Transitional Words and Phrases In this video, you're going to learn how to use transitional words and phrases in your writing. In some of our communities, driving is already chaotic. But imagine what driving would be like if there was no sign or signal to provide direction to help drivers navigate the roads and highways. To prevent your writing from appearing chaotic to your readers, you have the option of using words and phrases to create directional signs and signals of your own. We call these words or phrases transitions. Transitions help show relationships between ideas, create a logical flow, and create a sense of connectedness called coherence. Transitions can be used both within and between paragraphs to create a sense of flow. Many websites give long lists of transitions. Search Transitions in your browser for examples. Throughout this video, you'll find transitional words and phrases you will feel comfortable using in your own writing. To add ideas, use words such as and, in addition, or furthermore. For example, it is hard to find good movies to watch in the cinemas these days. Furthermore, the price of tickets is so expensive. For emphasis, use words such as above all, especially indeed. For example, indeed the prices of two tickets and popcorn can sometimes be more expensive than dinner in a restaurant. For comparison, use words such as similarly in the same way or likewise. For example, similarly, the cost around DVDs has increased over the years. For cause and effect, use words such as because for this reason as a result. For example, for this reason I don't watch movies very much anymore. For showing a sequence, use words such as after, before, or finally. For example, before this happened, I used to see movies in the cinema regularly. For contrast, use words such as but, however, and in contrast. For example, in contrast, the price of print books has risen at a slower rate. And lastly, to summarize your ideas, use words such as consequently, finally, or in conclusion. For example, consequently, the industry is no longer sustainable because people like me no longer pay. Let's do a quick review. Here are all of our example sentences. When these sentences are combined to create a paragraph, the transition word signals a relationship between ideas to create a coherent paragraph. For example, it is hard to find good movies to watch in the cinemas these days. Furthermore, the price of tickets is so expensive. Indeed, the price for two tickets and popcorn can sometimes be more expensive than dinner in a restaurant. Similarly, the cost of rent DVDs has increased over the years. In contrast, the price of print books has risen at a slower rate. For this reason, I don't watch movies very much anymore. Before this happened, I used to see movies in the cinema regularly. Consequently, the industry is no longer sustainable because people like me no longer pay. I prefer to read.  Thanks for watching.


Story of Lagos is quite a complex one, the housing challenge is not limited to the poor, we have challenges of availability, we have three million housing deficits in Lagos and for 700 units that are estimated needed annually we are only able to produce 100,000 primarily because there is no capacity to do better than that. So the ability is also an issue because less than 10% of those who desire homes can afford it and 95% of land transactions is very informal and it's very messy. The quality of housing is problematic, about 69% of Lagosians live in more than 200 informal settlements and about 69% of them work in informality. Incidentally about 80 million of our 23 million residents earn less than $2 a day and we also have contextualised needs, the housing market is targeting mainly middle and high income earners and so how is the city responding to the housing challenge, the two dominant phenomena in the housing sector are aspirational infrastructure and gentrification. So the response to Lagos housing challenge is a co-Atlantic city, when it started we thought it was just an idea but people are living there now, very few people but people are living there but the thing is if a two bedroom apartment costs $710,000 not many people around the world can afford that but that is being sold as a solution to the Lagos housing challenge. Okay and for somebody who lives in an informal community that sees this thing because it's all over the place, the basic thing is we are no more people going to sleep tonight, the average Lagosian cannot see his or herself in what is being designed and then it takes us to what the government is providing and the government is targeting 14,000 units by the year 2020 which is a very low ambition and the conditions for providing these units are also very impractical because a 10 year loan 10 year with a 5% down payment at commercial rates is just not workable for most people and even the level of production is very low. If you have a target of 14,000 units by 2020 and you've only been able to produce about 1,500 alongside with cases of special displacements of many of the citizens then there's a big problem and then we have issues of local communities being displaced given the toga of informality. This is a village, a fishing village that just happened to end up being affected by the urban growth. And so in spite of a court judgment, we had eviction by fire, people died and this is what it is now. Periwinkle estates has been sold for about 50 million Naira and some people can afford it but not many people, less than 1% of Lagotians today can afford it but this is what is on the housing market. People are providing housing in the way they know how and what is dominant in Lagos is the power of cooperatives, their self-professional, there's cooperative land assembly, there's cooperative accessing of loans and people are able to pull resources in communities of trust to provide housing. And so I believe if we're going to work on housing, if we're going to find a workable solution to housing in Lagos, we need to step away from this romantic ideal of Lagos resembling Dubai in a few years and move from housing as an economic good to housing as a social good that responds to the needs of the residents, recognize the local agency and community practices of those who are currently working the housing according to the needs of the residents and then provide a flexible planning framework that doesn't continue to criminalize what people are doing for themselves. Thank you.


