didn't happen. They lost big time, to say the least. How many soldiers, how many foot soldiers were killed? Talk to me, guys. How many foot soldiers? 30,000. Yeah, 30,000. And so ark of God was captured. We'll come to that later, okay? So 30,000 people have died. Hearing this news, Eli, the leader, the judge leader at that point in time of Israel, he breaks his head, his neck, and he dies. His two sons are dead. Eli's daughter-in-law, whose wife? Phineas, yeah, Phineas's wife, right? Yeah. She dies giving birth to her son, naming him Ichabod, which means glory has departed. The presence of God has left. Israel in the Old Testament was a symbol of, they were known as the people of God, right? So the presence of God had left the people of God, right? The glory of God had left the people of God, God's covenant people. Then you, it's one of, it's a very tragic thing, isn't it? I'm reminded of Samson's story is like, when Delilah cut his hair off, it says that Samson did not know that God's glory had left him. It's very tragic. So a very, very bad day in the history of Israel. So that is like the background. I'm sure you already knew all this, but then I just want for benefit of all of us to just go through this. So from that time till David becomes king in second Samuel, it's about, from first Samuel chapter four till second Samuel chapter six, where until when David decides to bring the ark back, it's about 70, 75 years, give or take. Okay. Once again, for 75 years or so, no one felt the need until David to bring the presence of God back into Jerusalem before David Saul was the king, but Saul was all about position and not about presence. When Saul had sinned, he tells Samuel, okay, Samuel, just walk along with me, come out with me so that the people will know that the God is still with me. Right? He was all about position and not about presence. Where David was about the presence, right? For 75 years, it's like, okay, the first thing that he does is, well, I don't want to go forward without his presence. If your presence doesn't go with me, I don't want this leadership. I don't want this position. I don't want this kingship that you've given me. So if you've given me something, it's something beautiful about David, right? We all know God chose him because he was the man of God's own heart. We need to remind ourselves every time and again, why has God chosen us? Why has God chosen me? Why had God chosen you? Is it because of the gifts and talents that we have? And in that process, do we forget who gave us the gift and the talents? Or is it his favor or is it his mercy or is it his grace and his faithfulness towards us? Right? That's one way I feel like David is reminded of this, okay? I was a shepherd boy. I was nobody. Nobody wanted me. My own family, they didn't like me. They rejected me. I was rejected. I'm not ostracized. I had no, almost no value, so to speak. And then says, okay, it is him. It is God who's brought me this far. How can I go forward without his presence, right? So that's where David is. And now we see, okay, let's go to, let's go to second segment. We'll jump on an entire book. We go to second segment, chapter six. Actually, you know, I don't want to go through, we all know the story, right? But, okay. Okay, this is awesome. Okay, let's go to second segment, chapter six. Sorry, great. When you're there, give me a thumbs up or an amen. So second segment, chapter six, okay. So here we go. David has defeated the Philistines now. A lot has happened, right? In the 75 years, you know, the Philistines captured it. You know, they keep it in their temple of God, Dagon and Dagon falls down day one. Second night he falls down, breaks his neck and they can't handle him, they send it away. So a lot of things has happened. I'm not going into all those details because we don't have the time. But I would encourage you to look into what has happened. Okay, great. Second segment, chapter six, verse one. David, again, brought together out of Israel, chosen men. How many? How many? 30,000. Does that sound a little familiar? 30,000? Yeah, yeah. On the day the ark was taken, 30,000 men died. I'm sure David knew about this history. And so this verse doesn't give like the proper detail of it, but let's go to first chronicles, chapter 13. Okay, now first chronicles, chapter 13. Yeah, I hope you're there. First chronicles, first Corinthians guys, first chronicles, some classic, okay. First chronicles, you guys there? Okay. Verse one, two and three, okay. It says, actually why don't one of you read verse one, two and three, first chronicles 13. One of you read please. Can I read first one? Yes, please. David conferred with each of his officers, the commanders of thousands and commanders of hundreds. He then said to the whole assembly of Israel, if it seems good to you, and if it is the will of the Lord, our God, let us send word far and wide to the rest of all people throughout the territories of Israel. And also the priest and the Levites who are with them in their towns and the pasture land to come and join. Let us bring the ark of our God and back to us, for we did not inquire of it during the reign of soul. Thank you. You're most welcome. Right. So David, in his very last line he says, we did not inquire of it during the reign of Saul, right? And so David was well aware during the reign of Saul, the ark of the covenant was not there, and he knew that it was supposed to be there. And we see in second Samuel chapter six, we see that David, it only says David again brought together out of Israel, chosen men, 30,000 of all, right? But I liked this first chronicles 13 because it says that he had a team meeting, right? He had a very big team meeting, right? Talk about a round table conference or whatnot. Okay guys, let's huddle up. This is where we are. This is what we're gonna do. Who's with me? And then they go and bring the ark back, right? So that's the whole story of David's tabernacle. Even before we get, start talking about the nuances of the tabernacle of David, right? So you guys with me so far? Okay, I'm gonna take that as a yes. All right, cool. So now we're in first chronicles, we'll go to, we'll start learning about his tabernacle a little bit and about how he went about setting it up, right? We'll go to first chronicles chapter 16. First chronicles chapter 16. I'll read a few scriptures for us. So it says, After David had finished sacrificing the burnt offerings and fellowship offerings, he blessed the people in the name of the Lord. Then he gave a loaf of bread, a cake of dates and a cake of raisins to each Israelite man and woman. He appointed some of the Levites to minister before the ark of the Lord to make petition to give thanks and to praise the Lord, the God of Israel. Okay, so let's just pause there. And so just a few points in your notes that's mentioned is David set the ark in a tent, right? At the tabernacle in Jerusalem, he had raised for it, then blessed the people and celebrated. David did not bring the ark into his residence like Obed it own. David blessed the people and provided a meal. It's almost like foreshadowing the supper of the lamb. That's first chronicles one to three, right? He sets up a tent. I like what it says that says David pitched for it. It's almost like he started getting his hands dirty. He went and just pitched this tent. Tent of meeting, the tabernacle. And then David appoints Levites to minister to God by remembering, thanking and praising. That's from verse four until verse six. Verse six of first chronicles chapter 16 ends like this. It says they were regularly there to minister before the ark of the covenant of God regularly, right? So, excuse me guys, my internet is saying something wrong. Did I get cut off or not? Okay, okay, cool. Yeah, it's, I'm sorry about that guys. All right, so the first thing he, you know, David sets the ark in the tent that he pitched. He sets Levites to minister before God by remembering. You know, he even writes songs for them from verse seven, when you see that David first committed to Asaph and his associates this sum of thanks to the Lord. Means he wrote this song on the day the ark was bought and he gave it to Asaph and it was like, okay, you put them to music, right? And we say that the Levites were to minister before the Lord regularly. That means day and night and night and day. First chronicles 1637 and 38 days. So he left Asaph and his brothers there to minister before the ark regularly as every day's work required and obeyed him with his 68 brethren to be gatekeepers. All right, so he delegated, so to speak, right? He made teams, okay? Once again, like how we saw, how worship was organized when we just went through the whole lot. It was very organized, right? Everybody knew what they had to do. There was a modern word to use would be a roster. If you, I prepare the worship team roster for APC. It is not a fun job to do. It's, yeah, getting people's availability and balancing the teams, setting them through different locations, making sure the children church worship teams are all set. So rostering is not fun, but I'm sure these guys had fun. Everybody were excited, you know, the zealous to serve before God. So the work was regular, it was consistent. It was ongoing day and night. And we'll read more, we'll learn more about it in chapter 25 in just a minute. But as a conclusion to this session at least, we see this very famous scripture from Amos, chapter nine, verse 11 and 12, which is being quoted in Acts, chapter 15, verse 13 and 18. Verse 13 and 18 is that God is in the business of rebuilding the tabernacle of David, right? A lot of things to ponder about it. And I've been pondering is we see that the ark of a covenant was kept in a tent which David pitched, right? It was a tent. And then here we see that, let me just read that verse, Acts 15, 13, 18, it says, and after they had become silent, James answered saying, men and brethren, listen to me, Simon has declared how God at the first visited the Gentiles to take out of them a people for his name. And with this, the words of the prophets agree, just as it is written, verse 16. After this, I will return and will rebuild the tabernacle of David, which has fallen down. I will rebuild its ruins and I will set it up so that the rest of the mankind may seek the Lord even all the Gentiles who are called by my name, says the Lord, who does all these things known to God from eternity are all his works. I've always wondered, why God says, I will rebuild the tabernacle of David and not the temple of Solomon because which is so much more grander, it's made up of gold everywhere, left, right and center. It was just more royal and what not. And everything was happening there as well. Am I the tabernacle of David? I've always wondered, it was a thing is, it's my thought, it's again, it comes down to the person of who David was. David was so many things, we know that. He was a shepherd boy, he was a worshiper, he was a musician, he became a warrior. He was always was a warrior even as a shepherd. But in every season of his life, he felt the need to go after God. In every season, he felt the need, he knew that he needed God. I was talking about Psalm 23. He says, the Lord is my shepherd. The scholars say that David wrote that Psalm somewhere during the latter part of his kingly days. The time when he was a king of Israel. Now, as a king of a nation, you are powerful. You have everything you need, right? You have people who will do what you tell them to do. All the power, all the riches, all the wealth in the world, right? That's the position where David is. And even in that season of life, where he has everything and whatnot, he pauses and says, the Lord is my shepherd. He's acknowledging the Lordship of God, right? The Lord is my shepherd. When he says that he's submitting himself, saying, okay, I'm the sheep and there's a shepherd who's leading me, who's guiding me, I shall not want. He's not saying, I shall not want because I'm the king of Israel. I have everything I need. He's saying, I shall not want because the Lord is my shepherd. And I think it's just the heart and the posture of David's heart of foreworship for God is what the significance behind this whole verse is. And I see it and I see worship movements be rising up all across the globe, house of prayers. You know, like IHOP, International House of Prayer. That's just one of the examples where God is raising up houses of prayers where there's worship, word and intercession going on day and night, 24 hours a day, nonstop. And all of that in so many ways you see that God is rebuilding the tabernacle of David, a generation of people who are not up for fame, who are seeing the need for the presence and they are not worried about the position on a stage or a fame and whatnot. And so, yeah, if there's any encouragement for us, who are learning about worship ministry and for those who are leading a ministry, who will be leading a ministry. And if you're not leading a ministry, that's just fine because it all comes down to that posture of a worshipper, isn't it? And as it says in John chapter four, for the father is seeking true worshippers. It's interesting that it says that a father is not, if father is seeking worship, it doesn't say that. Rather he's seeking worshippers, you know, so because he knows that if he finds a true worshipper, only worship is going to arise from his heart. And so, yeah, now the Lord is rebuilding the tabernacle of David in our day and time among his saints and that's very encouraging to see. And that's very encouraging to see, right? Any thoughts guys so far? Feel like I'm talking for a bit. All right, so we'll pause here and we'll take a break. We'll, a little extra break and I'll see you all at 10. Okay, thanks guys.


You have the log and didn't even know it. Sorry y'all. So hi.  Hope you guys are doing amazing today. Sorry we're running now. Hurley? Artistically a little late. Hurley? Listen today Tuesday? Oh it's 2. I thought it was late. How does that look y'all? What is the sound? I'm just my little bobo. Trying to get to y'all. So Like Jeff was inquiring how's everybody doing today? Hope you're doing amazing. Everybody can hear okay. I don't have like the wrong things hooked up. Your gray looked absolutely beautiful in the video you posted on it. Oh from the Margarita Ball thank you. No extensions in. I was feeling my best mermaid life. It was a good day. Happy really birthday? Well thank you. Minamina. It's okay. They said it sounded okay last time we didn't use the mics. Yes. My birthday is on the second and we're taking a break and going on High Moon Slash birthday trip for me and to celebrate Jeff's birthday and Kenny's birthday and a lot of stuff so we're leaving on the first and we're back on the sixth but I've been pre-recording for you guys. I've already started editing so I'll have those posted and you guys won't feel like we left you and you're on love and both my big boys are playing. Makes my heart happy. So I share the day with your brother. That's awesome. So this is a piece I did a while back and I just painted over it lightly so that my pink colors will shine through but I kept some of the undertones under the white so that there's like a variance in my pink hues. I always hate painting over a piece. I feel like it's a waste of product and a waste of you know that everything that it took to make it and so I like to at least have some of my original pour that shows through a little bit. One, it gives a little bit of depth two, it doesn't completely waste what we used in the first pour. You know what I mean? You know what I mean? You know what I mean? So I'm almost done mixing my resin. Today I'm using Marcy Mix Media Girls resin. I have some still left on my website but also you can get it from mixmediagirl.com I was going to use Ocean Coat but you guys are buying it faster than I can hold on to it and I'd rather you guys have access to it than me use it for one pour. So yeah unless I start like a page on my store that's like products that we used one time to review it and it's still in perfect condition. It just has like a little smidgey smidge that's used out of it. You know discount stuff. Is that interest to you guys or not? I think that's mixed enough Luna. I'm only going to be using pink on this because one I'm out of Bondi and two who doesn't love a black beach with pink water? I know I do.  I always use translucent with my oceans because it just makes more sense because water is transparent so why wouldn't you want your pigments transparent? Especially when you have like undertones. So yeah. I'm also actually going to use is by Montana the black label can it is the Gold Chrome and I do this just for a little bit of more undertone interest.  Hi Christy hello Heidi. Can I be cool too? Or maybe I could take the stuff that I use and break it down into like sample sizes for people to try. You know for in my spare time I can re jar a bunch of them but I think that would even is spare time. Maybe Tudor will do me a solid and hook it up for me. Hello from Rainy Grease I don't care how Rainy Grease is I still would love to go and see Grease one day. Okay so I'm done mixing. Like it's probably enough. I'm just going to hit this with a little bit of heat to make sure our gold flecks are dry because when you flex like that you're leaving like raised amounts of spray paint and that sometimes takes a little bit longer to dry. So in the meantime and in between time I'm going to mix some color mostly pink some white. Don't need a lot because I find that if you mix a whole bunch of white then you want to use a whole bunch of white and then it's going to take over and then you're like where did all my paint go and then you're like oh yeah it's under the everything else I did. I'm going to take my Magnetta or Magenta This is by Color Obsession like this. I said I was going to open it but it has different ideas. My back is a little bit pretty that color is. Love it pink. What's up TG I have had a little bit of some people tell me that they're not a fan of the new just red Nope Color Obsession squeeze bottles instead of the old school glass bottles there's nothing I can do about that comes from the manufacturer that way the parent company comes from Color Obsession so really anything I can do about it I can't rejar it for you but I can send you the old school pipettes if you leave me a note in your order that you would like the pipettes from the old bottles because I have a lot of those that are extra I'm using titanium paste for my ocean waves because it's awesome and it's what I use for mmm all or most are basically all of my oceans okay so let's mix up our such a pretty color let's mix up our ocean color so this is really light you guys can't see the stream of color rolling down so I'm going to add a couple extra drops the cool thing about the tenses they work like alcohol inks they're translucent or transparent always you can add more to a deeper color or a little bit less or a more subdued color but it's always going to be secret before I mix my this I'm going to add my clear this is going to keep my white turning a pastel paint color yeah it's going to keep my whites white isn't there like a tie commercial about that keeping your whites from before so now we're going to add some pink to our the rest of our clear we're going to add a little bit more pink than on the other to make it a darker color actually we may just put raw raw I don't even know if that's the term just pigment on top of it and mix it in hey Clara what's up Jerry darlene very hard to I'm also going to mix just a tea bit of Milky Way into my pink ocean water because glitter is always an option and who doesn't love a little bit of sparkle in their ocean I know I do I don't know why I'm super excited about a pink ocean but I mean how can you not be excited about pink ocean because you're going to the ocean but I feel like I would be excited about it anyways because ocean and pink here we go mommy mommy mommy mommy mommy so that's going to be my shallow water shade of pink you guys can't see it right now but there's beautiful sparkle in there and then my deep ocean shade of pink that's going to be mainly on the back end of my this but also we'll mix a little bit in up here as well maybe if you'll peel a couple turtles and put them back here I'm going to tilt this we can go ahead and prepaint a couple of turtles what's up Teresa are you excited about our vacation alright now I'm just going to blend my colors into each other ever so softly softly gently I don't know words are hard I don't want to mix them I just want them to meld into each other yeah it does it doesn't make sense just let me know I'm going to add a couple little just mixing it right in to the piece you don't want to leave this pigment on the surface if you try this because it has to have the resin to really dry it's here so work it in just a little bit if you try this technique it almost looks sunsetty so what do you want to do with this I'm putting back here for when I tilt this capture some resin on these little turtle butts melded ocean so I'm going to take my white if you've never seen me do this before I'm going to pour it out so that it's touching both the clear that I poured down and my black fan has to touch both to stretch your waves and I don't want this line to be too thick because then it will cover all of our beautiful paint color that we just laid down and if you put your resin down and it's not touching just kind of make it touch it's not going to hurt anything if you just force it I'll let that one go alright now we have our this ready for the fun part I'm going to just pop my bubbles make sure you don't have any floaters hairs dust bunnies anything of this sort it's because you have a just bubbles alright now I'm going to turn it on high heat and I'm going to use my wedding cake style you can get all the stuff on our website artisttilldat.com and we're going to push our wave back in thirds you sell a heat gun? no but you can find a heat gun on our amazon shop down in the description box below you get one try with these waves you cannot go back so make your one try a good one I'm going to heat in front of my wave and the very tips of my wave just to kind of blur them out just a bit that's so rad bam now I'm just going to sharpen my shoreline just a little bit more white you can also just leave it because it looks actually kind of cool now that I've done half of it it looks like it's on lava my black spray paint is dry enough so a little bit of my black