Welcome to Monet Cafe Studio. If you have a goal to learn more about color and become a better artist, you're gonna love this lesson. And here's three things I think you'll really like. One, it's really easy to follow along. And two, I'm gonna be introducing some new tools that are so fun for exploring color. And three, this tutorial is great for artists of every level. So it's time to have some fun in Monet Cafe Studio and create with color in ways like never before. Let's get right into this and talk about the products. I'll be using the very affordable toned gray Strathmore pad of paper. I really like using these to create pastel sketches and studies. Here's a study from a similar lesson in some color theory that you guys love. You guys gave it lots of views, likes and comments. So I can tell you like this format. By the way, I'll have this video as a clickable link at the end of this particular lesson. And oh my goodness, what is this? Color Cube 1 and 2? I'm going to share with you about this product that is so fun for creating color palettes. Now you certainly don't have to have this to follow along with this video. I'm gonna give you neat ideas of how to create color palettes, but it is a fun product.  This is Color Cube 1 and I found that just one color cube would have been fine for me, but I went ahead and bought both of them. There's so many different color palettes, literally at your fingertips, allowing you to select some creative color palettes you might not ordinarily choose as an artist. And if you're in a little bit of a color rut, these are so very helpful. I find these are also a great way to stretch your knowledge of color and value. I'll talk about that by choosing a limited palette within a particular color palette family. And like I said, you certainly don't have to have this product to follow along with this tutorial. I'm going to show you what my method has been for years in coming up with creative color palettes. But let's talk about these in case you want to know a little bit more about how they work. As I said, you can buy one or both. Two sets is called a bundle. And it comes with these instructions. There's some great information on how to use the cards. Also a way to share your work by using the hashtag Color Cube. And if you're a patron of mine, oh, I Patreon page, you will be getting a copy of this card. And if you are wondering what is a patron and how do I get the extra goodies, a patron is just a way to support this channel and get extra content and become part of my Patreon family. It's only $5 a month. You can cancel at any time. And what I love is I get to see your work. Now I would love it too. If you would like this video, leave me a comment. And by all means subscribe. We are on the cusp of hitting 100,000 subscribers here in Monet Cafe. As of the making or editing of this video, we were at 98,000 subscribers. And hey, I have 644 videos here on Monet Cafe. So be sure to check out all the learning fun. Let me give a brief description on how to use these or how I use them. As you can see, there's a photo on one side. And then on the back side, you have these color swatches. And they're conveniently printed right to the edge of the card. So you can compare colors right next to something, whether it's a photograph or whatever medium you're using to try to match the color. Also, too, on the right side, they have three different values. The main value is in the middle. And then you have a 20% value lighter and a 20% value darker kind of sandwiching the main color. And I'll be using these cards to choose my three color palettes for this lesson. But here's what I have done in the past. I like to study the artists that I love. And many of them are Monet, Van Gogh, you know, some of the old masters, you can literally copy another artist's color palette, don't copy their painting, but you can steal a color palette from another artist that is in no way a copyright infringement. So I do this all the time. I look at other artists work that I love, and I emulate their color palettes in my own pieces. I have in my studio this really neat tea collection. And each box has a famous artist work on it. And I'm always admiring this. And I think I'm actually going to steal some of these color palettes for future paintings. Here we go. I am using three of these cards. If you're a patron of mine on my Patreon page, you will get downloadable copies of these cards and more real time footage and commentary. But don't worry, Monet cafe, you should be able to see these cards very clearly during the video and follow along if you like. And I'm using some of my other color studies as reference images. Those are the paintings you see in the back there. And I'm just going to switch the color palettes, recreate the little studies with a brand new color palette. This is such a great exercise. And I believe it's going to give you more artistic confidence to create your own unique color palettes. Oh, and I primarily used pastels from the Paris collection. It's called made by Sennelier. It's 120 half sticks of absolutely gorgeous colors. And I'm happy to say it's one of the best buys for soft pastels of this quality. And I love this set. I'll have a link to this set in the description of this video. Gosh, I just love the combination of the teal blues and these golden colors, even the browns. I find I don't use a lot of browns and yellows. So another advantage for me in using this color cube was the fact that it's going to stretch me to use color palettes that I wouldn't normally go to. Now, here is how I am using this. The card does explain the instructions. Use it. You can stretch the parameters of this. You don't have to use just these colors that are on the card. What I'm doing is I'm my very dirty pastels here is I'm choosing some pastels that are of a similar color family and different values. And if you've watched many of my videos, you know, I sometimes like to add a little pop of color sometimes towards the end of a painting. So I'm using this as a guide. And I was so happy with limiting my color palettes this way. Now I'm just speeding up where I'm actually making some little color swatches underneath. I think this is important if you keep a journal like this for color studies that you can go back and see the color palettes that you liked. And you can create another painting. You can use it as your own guide to create future pieces. I'm first trying to match the colors pretty closely. And then I'm exploring with some different values underneath. And you don't have to stay so strict to this, I would advise try to stay pretty close to it. But you'll see how I do add a few colors, for example, like this dark, this is the Terry Ludwig egg plant. My brown is pretty dark already. But I thought that other purpley dark would add a nice touch. These are some Prismacolor new pastels. I'll talk about why I use those as I paint. As I said, my reference image is from a former color study that I did also a lesson here on my Patreon page. Now here's why I'm using this Prismacolor new pastel, you can tell the shape is different. It's still considered a soft pastel, but on the range of hardness to softness, it's a little bit harder. When working on an unsanded surface like this, you don't get many layers of soft pastel. So I'm purposely I'm choosing a color right now to tone my little painting area here. By the way, these little areas are three inches by five inches. And I'm using a nine by 12 gray tones pad. In case you want to know. So I like to tone my paper often not always before I start painting. And I think it just gives it a nice mood. So I like to that kind of lighter teal to get started. Now I'm using this little bit of a darker turquoise blue to get in the sketch once again using the Prismacolor new pastel. You don't have to use this. You could just use a charcoal pencil, a pencil, you know, whatever you have. I am always trying to save you guys money. And I never want to say you have to go buy these products that I have. I just try to give you some good ideas in case you, you know, get some birthday money. You want to buy some art supplies yourselves. So I'm just getting in a basic sketch similar to my reference image, which is one of my studies. And this is such a simplistic composition that I think it'll be great for beginners. And when doing these, you want to focus on the color and not have such a complicated composition. And I advise that if you do these for yourselves to follow along with mine, of course, or choose a reference image that's very simple. The point of this is to learn more about color, stretch yourself with color. Like I said, one of the greatest assets for me anyway, for this is breaking out of a rut of choosing some of the same colors you always use. I have a habit of I love purple. You've probably seen from some of my tutorials. I just love purples. I love cool blues and just that type of cool and easy color palette. So doing these types of color studies is just a great advantage for you artistically to stretch yourselves. Now I'm using the Terry Ludwig pastel I mentioned.  