paint is coming up into my ocean I don't know if you guys can see this line of color that shouldn't be there so I'm just going to chop that in you can't even see it I can see it do you love it? does it look sunsetty? it looks pink beach you I have to go back and watch what I miss I had to make my sick dog some food to intensify your eat I understand how that is and I hope you get your precious pup to eat something so I'm going to give you guys a close up I can get this which fingers aren't sticky my problem movement our flecks of gold in there just a little bit of glittery shine from that Milky Way those beautiful soft cells I'll probably go over this with a second layer of waves maybe tomorrow but it will have to be an early live if you guys are interested you can see some of that underpainting through it I think it gives a lot more depth pumped about it what do you guys think of my pink ocean I think she turned out pretty cool anyways if you guys liked this video please leave me your thumbs if you haven't subscribed yet I don't know what you're waiting for because I mean you watched the video so you may as well subscribe thanks you guys, thank you, thank you I want to do an ocean countertop that's different from blues but no one's commissioned me to do that so if you guys know anybody that wants a unique ocean countertop you can get all of these ingredients for this beautiful pink beach cake um, it's not a cake, it's a painting but anyways on our website artistildette.com I used color obsession magenta tint titanium paste from just resin and Milky Way from Resinart you can also use abalone for a little bit more of a rainbow fleck, I mean this does sparkle rainbow in some instances but it's mostly more of a silver sparkle anyways if you enjoyed it, leave me your thumbs and if not, still leave me your thumbs comment below what color ocean you would like me to do next time and I'll try to go live early early tomorrow before I take Bowie to Judy's he's gonna go hang out with his grandma Judy and um then we leave on Wednesday wait, Thursday Friday, what's today? I don't know anyways um, yeah so be kind to one another cause you never know what someone's going through Jeff's not listening so always remember that we do the test so you don't have to we'll see you in the next video you guys have an awesome day bye


So, we're going to have a brief presentation to start off with and then a panel session on the Open Agile Architecture Framework. So, to introduce our speaker and panellists, our speaker this morning is Frederick Lee, who is the Associate Director Corporate Technology Officer at DXC Technologies. Frederick is leading the development of DXC's new Agile Architecture Framework and has over 25 years experience with significant expertise in technology, strategy, enterprise architecture, lean, agile and digital. And after Frederick's presentation, the panellists we have, we are, their pictures are on the screen. We have Thierry Fraude, who is the Enterprise Architect for IT, a group Michelin IT. Thierry has for the last three years been working as an Enterprise Architect for the IT department at Michelin, where his main focus is to develop the long term IT technologies, articulate transformation roadmap and deploy IT capabilities to support business strategy and priorities and to support innovative thinking. Also, we have Antoine Longin, Chief Innovation Officer at Mega International. Antoine has contributed to the foundation of the HOPEX Enterprise Architecture Toolset and is also involved in standards organizations such as the Open Group and OMG. Long time contributors, welcome Antoine. We have, welcome back to Peter Haverland, Chief Technology Officer at Latitude Financial Services. Peter has almost three decades of experience spanning financial services, management, consultancy, technology and energy. He's currently CTO of Neobank Latitude Financial Services and is focused upon leading the digital and agile transformation of the company. He served as the Vice Chair of the Open Group Architecture Forum and as a member of the Open Group Governing Board. A reflection of his passion to stop solving the same problems over and over again and to help enterprises transform and grow. And also we have, last but by no means least, Paddy Fagan, who is STSM Chief Architect, Watson Care Manager Development at IBM Watson Health. Paddy is an expert in the architecture and design of enterprise business applications, working across software as a service and on-premise solutions in health services. So, welcome to all of our panelists and Frederick, I'm going to hand over to you for a few introductory slides. Thank you. So, the AF team has talked to many architects and those architects working for large enterprises who are deploying agile scale. And most of those architects said that the shift to agile impacted them. Slide two contains a small sample of the FABA teams we've heard. I think everyone can read them. The bottom line is that architects are challenged. The processes are tested as being waterfall. The technical skills are questioned and the ways of working are challenged as not agile. The net is that in that agile scale world architecture is too often neglected. So, we've gathered some evidence from the field from those large enterprises. When the agile scale succeeds, we get sometimes hundreds of other teams that run in parallel. And if the enterprise neglects the actual discipline, and I'm talking here about discipline, not the three, the traditional role of the architect, it has consequences. First, when the bodies that separate teams are not well defined, we can either have read or not work or we can have blind spots. And when that happens, it translates into missing pieces that has a bad impact on the quality of customer experience, but also on security or even safety. The second point is that when the enterprise and its system are not good enough, it results in many explicit and implicit dependencies. And that seriously slows down CICD pipeline. So the one of the main outcome of agility, which is not there, and it also causes integration problems down the road. When independently developed components do not interpret nicely, and we've seen major actual refactoring which jeopardize the economy of those transformations. The photo image on the left illustrates those integration problems. Third point, traditionally shared assets are identified by the enterprise architect in a common manner and imposed in a common and control style with actual committees and so forth. This no longer works. So we need new actual practices to drive the creation of shared assets such as France's digital platforms. And the last point though, IT strategy claims it drives alignment with the business. We see at the same time, too often, the business creating target operating models that have few if any IT involvement or inputs. So we think that a jolly scale processes are not enough. Enterprises need a new actual framework. And our group has created one, the open agile actual framework. And I'm going to introduce in a few words what it is all about. So that holistic framework breaks down the silo at separate business and IT. It's not just business IT alignment. We have also extended the scope of the classical enterprise architecture over experience design, top left, product architecture, operations architecture, and software architecture, which was traditionally in scope of enterprise architecture. We have shifted from a requirement static framework to a value driven framework. We complement iteration with set base concurrent engineering. And that extension of the scope help us target new personas. And we have developed specific value proposition for each of them. I'm not going to think of time to go through each of them. Let's say that the panelists we have assembled today are committed to the agile actual framework through the participation to workshops and all offering work. Our goal today is to start a conversation which I hope will motivate you to read the OF document and start applying the framework to guide your digital and drive transformation. Steve, I suggest we start the panel now. That's great. Frederick, thank you for the introduction. And if all the panelists are available, I can see at least a couple on video. If you can, if you're not in a good place to do that, then understood. Your answers are more important. But welcome. Welcome, gentlemen. Frederick has given us some context and some introduction to the topic. And digital transformation, agility, top of everybody's mind right now. Is digital transformation primarily or only a front-end endeavour? Let me pick on you, Pete, since I haven't been able to for a while. Steve, I was hoping I couldn't wait, mate. I was expecting it. Hello from sunny Australia. I probably don't need those though because it's in the middle of the night here. So is it a front-end only endeavour? I don't think it is anymore. I think maybe a couple of years ago, you probably saw people trying to find those terms. But really, when you looked at the work, what you were looking at was, yeah, it was a little bit like a lot of the omni-channel type projects over a couple of years ago. I think from a management point of view or a company point of view, the entire value of digital transformation these days is to actually go full stack and go into the core. In addition to that front-end layer, that's usually where the next generation of value lies. And so as a result of that, I think that's something that the framework is trying to address because there isn't a great deal of material out there that actually talks about some of these topics in this context. So we have a customer-centric design methods, approaches like domain-driven design or independent services, which might cover more of the technical side. But what we don't have is something that actually covers all of those areas in addition to the operating environment that you need as well as the implementation methodology that you need. So short answer, no. It's ridiculous. Next question. Okay, all right. Well, there you go. Thank you. Let's see. Maybe this one's for you, Thierry, as another customer organization. What do you think people talk about a bimodal operating model? In your experience, what do you think of the limits of such a model? One for the system of record and one for the system of engagement? Hi, everybody. Sorry to not enable the video, but I need to limit my bandwidth. The bimodal really is for me the practice of managing two separate modes of IT delivery. So mode one is a traditional one. I'm facing on accuracy and stability, and usually the way of working is based on a waterfall predictive approach. And the management model is more controlled in command style. And the mode two is, of course, exploratory and facing agility and speed. The way of working obviously is based on HAL and DevOps adaptive approach. And the management model is based on empowerment and leadership mindset. Usually what we see is that we recommend to start deploy the mode two, the HAL way, on a system of engagement or system of innovation, because they are the one subject to continuous flow of change and need to change rapidly. And mode one is considering more efficient for system of record, for ERPs, service