They're usually rectangular and chunky. I break them in half sometimes. So that just got in a nice dark for those trees. I'm getting in my darks first. So this is now the brown. I thought that purple base would add a little bit of interest to the color of the trees, but I really do stay pretty close to all of the colors that were on the card. I did add a little bit of green. You can see a little swatch of green down there at the bottom that I thought gave it a little bit more interest. So now I'm just using the browns. I got the brown over the trees. I'm getting my darkest values first, and I'm getting some of this brown just as some of the foreground grasses will have a little bit of shadow to them. And this is all real time, by the way, I'm including a full real time painting on the Monet Cafe channel where you can watch this for free. And the other two will be sped up substantially. But again, if you're a patron of mine, you'll have a slower version of that as well and more commentary. Okay, so this is that beautiful golden color. I love this color. Why I don't use it more in my paintings. I mean, I might use it for a sunflower, but I don't often use it for grass colors. I really do just love the combination of teal colors and golden colors together. Now, can you see a little bit why the under painting, I guess you would call it, you know how I took that Prismacolor new pastel, the one on the top right there, and I toned the paper. Can you see how it's making an influence already with some of those golden colors that I put down? Now, here's a neat thing I was saying at the beginning of this video where you'll learn more about value by doing these things too, by doing these color studies. I know that I need to choose for those distant mountains. I'm going to have distant mountains. I'm going to have a little tree line beneath them and then just field under that. I know that it can't be very dark. It's far away. You know how mountains cool off in the distance. So I purposely chose this teal color. It's a little cooler and it's not too dark in value. So you really learn to stretch yourselves and learn more about when and where to use certain values. I just put a little bit of that that teal down at the bottom of the road there. I feel this could be a road or a river. It's up to your interpretation. I made it a road. So I made my lines a little bit more vertical rather than horizontal. So I gave a little shadow with that teal down on the bottom of the road. And now I'm adding a little bit of the screen. This is where I used my artistic license to bring in just another color. They're most likely would be some greens in a scene like this. But I still picked a very warm green. Notice that a cool green would be a little bit more of a green turquoise color. And I don't know. I feel like that would work very well. Putting a little bit more of this warm green just where some of these grasses are. And can you see again how simple this painting is? I mean anybody could do this. And I think it is a great way for beginner artists to learn. Wow. I can really do this. And it's not that hard. It's just a few rules. It's like I always say painting is easy once you know the rules. Does help to have the right products, which is what I'm always trying to share to don't buy cheap pastels. I know sometimes we're on a budget. I'd prefer you to buy limited smaller sets of pastels that are quality than, you know, some cheap pastels that have a lot of color, but you're just not going to get the vibrancy. So I just added a little bit of that pretty yellow there. I'm imagining the sun is kind of coming from the upper right and it's hitting on some of those grasses that are popping up. But in the distant field, it's going to be lighter. Values get lighter typically as they go into the distance. And just to create some color harmony. This is called color echoing. When you add a color throughout the painting, and I didn't want that yellow to feel like it was just segmented in one area. So I added a little to the road. And guess what this did? Because I put in that teal to begin with the one on the upper right, the light colored teal. When I added the yellow to it, it almost made green. I had a video recently on how you can really mix colors with soft pastels if you layer lightly and let them interact with each other. Now I'm using that same teal that I used to layer with at the very beginning. And I'm just creating some motion, like some direction in the sky, adding a little bit of it to the road. Again, that's called color echoing. It makes your painting feel cohesive and have harmony. If I just painted everything with its own color segmented like that, it would look more like a paint by number. It wouldn't feel like impressionism, which is what I love. Now I've got a little bit of that turquoise color, which is very similar to the original turquoise swatch that I put down beneath the painting. Again, all of my colors with the Prismacolor new pastels are consistent with the colors on the card as well. Adding a little bit of that to the shadowy side of the grasses. And I know that tree is casting a shadow. I know that shadows are cooler and I know that it's going to be a little bit darker than the grasses. So voila, that color worked perfect. Another thing with painting is you can learn to use your common sense and study nature. If you study nature and you just watch how color and light and temperature behaves and then you just start trying to emulate that in your work, you're going to find that, wow, I'm really learning how to paint just by using nature as my guide. And like I said, some of it is common sense. If there's a shadow, what happens, I always say this, what happens when you get in the shadows or in the shade? You cool off, right? So does color temperature. So it's just a general rule of thumb. Not that you can't use warm colors for shadows, you can too. That's a whole other topic. So now I'm getting in some of these distant trees. Now, because I'm limited, I kind of didn't have a lot of colors to choose. Normally, I know that trees are typically darker, like my foreground trees, but they're kind of far away. So they're not going to be as dark as the foreground trees. So I put in a little bit of the green, and then I'm adding a little bit of this brown down at the base. And now I also know things in the distance cool off. So look what I did. I got some of the teal that I used for the mountain. I couldn't make the trees the same color as the mountain. It wouldn't even show up. So I got in my green and my darker base and then I cool it off by putting a little bit of that turquoisey color over those distant trees. It did make them feel a little further away. I think I even accentuate that a little bit more. So now I've got everything really filled in as far as blocking in all of the parts of the painting. And now I'm just going to play a little bit. I'm going to use some of that same orangey color. Prismacolor new pastels are really great for making little sketchy grass marks. It's because they're harder and it's because they're kind of thinner. You can get more of an edge with it. I wouldn't have been able to get those types of marks if I had used the Sennelier pastel of a similar color. Now I'm almost done. I'm just getting in a little bit more of this eggplant color to suggest some inner branches. And by the way, this was about the end of my layering ability. This is just drawing paper, toned gray drawing paper. And so I know I'm only going to get about three, three