delivery, for example. But for me, it's quite strange to have this kind of two separate world, because how we can ask our people to change and believe in the value of an HAL principle one day, because they are working on project on system of innovation, for example. And the next day, we have them to believe in the opposite, because they are moving to a team delivering services around ERP, for example. So for me, it doesn't really make sense. And I think we make adoption of a new way of working very difficult. Also, what I see, at least in my organization, is that systems that experience a high rate of change are not always as decoupled as we would like from system of record or for core system, if you were, and as we would like. And finally, our capacity to evolve quickly and very rapidly are limited by our ability to also to make a quick change to this system. So, like I think Pete said previously, we need to induce a digital way of working into the core of our system as well. So, at the end, I prefer to consider a multi-model delivery model, if you want, where we no longer have either agile or waterfall project, but rather agile team with different level of adoption, different maturity, of course, but sharing the same core values and the same beliefs. Right. Okay, Jerry. Anyone anything to add to that? Or I can move to the next question, if not. Okay. What lessons have you learned from architecting digital platforms? I mean, it's what everyone's trying to do. And you guys are helping your customers do that. In some cases, you're doing it for your own organizations. Any lessons learned from what you've done so far? Maybe Pete or Patty? Yeah, there are a few, Steve, and I'm just looking at the chat with one or two questions. The biggest thing, I think, which is worthy of discussion is that I think there's a much more symbiotic relationship between some of the topics here, like there are specific architecture patterns that were needed to realize some of these outcomes. In line with specific implementation approaches, which I don't hand in hand with those patterns, right? Or maybe the other way around, right? So, I mean, the idea of a monolithic solution and an agile way of working doesn't really fit. So, you start to see these requirements to actually implement this stuff. So, the biggest lesson for me is the way that the company is managing itself primarily through its financial management process is very critical to putting the operating environment in place that actually allows you to embark upon an agile implementation method. But if you don't actually know what the architecture patterns are to enable that, you're going to have issues. So, you have this kind of three-legged stool that's kind of got to be balanced in order to actually carry it forward, I think. And I just want to comment on some of the questions because some of the questions are around things like cloud, SOA, and REST and other technological patterns, which invariably facilitate one of those three leagues of the store. Right. Understood. Any other lessons learned from protecting digital platforms? So, I guess I was just going to jump in there, Steve. I think from my perspective, the other lesson really is that this is a whole organization thing, right? There's no point in setting out IT and saying, we're going to be agile without thinking about how that affects your relationship with the rest of the organization and finding a way to work together that makes sure that everybody comes on the journey with you and understands the value they get, but also the changes that are going to be exposed, right? Nobody likes change. And so, in any change in element of change management, and sometimes, and it probably doesn't suit us necessarily to say that at the IT, but to say that we own that change management piece and we're responsible for bringing that change management journey around to people and bringing them on it with us. And to me, that's the other part of it. And yes, there are lots of technology elements and technical elements, but actually sometimes it's the pieces that bring us outside of our natural areas by fatigue that are important to embrace and bring on this journey. And again, it's something we try to capture in the documents and express some of our experience and so on. Right. And there are some questions coming in from the attendees. Where can they get more information about the document? And I'll maybe one of my colleagues from the open group can dive in and give some pointers to that in the chat channel. Because obviously, as Frederick said, part of this is to inspire interest and inspire people to read the document that a lot of work has gone into. So, let me take another question from the audience. There's quite a few coming in, but this is about roles and responsibilities. What do you think the role and responsibility of EA and enterprise solution architects is in an agile software product centric delivery organization? So, enterprise and solution architects in an agile software product centric delivery organization? I'm happy to share a view. I think the role is not that different than the roles they've always played. I think they need to be the vanguard for the new ways of working. They need to be the vanguard to explain those dependencies between the different dimensions in terms of operating environment, implementation method and then architecture. Organizations invariably need a group of people who are willing to get out in front and act as mentors and guides and coaches for other parts of the organization, particularly those with less experience around agile. So, I think that's their primary role. Clearly, they still need to perform those roles within projects. So, solutions need to be architected and then multiple projects or even programs need to be supported. So, I think that's where they still play. Right. Good. Okay. Let's pick another one here. Let's see. We have kind of one that's short enough to answer. How do you think the statement of solution architecture impacts the view of business architecture? Thanks for the question. Again, I think for me, the idea that you have a solution architecture, which is fundamentally made up of autonomous, independent components, should inform your business architecture in a similar way. So, I think the idea that you're striving for autonomy and you're striving for speed through autonomy means that your business architecture should also reflect that. So, you should have capabilities within your business which do not have a lot of dependence on others and management approaches which don't require excessive amounts of cross business unit management. And in that way, what hopefully you'll have is you will have this autonomous operating environment that actually delivers the speed and the responsiveness that the enterprises are for. Right. So, on that capabilities skills topic, another question that's just come in is, how do we promote any suggestions for promoting and developing business architecture and design skills and agile architecture skills? How do we get people to listen to the fact that these are skills that organisations need? Well, it's a question, I believe, we've answered here in the Erocon Group pretty much every year since I've been involved. How do we get people to listen to us? Maybe there's another little agile or DevOps kind of drill wisdom in here, which is just to show people rather than tell them. That's probably the best approach, I think. Start small, pick a business unit and try and roll it out. It's not easy to try and tell people that you've got a better way of doing things, especially in this environment. I don't know that I've been very successful doing that. Just personally, in my career, it's usually the other way around where I try and carve out some guerrilla fashion project and do it that way. Okay. But mind you, I wouldn't want to miss an opportunity to plug another Erocon Group framework, the Erocon VA Business Architecture Framework, which is actually more concerned with exactly this. If you haven't, for those who are interested in that, I highly recommend checking that out as well. Yeah, that's right. The OBA, the Business Architecture, Open Business Architecture documents, they are all available on the Open Group website and thanks for the plug. We're nearly out of time, but let's talk about lean. People about agile digital lean practices. How does lean management facilitate agile at scale, do you think? Maybe one for you, Thierry? Yes. At least I can share with you what we have done in my company. We all know that succeeding in agile at scale transformation needs a manager leadership. Manager leadership is central to the change. And honestly, the first years, we didn't do much coaching and support for the manager. And manager was not really involved in a way. I mean, agile was seen by them as a method for developers. You see what I mean. And so to help the manager, we have equipped them with a lean management system because a lean management system as agile and developed shares the same body of knowledge. They share the same key principle, like continuous improvement, like building quality and powering people. And the lean management system has, of course, a long history. It takes its roots in Toyota production system. It comes with a large toolbox that allows manager, I think, to easily move from, I would say, concept to practice in their day-to-day management roles. And so really for us, the lean management system helps us to end costs if you want the behavior our chiefs require. And we use it as the primary method of sustaining our agile transformation in my company. Thank you. Okay. We're just about out of time, but I'm just going to take one last question. Many large companies today still follow a vision, you know, plans. Does that defeat agile architecture or does it increase the need for it? Paddy, you're smiling. Well, I obviously, given my work for a very large corporation, I guess, and I think it can defeat it. I think it can defeat it if you allow it to. But I think, you know, to me, the answer there is in sort of treating those global visions or grand plans as constraints and say, how do we achieve agility within this? Yes, this is the vision that we need to deliver. But how do we set ourselves up within that, given that constraint, to deliver in an agile way, to operate in an agile way, to evolve in an agile way? Because, again, you know, even from my own experience, the thing about these grand visions is they're not immune from change themselves. And so what you need to do is sort of deliver to that vision, because that is what you've been asked to do, but yet to retain that agility so that when the vision evolves or changes or however it's described at the point where it happens, you know, that you're set to do it.  It doesn't stop us operating in this way, but we just need to be informed by it. And that to me is the way to bridge the gap between the two. That's a great, great answer. Thank you.  But that's a great answer. Thank you. Gentlemen, in the interest of time, we're going to have to leave it there. I'm afraid there are some other questions in the Q&A. If any of you feel so inclined to answer them, then please do. But we're going to have to move on to the next, but thank you all.