or four layers really. That's why it's so important to keep a light touch when doing these. Don't think you have to fill in and cover up the surface. That was the mistake I made when I first started painting. These colors all start to layer together and they will look so much more impressionistic. You'll get more layering ability if you keep a light touch. So now I've got one of these little Prismacolor new pastels getting just a little suggestion of some grassy marks in the distance not much because they're far away. Grasses in the distance typically will start to look more like horizontal bands rather than individual vertical strokes. And they gradually, like I'm doing now, they'll get more vertical and taller as you move forward into the foreground. But I've learned over the years and I'm trying to even get better at this to not add too many grass marks because you can overdo it to where your painting just gets so busy. So just a suggestion of a few and try to place them where it enhances your focal point. For me, the focal point is really the there's a compositional element of the road. It just pulls you in around that corner. Of course, the trees, and it just kind of pulls you into the point of that road where that tree is. And then your eye just kinds of kind of explores throughout the painting. The painting is pretty much complete at this point. I am speeding up this last little bit of it. Adding a little bit more color in the sky. I wanted to put some of that yellow in the sky again to echo some of the colors that were in the road. And I do add a little bit of that lightest color down at the base of the mountain and a little bit more of that pretty turquoisey color throughout. And this painting took about a little bit more than 10 minutes. And I do advise that you keep these quick, maybe set a timer if you need to. So here we go with color palette number one. You can see I used many of the same colors, stayed pretty close to the card and the reference colors on it. Now here's a quick little trick. I like to clean up my area sometimes pastel dust in your hand can sometimes get smudges. This is a kneaded eraser and it works great for cleaning up the excess pastel. And now it's time to start painting number two. And here on the Monet Cafe channel, you will see painting number two and three sped up a bit. I think you should still be able to follow along just fine. I am going to still give limited commentary. And my Patreon version is the full version with lots of commentary and content. Now you can slow down these videos. If it's going too fast for you to follow, there's a little gear icon in the bottom right of the video screen. And you can always slow it down. So I'm just doing the same thing as I did in painting number one. I'm choosing colors similar to the card from the color cube. And I am choosing also to a darker value. That was that Terry Ludwig eggplant color. And that's a really nice neutral gray that's almost a little purple. I added a dark green as well. And I'm doing the same concept of an underpainting. I'm choosing a pretty pink color. That's another Prismacolor new pastel, a harder pastel. I'm choosing a darker Prismacolor new pastel to get in my sketch. The same dark trees with the Terry Ludwig eggplant. And now I'm going to make this really dramatic sunset scene. The colors on the color cube card were perfect for sunset. And I am just adding a little bit of drama to the sky, echoing the color into the road, some deep magentas for the grasses, that gray I used for the distant trees, and a pink for the distant mountains. The values worked right for that. Added a little bit more of that pink to the road, more magenta to the trees. It's starting to take shape, right? Some brilliant oranges and yellows in the distance because that's where that sun will be casting its light onto the distant field. And just playing with color. I've got pretty much everything blocked in now. I decided to darken up the foreground a bit. I felt like there would be some decent shadows in that foreground with the sunset being so far back in the distance. I found this pretty pink color. So I accentuated some of that. This painting also took about 10 minutes or so to create. And it was also a fun little lesson in getting creative with color palettes. I gave a little more drama to the sun, a little more sunlight on the field, and some vibrant oranges just to jazz things up a bit. Teller studies are great to pull back out again and look at them and remember, oh yeah, this is how I created a sunset scene. And you already have your color notes to choose similar colors. They're very handy for future paintings. And now we move on to color palette number three. I really liked this one. The scene was a cityscape, but it just reminded me of an evening scene with these colors. I loved the cooler, darker colors in this. And I'm choosing many of these are also from the Sennelier 120 half stick set. And just like before, I'm picking colors that are kind of close to the colors on the card. And I'm choosing a few other values of the same colors, a little lighter. And also I decided I was going to add a little pink to this. I did see some pink and a bit of yellow. It may have been the moon's reflection in the water. Here I am again with my Prismacolor new pastel because it is harder and it doesn't take up as much of the layering ability. I'm able to layer more soft pastels on top. I thought that would be a nice cool color to start this painting. I decided to change this one up. I'm using a different color study from before. I liked these evergreen trees and just a little bit of a sweeping little trail coming around the corner there. So I'm using this purple Prismacolor new pastel just to get in a little sketch. I did like how the trees were slanted. I like to give trees some character and not just be straight up and down. I'm adding some of this pretty dark evergreen color and I'm making the evergreen shapes. It's really just kind of some zigzaggy marks to suggest evergreen trees. Getting in my darks like before the trees and the foreground grasses, this pretty blue that felt like such a pretty night color. And as I create this third color study, I just want to talk a little bit more in general about color and how to use color when you have a limited palette like this. Basically, what I do is I use my darker colors for any element in the painting or in the reference image that's vertical and especially close to you. Vertical elements like trees are always going to be darker because the sun is above it. So the sides of it are not getting direct sun. As things progress into the distance or recede into the distance, they gradually get a little bit lighter in value. So that's why with each band of trees, the further away they get, they get a little bit lighter. That's why in that second band of trees, I don't have the same darks that I have in the foreground trees. And way in the distance, I have an indication of a little bit of blue and a little bit of purple to suggest some very distant trees. Another band of trees way back. It could even be a mountain and it's cooler and lighter in value because it's further away. I really had fun with these colors and I really liked that one kind of green. It's almost like a teal green. It's kind of unusual and I don't usually use that color. And here I'm adding a little bit of that pink that I pulled out that was my color punch. I decided to add to this painting. Now I'm going to add some of the pretty yellows, that little bit of yellow that I saw in the image on the back. And I decided not just to make stars, I thought what the heck, I'm gonna make fireflies, fireflies and stars. I just love doing these little color studies. I hope you guys will too. Here are my final color studies. Oh and did I add one more advantage to these? They're fun. They're fast and fun and you learn lots. Again, you don't have to have the color cube to follow along with me. But if you would like to get it, I will have a clickable link in this video description. And I do get a little kickback if you purchase from the link that I'll provide. No extra cost to you of course. So this was so fun.  And I hope you learned lots. Consider becoming a patron of mine if you would like the extra content. And as always, God bless and happy painting.


Why does community matter? Because community matters. That's why. And I'm here, I'm Jay Feidell on a given Tuesday at the one o'clock clock with Rabbi Itchell Krasnijanski. We're talking about community matters. And specifically talking about Judaism 101 here at the end of the year with all the holiday season. One of the holidays of course is Hanukkah. So let's talk about Judaism 101. Welcome to the show, Rabbi. Well, thank you, Jay. Thanks for having me on the show. It's a pleasure. And yes, Judaism has something to say at the end of the year, at the middle of the year, at the beginning of the year. So it's always timely. What kinds of things does it have to say at the end of the year? I mean, there's a lot being said in religion at the end of the year. There's a lot being said in business, if you will. There's a lot being said in the newspapers, reflecting on all of that. But what is Judaism? What's the message? Well, interestingly, today is the day when, randomly, you've asked that we have this show. But because one of the foundational teachings in Judaism is that there is no random and there's no coincidence, everything is orchestrated by a higher power, by God. Today, Tuesday is actually a fast day. Before I came in, the gentleman in the office offered me a bottle of water. And I told him, thank you by decline, because today is a Jewish fast day. What's the name of the holiday? It's the 10th day of the month of Teves. Teves is the Jewish month. There are 12 months in the Jewish calendar. It's a lunar calendar. And today's the 10th day of the Jewish month. And today commemorates an event that is very, very significant in Jewish history, a negative event. And that is that in the days of Nebuchadnezzar, the Babylonian king, well over 2,500 years ago, at the time when the Jewish people had the temple in Jerusalem. And yes, Jews lived in Israel before 1948. So the Babylonian army surrounded the wall of Jerusalem and didn't allow any food to come in and no people to go out. They held it under siege. And that ultimately led to the breach in the wall, which ultimately led to the destruction of the temple. That was the first temple? That was the first temple. This is a very important moment for Judaism. Exactly. So our sages turned it into a fast day. A fast day in Jewish tradition is a day of not only not eating, but it's also a day of reflection. And it's a day when we actually, through prayer, spiritually work to turn around the negative into positive. Because all of Judaism, that's Judaism 101, all of Judaism is about turning the negative into positive, turning, transforming darkness into light. So how should we feel about Nebuchadnezzar? Was he a good guy? Can we forgive him? Well, those are two questions, two separate questions. He obviously was not a good guy. He destroyed the temple. He exiled the Jewish people from Israel. The first and biggest exile took place at that time. And I'm sure our audience has heard of the 10 lost tribes. In Judaism, there were 12 tribes. Our forefather Jacob had 12 children. They each became the heads of tribes. So the Jewish ohana consists of 12 tribes. And Nebuchadnezzar, the Babylonian king, exiled 10 of the tribes first, before he destroyed the temple. And they're lost to Judaism. They have assimilated over time and lost what was left of the Jewish people. Do we know where they went geographically? We know where they went geographically. And if you study the matter, there's so many theories as who are the descendants of the 10 tribes, the lost 10 tribes, to the point where even that some important person told me very seriously that he's convinced that the Hawaiians are one. That's a long shot. I'm just telling you what I was telling. Geography alone. Yeah. But what's interesting, though, is that you hear all this about 23andMe and Ancestry.com and these other DNA sites where you can get a history of your DNA and you can compare it. They will compare it against their profiles for given areas. And so if a given area is like my DNA, then we know I came from that area. And if that group that they're comparing it against, it's a Jewish group, then we can sort of connect that up and see how Jewish I am. It's really remarkable what they do now. And why do I feel that this kind of DNA sampling and modeling can help us find the 10 tribes? Perhaps, perhaps. But the history of the Jewish people is such because most of our history is we've been living in the Diaspora. After the destruction of the first temple, the Jewish people were exiled into Babylonia, which is modern day Iraq. But 70 years later, through the Persian King Cyrus, the Jews were called back to Israel and with Cyrus' blessing to rebuild the second temple. He was a more kindly fellow. He was a more kindly fellow. Correct. And not many Jews actually, history tells us that not a small percentage of Jews went back to Israel. Many of them were, got very comfortable in Babylonia, in Iraq. But several thousand, about 40,000, went back to Israel and they rebuilt the second temple, which lasted for another 450 years and then was destroyed by the Romans.  And this Diaspora, this dispersion is something that is unique in our history, in the history of humankind, because the Jewish people are the only nation that has been dispersed through many nations without a land and a country and culture. And yet, 2,000 years later, are alive and well as Jews. And we haven't disappeared and become assimilated into the other nations. That is remarkable. That's unique. But the other thing unique about this is, what is with this Diaspora business? Why do these people insist on sending us away all the time? What is it about Diaspora? Why disperse us? Is there some threat? And why only the Jews? Well, that's a very interesting question. And I can answer it best as a rabbi, looking at it from the Biblical teachings. And what's interesting is that in the Torah, which is the Hebrew word for the Bible at the Old Testament, all of this has been prophesized in the Torah, where God says, where Moses says to the Jewish people, and we, meaning I'm an Orthodox Jew, an Orthodox rabbi, so we believe that the Old Testament is God's word, and Moses was like a stenographer, writing it all down. It wasn't Moses' thoughts and ideas. God spoke through him. God spoke through him. And it says that this is what will happen, that when we turn away from God, we will be dispersed to all four corners of the world. Now, so that part has been prophesized. But in the mystical teachings of Torah, where Chabad is a branch of the Hasidic branch of Judaism, which we'll talk later on. The Hasidic branch has a certain amount of mysticism. Yes, it's steeped in mysticism. And in the Hasidic teachings, we learn that ultimately, God is good, the absolute good. So everything that comes from God is good. So on the surface, the diaspora may seem to be as a punishment, may seem to be disruptive and destructive. But the truth is, there's a positive purpose behind all of this. And the purpose is something that the prophets have spoken about, which is basically to carry the message of the Bible to all four corners of the world. Had