how to annihilate the narcissist, how to defeat and overcome them with superior strength, how to succeed in dealing with them. If you have been around the narcissist for a long period of time, it's likely that you have been abused. It's likely that you have been treated with cruelty and violence repeatedly. It's likely that you have been treated in an inappropriate way, but they don't always see it that way. In their minds, they're always the victim. Anything they do to you is justified or in self-defense. It's never anything that they have to answer to. It's never anything that they have to hold themselves accountable for. They will hold grudges against you for any little thing you do wrong with a real or imagined. While they deny anything that they do or shift the blame on to you, or they will minimize what they did or try to justify their actions, because they're just trying to avoid taking responsibility. They're too weak to deal with a shame or regret. So they make it your problem. They put everything on to you and expect you to deal with it while they continue abusing you. They continue disrespected you while we're refusing to acknowledge what they did wrong. It's a never ending cycle, which will naturally make you desire to take revenge. You will desire to bring them to justice. All a narcissist really needs is supply. They need fuel to keep them going. They might seem interested in you in the beginning. But they just see you as an object that exists to serve their needs. When you first meet them and you don't know what they're really about, you will be giving them supply. You will be feeding their ego, regulating their emotions, boosting their self-worth, self-esteem and self-importance. And it just makes them feel like they're worth something. It makes them feel like their false self exists. But we don't realise this at the time. We think we're dealing with someone who is genuinely interested in getting to know us. When really, they're just coming around us to get supply, to get the love and acceptance that they never got from their parents or caregivers. Because that is all they really desire and expect from you.  They just see you as an object. They have no interest in you as a person. They're only interested in the supply you give to them. What you can provide to them or how you can make them feel about themselves. The more powerful and attractive you are, the better you can make them feel. But even then, you're still just a tool that exists to serve them. You're just something that gives them supply. Because that's all they really care about. They just trick you into reflecting something back to them, which then makes them feel better about themselves. They always need you around because as soon as you go that feeling leaves, they can't generate those emotions from within. When the narcissist has learned you, they get bored. Or maybe you made a fault or mistake that they didn't approve of. And that is when they begin to devalue you. Now you can't do anything right. Because your supply has lost its potency. It no longer has the same influence and effect. But rather than looking at themselves and questioning if it was the result of something they did. They will blame you and then seek out another source of supply. While they are also still getting supply from you by hurting you. It makes them feel powerful and in control. But they also need someone to admire them. They need someone to make them feel desirable and attractive. And that is why they seek out another source of supply. When they've secured this new source. That is when they will discard you. That is when they will advance this new source to the primary position. The narcissist has to discard you. They have to do it on their terms. And when they are ready to do it. It has to play out in the way that they desire and expect. So that they can look at you like you're the problem. As though you are not good enough for them. Then they can feel superior to you. They can feel like they're not the problem. They won't have any regrets. And then they can move on with the new source. Believing that they've made the right decision. To annihilate the narcissist. You have to beat them at their own game. You have to beat them to the punch. By discarding them before they get the chance to discard you. By discarding them before they get the chance to move their secondary source to the primary position. This will annihilate the narcissist. And they will never forget it. They will never let it go. They will hold on to it for the rest of their lives. Because you are the one to discard them. So now they will always see you as being superior to them. Which is why they may always try to compete with you. Because when you reject them. It destroys their false self. It triggers them to reflect on how they really feel about themselves. They created the false self to defend themselves. Against how they really feel about themselves. The false self is meant to be everything they know they're not. Everything they wish they were. When you discard the narcissist. Before they get the chance to discard you. It annihilates the narcissist. Anytime that they are reminded of it. It will trigger them to reflect on how worthless and insignificant they really feel. It will deflate their exaggerated sense of value and importance. When you discard the narcissist. Before they discard you.  You have beaten them at their own game. And they will never forget about it. They will never let it go. Thank you for watching. I hope this video ends it with you. Please like, comment, share and subscribe. If you would like to donate. My PayPal link is in the video description. Coaching inquiries. You can email me at coachnetnarksurvivor.co.uk. Thank you for watching and I'll talk to you soon.


Standard of California, on behalf of independent Chevron gas stations and standard stations throughout the West, invites you to let George do it. Serenade to the Southern Star, another adventure at George Valentine. Personal notice, dangerous my stock and trade. If life is a whirlpool and you smack in the middle, you got a job for me, George Valentine. Write full details. My goodness to Valentine, there was once a man named Bluebeard who could not endure the thought of leaving his lady friends alive. But it is much more horrifying when you suspect that a woman has developed this same complex regarding her men. We are musicians and she took an interest in our little group. When we all arrived in your city a few days ago, we were a quartet. Now we are a trio and unless you help us immediately, there is every reason to believe we may become a duet. If you think this is facetious, may we add that the ladies two husbands have also disappeared. Sincerely the Parnassus trio, Steamship Southern Star, P42. Mr. Valentine, Miss Brooks, my name is Paul. I am the conductor of our little symphony. And this young man is Stuart, my drummer. About his musical as a pelican, but he so politely said he wanted experience for his college education. Don't worry, I'm getting it too. Stuart, are you the one that this female Bluebeard has her eye fixed on? Oh gosh, no. Her case is a little more sophisticated. It is our third member, Fabio. He is in there in the next room asleep. Yeah, he always sleeps. Sleepiest piano I ever had. So amiable though. He is Latin, that is all. Well, so my letter intrigued you, huh? How could it help it? Who is this femme fatale? Her name, Mrs. Devereaux. Her age, who cares. She would not admit it anyway. But her wealth is enormous. What did you mean? She traveled with us on the last trip. Now we find she is going to repeat the voyage, leaving tonight for the sake of Fabio. Wait a second, you mentioned another musician. Yeah, you see, he was a poet. I will tell the story. It was Jose the cello. First, Mrs. Devereaux liked him. They left the ship together two days ago. But yesterday at the company office I ran into and she claimed she had not even seen him. We checked, we called. He is nowhere. The detrimacing person? Of course, that is all taken care of. Surely he will show up sometime before you see him. I hope so, but I am afraid not. Anyway, what we need you for is poor Fabio. Why, poor? What makes you positive, Mrs. Devereaux, so deadly? Yes, how do you know anything has really happened to this Jose or to the two husbands you mentioned? As I told you, Mrs. Brooks, there is nothing we can prove, but the woman is... She is simpatico. She is charming. She is beautiful. Like you are, Mrs. Brooks. Oh, Fabio, please. But I am not wealthy. Well, life is full of tragedy. How do you do, Mr. Valentine? So you are Fabio. Well, don't say it like that. I am a nice guy, just a lazy egotist, that's all. I gather you weren't in on writing the letter. Well, I knew about it, but if they are thinking to be done, I leave it up to Paul and you. And the same goes for action. You get it. Well, I am on my way top side now. I sleep very in the lounge, but she is a lovely woman, Mrs. Devereaux. I still have Easter. Mr. Valentine, you have the expression to be around while I have been around. No matter what Fabio says, there is danger, I know. But if you just don't want him to be near this Mrs. Devereaux, why don't you leave him behind? Take a different Piamas this time and then have her invested. Look, we were threatened. We were told, yes, we were told we all had to make this trip just the same as usual. No change. Oh, wait a minute. Now you said something, friend. I wish we could say more. It was an old type written left in our cabinet. I wish we could say who sent it. Ah, that's where I fit in. Well, to start with... Mr. Valentine, there's no time for more explanation every second counts. You are coming with us. What's that? This is a nice cabin, no? And all the ships and ploys are living nice. There's even a swimming pool. Everyone is a king. Oh, I get it. So that's it. What kind of a crown have you picked for me to wear? The athletic instructor says you will take his place. Athletic? Tarzan sneaker. Oh, what about Miss Brooks? There is always room for an extra manicure in the ship's barbershop. I have angles. I can arrange it. Oh, George, I don't mind. I do anything. I love it. Easy, easy, Brooks. 