we been concentrated just in Israel, then there would have been a gap between the beliefs as articulated in the Bible and the beliefs that people in the world hold. But because we've been dispersed and we're like ambassadors, so to speak. Yeah, but we don't believe in proselytizing anybody. So you say carry the Bible to whom, to ourselves, because we're not out there in the street trying to convince you to become Jewish. Well, that's true. And that's very, very true. And that's what sets Judaism apart from other religions. We're not a proselytizing religion. The reason why in Judaism we're not a proselytizing religion is because we don't believe that Judaism is the only path that one has to connect to God. Every single person in the way they were created by God in the land and nation and religion, that they equally have a direct line to God. And we don't believe that you have to accept Judaism in order to go to heaven, unlike other religions. But in terms of of sharing the message of Judaism, because Torah, God has a message to the whole world. And it's a message of goodness and kindness. And the values, the biblical values that are the foundation of Western civilization, these are all gleaned from the Torah. So it's not necessarily exactly what's written in the Bible, the Old Testament. It's the essential message of the Old Testament. It's values of kindness, values of compassion, values of truth. And they are always under attack in our species. And so there is a real benefit in having the Bible around in terms of those messages to sort of set a standard wherever it might be. Correct. The other question I wanted to ask you, Rabbi, is this. So this is prophesied. And indeed, looking back on it, there is a rational and constructive motivation for the diaspora. But the guys who organized it made it happen, Nebuchadnezzar, for example, he wasn't doing the Jews any favors. He was punishing them. That's a very good question. So why did he do that? And why have others done that? Why have others dispersed the Jews that way? What was in their minds? Were they just trying to punish the Jews or what? So the short answer is that God works through many different agents. Some of them are forces for the good, and some of them are forces for bad and evil. And the reason why God created the world in such a way, and the reason why he set it up, that there should be evil in this world and suffering and bad people and bad stuff going on. I really want to know the answer to this one. So it's explained that this allows for another very important aspect in how God wanted the world to be. And that is the idea of free choice. There has to be freedom of choice in order for anything to have any meaning. For the good that you do, in order for it to be meaningful, it has to come out of your free choice rather than you being dictated to or like a puppet being guided. So if the world was all apparently, clearly, godly and good, then we all would be doing good because we would go with the flow. So God made it such that it's actually very hard to stay on the good and narrow path, because you have to fight off a lot of distractions and a lot of pressures or even worse, so that when you choose good, it has meaning and it has value to it. Oh, I really want to get this. So, okay, so we have the choice. Ideally, we make the right choice. But in the contention of choices, we are exercising, I'm making some of this up out of my own perception, we exercise our critical thinking, we exercise our awareness, our awareness. And it's that level of awareness that you want to enhance in people where they actually understand that there are choices to be made, and that gives them a better life, doesn't it? They're a more thoughtful life, and a more thoughtful life is a better life. Is this what we're talking about? Exactly. And not only that, it also relates to another principle in Judaism, which sadly is not from the prevailing thinking in our day and age, but according to Judaism, there's two things. Number one is Judaism believes, teaches that man is inherently good, meaning that at the very core, we all possess a soul, which is a part of God, which is the essence of good. We also have other forces within us that got also implanted in us, which are not so good, which are not good at all. And all of life is really the struggle between the inner good that we possess against the bad stuff that we have within us, that which draws us to destructive behaviors, selfishness and all things like that. However, what is man at the very core? Man at the very core is godly and good. So therefore, we have the ability to overcome and to almost like neutralize these forces of bad within us, and ultimately to transform them into forces for the good as well. In the secular way of perceiving man, like Freud taught, that man is inherently an animal, that at the very deepest level, we are no different than animals, we just cover up our instincts and our drives. So because Judaism views man in a whole different light, so therefore Judaism teaches that in this battle between good and bad, good will surely prevail, because good is what's real, and the bad is just placed there by God so that we should overcome it, and so that we have the free choice. Again, free choice. The free choice. Let's take a short break, Rabbi. I got to think about this and formulate some further questions for you coming out of a one-minute break. We'll be right back. Thank you. Hey, loha. My name is Andrew Lanning. I'm the host of Security Matters Hawaii, every Wednesday here on Think Tech Hawaii, live from the studios. I'll bring you guests. I'll bring you information about the things in security that matter to keeping you safe, your co-workers safe, your family safe, to keep our community safe. We want to teach you about those things in our industry that may be a little outside of your experience. So please join me, because security matters. Aloha. Aloha. I am Howard Wigg. I am the proud host of Cold Green for Think Tech Hawaii. I appear every other Monday at three, and I have really, really exciting guests on the exciting topic of energy efficiency. Hope to see you there. You know what we are doing during the break, don't you? We've been telling Jewish humor jokes. Yes, indeed. And actually, this is one of the, I don't know if the right word is genius, but beauty of the Jewish people, because our history, the Jewish history is actually a very, very tragic history. It's filled with the pogroms, most recently the Holocaust, the pogroms.  But yet, we laugh and we, you know, one of the most important principles in Judaism is the sacredness of life. We celebrate life. We don't celebrate death. As King Davis says in the Psalms, that the dead cannot sing praise to God. It's us, the living in this imperfect and flawed existence that we actually can do what the dead can. So, Judaism is all about celebrating life. Celebration of life. But the other thing that came out of the diaspora is its history. And, you know, we have a show called the History Lens, and it means to look at everything through the lens of history. And I think that's part of the Jewish culture and religion, that, you know, you said, we carry the message, the message of Zora through everywhere. And it's a kindly message. It's a positive moral message. And it has had a huge effect on everywhere, including the Christian world, this message. But we also remember. We remember through our liturgy, our song, our writings, what happened. So, a lot of the culture, a lot of the history that you've talked about is actually history that's very important to the modern day Jew. He needs to understand this to be a modern, to be Jewish. And I think it's part of Judaism 101, isn't it? Correct. To know about all these things that happened, including the persecutions and all the awful things that might have happened over the years, so that we can fully appreciate it. It's that sense of history and appreciation, history that makes a Jew a Jew, isn't it? Correct. And if you look into the Torah itself in the Bible, Moses, before he passes away in the desert, speaks to the Jewish people about remembering the history, because the present is really a cumulative effect of all of the past. And the present is built on that. And the future is built on the past and the present and the past. So yes, while we live in the present, we are firmly attached to the past, not in the sense that we look back and not look forward, but in the sense that we look forward with the knowledge and the experiences of the past. And again, even though that our past is filled with difficult times and tragic times, but Judaism teaches us to find the positive within the negative and to focus on the miraculous outcome and not on the hardship that necessitated this miraculous outcome. And this is very, very basic to Judaism. Yeah, I really am coming up with questions in my own mind. I'm happy to have the opportunity to ask you about them. So one of the things that seems to me is that you don't dwell on death, you dwell on life. And you dwell on the book, the Torah, the Bible, you dwell on that. And it's central in the life of the Jewish community. And sometimes there are very unfortunate events that happen, very tragic events that happen, and Jews die as they did in World War II, tragic beyond description, beyond description. I can never forget about that, never. But there's a sense, it seems to me, of community that the religion itself is more important than even the people who were killed, that the religion goes forward, that the religion survives all of that. The religion exists beyond individuals. It is a very cerebral religion that forms a community, and the community goes forward no matter what. Can you restate that in the right term? Actually, you're touching upon many different points. So firstly, there's been after the Holocaust, there's been the raging question for many of the survivors, many of the observers were, can man believe in God after the Holocaust? If God is real and God lives, how can he allow for such a tragedy the Holocaust? And many people wrestled with this, especially the survivors. But many survivors actually came away asking the question in a different way, is can man not believe in God after the Holocaust, after so many miraculous stories of survival of individuals and many? Can man, or maybe the question really is can man have faith in man after the Holocaust? Because it was ultimately man, the Nazis, who perpetuated the Holocaust. Well, if the Torah and the Bible had been fully propagated in the Diaspora and accepted by the non-Jewish people to whom it was propagated, revealed, whatever, then the Holocaust wouldn't have happened. So it was an imperfect Diaspora, because there are some people who never ever got the message. Yeah, that's true for one vantage point. But there's an interesting story that a couple of rabbis got together, and they were each talking about, if I was God, I would just do this a little differently. And they had their thoughts of how they would do it a little differently. And one of the senior rabbis there at the time said, if I was God, I would do it the exact same way. The only thing is I would know why. Then I would know why. If I was God, I would know why. And what is basic to our belief is that God is infinite, we're very, very finite. And the fact that God gave us a brain, a mind to understand, and that we understand so much, that is an amazing thing. We're a tiny speck in the cosmos and in the universe, and yet we can master almost everything. But the fact that we don't understand everything should not come as a shock to us, because we are, after all, very, very finite and small. So it's not possible for us to comprehend God who's infinite. And we see only a teeny, teeny sliver of reality, which is the present, a little of the past. But the whole tapestry is much wider. It's the past, present, and future. So God's plan is only known to him. But what we need to do here in this world, that's very, very spelled out in the Bible. And it's basically, we need to do good in spite of some of the challenges that are inherent in life itself, not just tragedy, just life itself. But we're always seeking answers to these questions. And it reminds me of what you said earlier about the contention of good and evil in every person, the effort of finding the good and revealing that in yourself. You're also involved in an attempt to understand these things, to understand why God might have done something or not, to make peace with all of that. And it's part of the same thing, I think, isn't it? It's an awareness. If you didn't do that, you wouldn't have the same level of awareness, of mindfulness. For sure. So that is similar to the good and evil contention within us. For sure. As a matter of fact, what we're talking about is not only theoretical and philosophical, but it actually has very, very concrete applications in how one lives their lives. For example, today, many young people are taught that almost everything that happens within them is biologically, chemically created. So if you're depressed, it's because there's something wrong chemically. It's a chemical imbalance. If you're hyper, whatever emotion or whatever is going on inside you is pretty much almost like, it's almost like you're trapped and there's nothing really you can do about it. Try to tinker with your chemical DNA. It's free will versus determinism kind of issue. In Judaism, it's all about your willpower. So for example, many people are depressed. So in Judaism, we learn that depression comes from the bad within us that is seeking to trip us up.  But if you're happy and you have the willpower and you have the knowledge that your willpower can overcome any sadness or whatever trait that you need to work on yourself, Judaism teaches us, that's Judaism 101, that we actually have the tools to fight and to overcome and to win these inner struggles. So it's not just an abstract, it actually translates into day-to-day practice. It's free will. Free will, exactly. And at this point, after our discussion, Rabbi, we have the free will to actually close the show. Thank you, Rabbi. It's your question, Jansky. Thank you to my pleasure. Thanks for having me on this discussion.