12 days is a long time for it. Mr. Valentine, you must believe me. We are not crazy. We were threatened. Okay, okay, Skippet. Well, Brooksy, if we're going to pack up the scissors and voicing gloves, we'd better get going. I have your state room numbers, please. Where's Shipp's personnel? Oh, give me your names. I'll check them off. Claire Brooks, manicurist. Uh-huh. Up you go. George, my red bag! Yeah, I got it. Don't worry. Valentine. George Valentine. George Valentine. Athletic director. Hey, come on. Hurry up. Oh, here it is. Hey, mister, you're already on board. There's your name crossed off already. You're nuts. I'm Valentine. Yeah, yeah, I know. It's an old trick, mister. I'm on board. Buster, I'll get the purse or he'll tell you. Better luck next time. Look, fun is fun, Rollo, but... Hey, wait, I'll show you some identification.  But if you've got a real beef, there's a company man down at the pier there, guy in the gray suit bald, see him? But you don't... Nothing else I can do, mister. Okay, girl. Sorry, excuse me, would you? Look, let me throw. Would you please excuse me? Hey, hey, you! Hey! Hey! I'm going to my building! I don't care how much it costs. You run a water taxi, don't you? I don't care if you have to chase that ship all the way to Sammy Gale. Get going! Well, Valentine, the captain was certainly not impressed with your little demonstration of climbing land. But, mister Kelly... He said, Perse, I want you to speak harshly with this man. Very harshly. He held up the boat five minutes, five full minutes. Yes, sir, I know, I know. He said some other things, too, which I won't repeat.  Nonsense. Bonded employee of the docks. Been there for years. Never makes mistakes. Well, then somebody else used my name. I don't know. Well, we've just completed our usual inspection. There's no one extra on board. Excuses won't get you anywhere, Valentine. Okay, okay, I'm very sorry. That's better. Now, there's work to be done before morning. Start out the shuffleboard equipment. Deck tennis net needs repair. Yes, I'll get on it, mister Kelly. Oh, yes, and you might vulcanize that rubber horse in the swimming pool. I think it has a slow leap. Yes, I'm sure it does. Oh, Joe. Oh, hi, Joe. Are you going to miss the boat on our honeymoon? Be forewarned, I'm a man with gang flank fever. All right, we'll take a train. George, I've spotted that Mrs. Devereaux already. Yeah. She has cabin 38. She's probably out on deck someplace now. She, uh, is not exactly what I expected. Oh, excuse me. Good evening. Oh, hello. My name is George Valentine. I'm the new athletic director. Oh, athletic. You, uh, you don't like them? They always make me think of Jim Blumers. I'm Mrs. Devereaux. Oh, how do you do? I had a husband once who was an athlete. He played polo until the horses simply loathed him. Oh, I see. That's how he died, you know. One of the horses hit him back. Right there in the fourth chucker. I didn't know. I'm sorry. Why? Nobody else was? Uh, well, I mean, I didn't realize Mr. Devereaux... Oh, no, you're all confused. Mr. Devereaux ate himself to death. It was frightful. The doctor told him 300 pounds was too much, and it was. Oh. The one with horses was Mr. Phipps, my first.  Oh, perfectly. Oh, music stops, hasn't it? It's such a shame making him play the first night just because it's a cruise ship, don't you think? Yes, yes, it is. I have to be going now. I'm meeting someone. Mr. Valentine, was there anything in particular you wanted to say to me? Oh, um, well, no, I just understood you'd been on this trip before, and you see, I'm new, so... Well, I thought you might be able to give me some suggestions on organizing games. Oh, you certainly came barking up the wrong tree, didn't you? I may as well tell you this. Everyone else aboard gossips about it, I suppose. I'm only here for one reason. There's a musician named Fadio. The sleepy one. Yes.  I can see that. Mrs. Devereaux, didn't the orchestra used to be a quartet? Wasn't there another musician? A jose or something like that? You should now feel getting confused again, Artu, that I suppose it's because of all that exercise you do, but it's always been a trio. Always a trio, huh? Okay, muster, whoever you are, come on out of there. I set out. Now, I'm allergic to being caught. Oh, blackjack, huh? Come on. Well, well, Stuart, who here cutting off?  I can explain, Mr. Valentine, don't hit me. Never mind. You're going to round up the rest of the trio, drummer boy, and you're going to round them up fast. We're having a little orchestra practice. Right now. Your young poor daughter. But I told you, I was only going to use the blackjack on myself. I mean, just lie there and make Mr. Valentine think I'd been knocked out. I mean, romantic youth. Please, I have business to attend to. Okay, okay, all of you. You're going no place. And neither are we. That was the idea, wasn't it, gentlemen? To get us aboard the ship by telling us a phony story. Yeah, I mean, no, no, it's not phony. There was no musician named Jose who disappeared. And you neither know nor care about Mrs. Devereaux's ex-husband. Is that checked?  I wouldn't lie. Very well, Mr. Valentine, you're right. Mrs. Bluebeard was the figment of the imagination, and we did want to lure you aboard. Sure, I wanted to make the story look better by having you find me like that, but we did get a note. That part of it is true. We were threatened, but we were. Okay, why? And this time I want the truth. Here, Mr. Valentine. We were going to tell you in due time. Look here in this drawer. Oh, look at all the cigarette cases. Uh-huh. Lighters, camera, and a wristwatch. And please understand they are gifts. Gifts, not stolen. Oh, they're worth only a couple of hundred bucks altogether. Nothing big. Where they come from? Well, you see, a ship's musician is not overpaid, but when you have been around, there are a lot of wild tricks to help. Come on, come on. You see, in the days of prohibition, I was on European boats. And when we got to New York Harbor, I would invite a few friends aboard for, shall we say, parties. You mean you snuggle liquor? No, no, no, no, parties. That is all. I'll sell a few drinks to my friends. Uh-huh, and now what do you sell? To Mexico and back, for the ladies, not for a perfume. But we don't even sell it. A few lovely friends come aboard. We exchange gifts. It's all tiny bottles. Nothing the officials would object to. Yeah, but duty-free, just for some. You are spitting hairs.  Yet the note told us we had to make this next trip as usual. We had to. No change or else. Well, it could make sense if someone is using you for real smuggling. Exactly what we thought. Something they put in the gift bottles of perfume, I suppose. Now, where'd you get them? A man in San Miguel who gives us cash for these presents. He also sells us the perfume. I see. And you got me along to hold hands with you the next time you go ashore to meet him. But don't you see, our only hope is to catch the real smuggler.  The union would take away our...  And I should have mine examined. Please, in the meantime, you will enjoy the voyage. Friends, somebody's already tried to scratch me off. His name on the gangplank list. And the only one who could possibly have touched that list are the ones who came up the gangplank list. Whoever runs this deal, whoever threatens people, is right here on this ship. Oh, bon voyage. We'll return to tonight's adventure of George Valentine in just a moment.  How about oil on parts inside your car's engine? How can you keep the oil from dripping off cylinder walls and pistons so these mirror-smooth surfaces are safe from corrosive rust? Believe me, no ordinary motor oil will stay on these vital parts for long. But RPM motor oil is compounded to keep a film of oil on every inch of internal metal at all times.  It stays put, protecting parts left bare and exposed to wear by ordinary motor oils. RPM also stops sludgy carbon and lacquer deposits, keeps the whole engine system cleaner. No wonder motorists say RPM gives extra protection, and no wonder it's first choice in the West. Get it at standard stations and independent chevron gas stations where they say, and mean, we take better care of your car. And now back to tonight's adventure of George Valentine. You're aboard the palatial luxury cruiser Southern Star under false pretenses, and the three musicians who hired you were so nervous they played mauve notes on the truth. However, the voyage is well underway now, and it's no secret that there's somebody aboard who doesn't watch you around, somebody who's already tried to get you off the ship, somebody who has something to do with a dangerous bit of smuggling. Still, if you're as much a philosopher as George Valentine is, you resign yourself grimly to the hardships of a pleasure cruise to San Miguel. Any luck, George? No, you angel. Down in the beauty shop, I think I'm crazy. You know, eager beef are kind of crazy.  Oh, you've learned about a hangout. Yeah, just about. George, I'm scared. Oh, now take it easy. I'm not going to just let you go ashore with Paul at San Miguel. I know it. What do you suppose is in those bottles of perfume? Not caught? Oh, I don't know. The way I see it, Bruxy and her job is to run a switch, change the whole routine. Oh, excuse me. Oh, Mrs. Devereaux. Well, I see you've met somebody, haven't you? Is it wonderful aboard ship how everybody manages to meet somebody? Yes, we were just talking about... About the dance tonight, of course.  Everyone's invited, you know? The dance. Oh, yes, yes, I'll be there. But you'll dance with me, won't you, Mr. Valentine? I mean, it's frightful if you like to dance and like a musician at the same time. I mean, never the train shall meet. I mean, well, don't you think so? Mr. Kelly, what time do we go ashore tomorrow? Oh, I don't know. Anchor around eight. Officials come aboard. We send a lighter in with the baggie to round eleven, perhaps. I see. Anyway, as I was saying... Hello? Well, you look very lovely, Miss Brooks. Perhaps you'd care to... Oh, Mr. Valentine. Oh, look, Mr. Kelly, all day that woman's been hounding me. She's afraid you won't ask her to dance. Why, Mr. Valentine? Yeah, she thinks you're the best dancer on the ship. Why, if it isn't Mrs. Devereaux, shall we... I was just saying you look lovely tonight. Very neat. Uh-oh, what's the matter, darling? Let's meet me on the boat deck in five minutes. What if? I'm going to take up the profession of smuggling myself. That's all. Boat deck in five minutes. George. I'll see you later. Ah, hello, my friend. Okay, I want to talk, Paul. So? This is a good place back here. Strange, no, there is something I wish to say true. I have been thinking and discussing with Fabio. Yeah, what about? The reason we were threatened in the first place. The reason the smugglers did not just let things take their natural course. Okay, go on. When we arrived in the States the last time, we did not make the usual telephone calls to invite our perfume friends aboard. No. Instead there was a little delay while we debated. You see, Fabio thought it would be a good idea to just give all our perfume to this woman he wishes to impress, Mrs. Davroff. Only you and Stu voted him down. Yes, but it must have been the delay that scared someone, no? Mm-hmm. Yeah, it makes sense. I think it is very interesting. And tomorrow... Paul, you're staying aboard ship tomorrow. What? I want you to give me all those cigarette cases and junk you sell to the man in San Miguel. I got a plan. George? George? It's me. Oh. What's the matter? Disappointed? No, I... Oh, of course not, Stuart. It's so hard to ever find you alone to talk to. Oh, we're all so busy. This is the boat deck, isn't it? Uh-huh. Best place to be alone on the whole ship. Yeah, I suppose it is. Gee, you're beautiful. You've got eyes like the stars. Why Stuart? A fellow gets a lot of experience traveling, you know, but I've never had anything happen like this. You mean smuggling. Oh, that. Only that. Maybe that's it in a way. Gosh, tomorrow we may all be thrown in jail or die or something. Stuart, what time is it? I don't care, though. None of it's important. Time or space or... Oh, Stuart, they haven't taken... Huh? Somebody's overboard. No, the pool. Look, it's a man. I think I can reach him. George! Take it easy, darling. You better sleep that door. Yeah, sure. And a hammer works. The doctor gave you a sedative. It was L.A. before? Just for a few minutes last night. Last what? Hey, in Bruxy, the ship's not moving. Where's my watch? It's 10 o'clock in the morning. Ah. George, who was it? Who did it? I don't know. I was hurrying along the deck in the Empire State Building following me. 10 o'clock. Almost short time. Hey, Bruxy, hand me my coat. I will not. Come on, come on. I don't care about that smuggling. Those crazy musicians can take their medicine. I don't care. Somebody try to kill me, Bruxy. That's what I mean. They'll do it again. Angel, and what's left of my head? I remember there's something to find out. The cigarette case isn't... Yeah, last night I picked up this stuff. Then after Paul left, I dumped it in this locker for safekeeping. I was planning to sneak it ashore on the first lighter as a baggage boy, try to trade it for perfume. But I guess it takes a knock on my head to give you perspective. What do you mean? I mean everybody figures a smuggle only works one way. Into the United States. But remember that threatening note the boys got? Yeah. Well, that threat would make a lot more sense, wouldn't it? If the sender of the note knew the stuff was already in their hands, packaged for delivery. And ready to be smuggled into Mexico. Yeah. Oh, darling. There's nothing in this one. Oh, wait a minute. Angel has camera. Oh, George. It's a bracelet. Yeah. Little bobble. It's too hard to be peddled in the States, I guess. And there are some millionaires in South America, too. Where? Hello. Oh, Fabio. The birds are here. Our music is over. I am on my way for a little nap. Oh, what are you doing? Mr. Valentine, you should not be up. I'm all right. Put your head, gee. Yes, you should sit down. You look pale. First vote for sure, everyone. First vote for sure. Hurry, please. Everyone going for a... Mr. Kelly. Hurry, please. Mr. Kelly, come here. What? Wait. Mr. Valentine, you shouldn't be... No, I'm all right. I'm all right. I just realized I like a lot of people around. That's all I need them. Oh, please. I am so sleepy. Then wake up, Fabio. Brooks, you show it to him. See? Huh? Yeah. Sure. It's pretty, isn't it? Maybe there's even some more on this trip. I don't know yet. What in heaven's name are you talking about? Okay, Mr. Kelly. I'll make it fast. Somebody in the United States wants to send this stuff to somebody in Mexico. Somebody like the perfume man. They get a smuggler to supervise the deal and the smuggler picks a patsy. No, no, no. Patsy's Mr. Valentine. Only this time the smuggler knew I was aboard and he made a slip of the pencil. I do not understand. Well, I'll tell you. It's been bothering me for a long time and now I think I've got it. My name was crossed off the gangplank list. Remember? Yes, someone did it while coming aboard to stop you from being here. You keep saying that, Fabio, and you'll realize how silly it sounds. What? Now, how could anyone walking up a gangplank draw a line on a piece of paper in somebody else's hand? Well, gee, maybe he... Uh-uh. It just didn't happen. That's all. Oh, now, really? The line was there? Correct, Paul. But the line must have already been there before the gangplank guard ever got the list. Okay, Mr. Kelling, you're the preser. Maybe you can tell me what on a ship or who on a ship would be responsible for marking up such a list. Can you tell me, Mr. Kelling? I... And, uh, who'd have access to everyone's cabin? The smuggle things in and out and leave type-right and no... Get out of here! Get out of here! Look out. He's tougher than you think. Mr. Kelling, you're last night, Valentine. Oh, no! But here's your chance for round two. Well, Angel, that's it. And like Fabio, I'm very sleepy. Yes, Mr. Valentine, I promise. Never again will I organize little parties for my friends when the ship reaches. Oh, yeah? Look at Fabio over there by the rail with Mrs. Devereux. Yeah, it's the right idea. No, no, no. I'm too old, much too old. But I've been thinking, you know, stamps, people collect stamps and I travel in many places. Perhaps if I could organize... Uh, Paul, if you don't mind, we'd like to be alone, huh? Oh, excuse me. Excuse me. Well, this is something new, darling. Well, I, uh, I just like to look at the moon, that's all. All right, I want to look at the moon. George, it's still several days until we get back home. And the captain does seem to be an obliging sort of man. There's even an orchestra right here. I mean, well, doesn't it give you any idea? Hmm? Oh, sure, Angel, sure. How about organizing a game of shuffleboard tomorrow? Huh. At some time or other, everybody has seen Joe Smith go whizzing along the highway with his boy beside him and big, broad smiles on their faces. If we were in the back seat, we might hear juniors say, gee, Pop, what did you do? Soup this car up? And if it's the Joe Smith I know, he'd answered, no, son, I just got a tank full of chevron supreme gasoline. Now, you just try this premium quality gasoline in your own car. And I'll bet you'll agree, chevron supreme gets the best out of your car. It's specially blended to give faster starts, faster warmups, alert getaway and traffic. And its ping-free power just lifts you over the hills and hills you used to call steep, too. Chevron supreme is climate tailored. It meets every driving condition in the West's different altitude and temperature zones. In fact, for today's high compression engines, you can't buy a better gasoline. That's for it at independent chevron gas stations and at standard stations, where they say, and mean, we take better care of your car. Next week, in the midst of another adventure, you will find George Valentine and Bruxy at the scene of an automobile accident and... It must be suicide. George, don't you think so? I think so now more than ever, Bruxy. What do you mean? This note the police took off Freeholder's body. Old man Sturman was leaving him a quarter of a million dollars, quote, with full knowledge of the misstep Freeholder made as an accountant, unquote. Oh! Do you think he killed himself so he wouldn't have to anthropor-embezzlement? I don't know, Angel, but it gives me an idea. There are two other people mentioned in the will. And right now I'd like to find out what's in store for them. Tonight's adventure of George Valentine has been brought to you by Standard of California on behalf of independent chevron gas stations and standard stations throughout the West. Robert Bailey is starred as George with Francis Robinson as Bruxy. Let George Do It was written by David Victor and Jackson Gillis and directed by Don Clark. Also heard in the cast were Ted DeCorsias, Paul, Jerry Hausner as Stuart, Jane Avello as Fabio, Junius Matthews as the first sir, and Lee Patrick as Mrs. Devereaux. The music is composed and presented by Eddie Dunsteader. Your announcer, John Heaston. Listen again next week, same time, same station to Let George Do It. This is the Mutual Don Lee Broadcasting System.


Hello and welcome to the session. In this session we are going to discuss the following question and the question says that, find 95% confidence interval for the population proportion for a sample size of 120 and sample proportion 0.7. Before starting the solution of this question we should know a result that is to find range of population proportion given by P for 95% confidence interval we use the following formula which is P cap minus of 2 into square root of P cap into 1 minus P cap the whole upon N is less than P which is less than P cap plus 2 into square root of P cap into 1 minus P cap the whole upon N where P is the population proportion and P cap is the sample proportion also N denotes the size of the sample with this key idea we shall proceed to the solution. Now in this question we have to find 95% confidence interval for population proportion and we are given sample size which is denoted by N as 120 that is sample size which is denoted by N is given to us as 120 and sample mean that is sample proportion is given to us as 0.7 sample proportion which is denoted by P cap is given to us as 0.7 let P be the population proportion then from the key idea we know that the 95% confidence interval are given by P cap minus 2 into square root of P cap into 1 minus P cap the whole upon N is less than P which is less than P cap plus 2 into square root of P cap into 1 minus P cap the whole upon N where P is the population proportion P cap is the sample proportion and N denotes size of sample so on putting the values of P cap and N in this we get 0.7 minus of 2 into square root of 0.7 into 1 minus 0.7 the whole upon 120 is less than P is less than 0.7 plus 2 into square root of 0.7 into 1 minus 0.7 the whole upon 120 which implies that 0.7 minus of 2 into square root of 0.7 into 1 minus 0.7 that is 0.3 whole upon 120 is less than P is less than 0.7 plus 2 into square root of 0.7 into 1 minus 0.7 that is 0.3 whole upon 120 and this further implies that 0.7 minus of 2 into square root of 0.7 into 0.3 that is 0.21 upon 120 is less than P is less than 0.7 plus 2 into square root of 0.7 into 0.3 that is 0.21 upon 120 which further implies that 0.7 minus of 2 into square root of 0.21 upon 120 which is given by square root of 0.00175 is less than P is less than 0.7 plus 2 into square root of 0.21 upon 120 that is square root of 0.00175 which implies that 0.7 minus 2 into square root of 0.00175 that is 0.041 is less than P is less than 0.7 plus 2 into square root of 0.00175 that is 0.041 this further implies that 0.7 minus of 2 into 0.041 that is 0.082 is less than P is less than 0.7 plus 2 into 0.041 that is 0.082 and this further implies that 0.7 minus of 0.082 that is 0.618 is less than P is less than 0.7 plus 0.082 that is 0.782 thus the confidence interval is the open interval from 0.618 to 0.782 so true value of population proportion will lie in this interval which is the required answer this completes our session hope you enjoyed this session


Developing on Windows today is much better than it ever used to be, thanks to things like WSL, but there's still one big pain point which is testing on Safari. But luckily it's actually possible and it's relatively easy to set up and get started with, so let's take a look at how we can do that. Hello my front-end friends, thank you so much for coming to join me once again, and if you're new here, my name is Kevin and here at my channel I hope you fall madly, deeply in love with CSS. And one way we can be less frustrated with CSS and just front-end in general is to be able to test on Safari if we're on a Windows machine. So let's dive right in and before we get into the nitty-gritty of everything I just want to say a big thank you to Matia who runs Joy of Code and who is the one who wrote the post on how we can actually do this. So everything will be linked for Matia's stuff in the description down below if you want any of the things I talk about. You can see right here we have this site, this post that he put together on setting everything up and I'm going to be following his instructions to do it. So if you prefer the written version go check that out and he also has a video looking at this as well, so I'll link to his YouTube too. And what we want to be doing is testing this out getting it running and seeing how we could test something like this where I used container queries to build out this this layout here that wasn't the greatest but I want to make sure this is actually working also in Safari. So to be able to do this Matia's thing uses playwright which is a way that we can test modern web apps and it's very easy to set up and get running. So the first thing we want to do is to initialize the project but we need somewhere to initialize it. So what I'm going to do is just come onto my desktop and I'm going to make a new folder and I'm just going to call it browser testing but you can call it whatever you want to call it it really doesn't matter and what's important is we have hyper or wherever you're in your terminal to be inside that folder. So I'm going to do cd for change directory put a space and then we're just going to take this folder and drop it there. So even if you didn't put it on your desktop it really doesn't matter you don't have to worry about navigating to it you just push return after and it will be in the right place. So that's nice and easy and then the next thing we're going to do is we're going to do an npm enit hyphen y so the enit is to initialize the project and hyphen y just means take all the default values because if you don't do the hyphen y it asks you some questions that for this we don't really care. So you can see it's gone ahead and it set all of that up and we're good to go. The next thing and my positioning and stuff on here is a little weird so I think it's because I zoomed in so let's just move things around a little bit quickly here we can leave that there actually I just want to make this a bit bigger so it doesn't get all mucked up for you guys and so yeah we have our browser testing and so the next thing we want to do is after that we want to get playwright set up and installed here so in there we can use this the i or let's just paste it in so command shift v the i is for install and then the hyphen d is for it's for development purposes and then this is what we're installing which is playright with their their tests there and the next thing we need to do now that we have playwright installed in the project is to actually install these default browsers now when i'm running through this step it's not actually installing them all right now but you should run through and you'll see it all being installed it takes a little bit of time to install the three different browsers you get chromium firefox as well as webkit which is going to let us test safari and the next thing we want to do is update our package.json file so in my browser testing I want to open this in vs code now so I can just write code and put dot and that should open it for you in vs code if ever that doesn't work and it does not open for you there just open vs code and navigate to the file and the folder you want and open it and then we want to open up this package.json file and it's nothing too complex that we want to put in here but we need to update the scripts so we can actually test the things easily and quickly and that's about it so if you look at what Mattia put here there's the dev dependencies but I already have that slightly newer version but that's fine it should all work all I really want to grab is these scripts that are right here so I'm going to take the scripts that we see here and I'm just going to replace the scripts that are right here everything else I can keep exactly like we had here not a big deal and I'm going to hit save on that so we're we have updated our package.json now we need to do one more thing which is to create a test here so you can see tests and then browser tests dot typescript so you can just create a file here in here and I'm going to call it the same thing browsers dot tests dot typescript so in here just make a new file paste in that name and then grab what we have here and paste it right in and what this is doing is it's bringing in the tests and the really important thing with this to actually be able to run it is that the local host that's here so you can do local hosts you can do things that are running you can put in google.com and it should work so whatever you put here is the site that you want to be testing so I'm already running this locally so I can just grab this right here and paste this in right there and hit save and now I should be able to actually open this and test it and so to do that we can open up my terminal in vscode which is control back tick or you can just go to view and it's in here somewhere you have your terminal that's right there once that's opened and you're here all we need to do is run the test that we want do we want to run chrome firefox or safari I want to run my test safari so npm run test safari and hit return and in just a few seconds there we go webkit has just opened up for me and I'm running webkit on my computer which is going to be basically be safari I can see if my container queries are working or not I can check it out you can see even the scroll bar and everything you will get this other little playwright inspector that also opens up no big deal just leave that open while you're doing your testing and then so you can see my fonts are actually rendering a little bit differently between the browsers so maybe that's something that's worth looking into you also have your inspector if you want to come in and inspect things within webkit it's going to look a lot like the safari one there's the potential that things are a little bit different between what we're looking at here and what we're actually would be getting in safari but this is the rendering engine that safari uses so things should basically be extremely similar if they're not exactly the same but there might be a few little features or extra things in safari that aren't included but the rendering of the page should be the same so there we have it I'm running my page in safari which is really really cool I can play around with the dev tools do all the testing that I want and everything works perfectly fine now if you're wanting to get just into debugging and helping with css in general and some of the things we can actually use our dev tools for to be able to make debugging css a lot easier I have a video for you right here where I took a look at that and with that I would like to thank my enablers of awesome Jan, Johnny, Michael, Mr. Dave, Patrick, Simon, Steven and Tim as well as all my other patrons for their monthly support and of course until next time don't forget to make your corner the internet just a little bit more awesome