In Africa's rapidly expanding cities, public services can't keep up with urban population growth. Most people can't afford or don't have access to electricity or gas, and therefore depend on wood fuel to cook their meals. Charcoal is a booming business across the continent, but what happens when forests and woodlands can't cope with mounting demand for energy? Some countries have tried to restrict or ban charcoal production to protect the environment. But despite these efforts, charcoal continues to reach avid consumers, sometimes even crossing borders to meet market demand. New research by CIFOR eCrafts studied several border crossings in Cameroon, Kenya, Zambia and their neighbouring countries, finding a complex web of traders who are moving huge loads of charcoal between countries. For example, every week the far north region of Cameroon exports over 400 tonnes of charcoal to Nigeria and Chad. In the busier crossing between Uganda and Kenya, a single border point over 300 tonnes of charcoal are exported every month. This is a lot of charcoal and a lot of money. Yearly flows from the Central African Republic into Cameroon through the Garoua-Boulai crossing have been estimated at almost $180,000. Using all kinds of transport from trucks to bicycles and hand carts, charcoal travels very long distances through both formal and informal routes. In Uganda, Kenya crossing in busier, 12% of charcoal was reported to come all the way from the Democratic Republic of Congo. The further charcoal travels, the more difficult it is to trace its origin and determine whether it was sustainably sourced or produced. Policies on charcoal cross-border trade are generally inadequate and don't consider sustainable resource management options. Legal frameworks, when they exist, tend to be oriented towards the domestic market and even when there are restrictive export measures in place, these are never fully enforced. As a result, most cross-border trade is informal and sometimes illegal. For example, Zambia has banned all charcoal exports. Yet for decades, it has been an important supplier for the eight countries that it shares borders with. Keeping cross-border charcoal trade in the shadows undermines national efforts to promote more sustainable wood harvesting and charcoal production. Africa needs a regional approach to charcoal governance. Only through cooperation, countries can address the environmental and social challenges associated with charcoal cross-border trade.


Through everything there is a seed, and a time to every purpose under the heavens.  A time to plant, and a time to pluck up that which is plant. A time to kill, and a time to heal. A time to break down, and a time to build. The National Broadcasting Company presents A Time to Build. In cooperation with the Alfred T. Sloan Foundation, the Public Affairs Department of NBC has these past six months explored what we believe to be one of the most significant developments of our generation. The rebirth of the South. There's a long a hundred roads that twist from Atlanta to Chapel Hill. From New Orleans to tiny crossroads too small to be registered on any map. We began in the belief that we were recording simply an economic change. An evolutionary thing to be measured in decades. But we were wrong. What we witnessed and what we caught on our recording machine was a revolution in industry, in farming, in economics, and in the whole pattern of life as it lived in the South. We are ready now to report on what we saw and heard. The voices and the sounds you're about to hear are real. We have no actor. The script was written by a hundred hands and underlined by the sound of machines. A witness to all of this and our guide in the weeks to come is Mr. Henry Cassaby, distinguished foreign correspondent and NBC Observer at the United Nations. Mr. Cassaby. At the outset, I'm afraid I must admit that I was chosen for this assignment not because of what I knew, but because of what I did not know. In talking to the gentleman who arranged this tour of the South, apparently my most appealing asset was my complete ignorance, ignorance I hasten to add of the South. You see, I'm in New England though. I was born there and there I lived until I joined that group of correspondence who worked at the crossroads of the world. In London, I know, in Paris, I can tell you the best place to eat in Casablanca and I know how the walls of the Kremlin look when they're red with the setting sun. But there was one place, one huge area, virtually a third of a continent that I did not know, the southern portion of the United States. The mountains and the plains, the cities and the villages, the farmland and the waste that lie below the straggling line of Mason and Dixon, all that I did not know. Of course I thought I did. I read some books and heard some music. Listen. There it is. There is the South I thought I knew. Workers loading cotton at the wall in, tobacco smelling sweet in the hot sun, hovels for some folks and mansions for others and for the righteous, a mint jewel at the end of the road. I was completely, absolutely irrevocably wrong. While I'd been away reporting the goings on in Europe, a revolution had taken place behind my back. It's always exciting to observe a revolution. What would you give to be taken back to Philadelphia 1776 and hear the voices of the folk of independence and the rights of men? No such magic is afforded it. But in this age of science we have a magic of our own, a wizardry compounded of test tubes and chemicals and spinning reels, the tape recorder. I need but touch it. And like some latter-day Aladdin, I summon up whom I will. I remember one evening in Chapel Hill, North Carolina, the location, as you know, of the University of North Carolina. I had gone there to seek out one Paul Green, the author of In Abraham's Bosom. Here I knew I could find a starting out place for my journey, a guide for the unknown places that lay ahead of me. These eyes had looked on much of the South, the old and the new. Tell me, Mr. Green, I said please, of the changes you have seen. There is a new culture in the South that goes along with the new economic and industrial era of this part of the country. It is a glorious thing that is true because there are some nations, some sections of the world that may have a tremendous industrial and economic and engineering power and not a company that with what I would call things of the spirit. We need to smile at the word spirit, but maybe it's a good word. Take the case of Sparta, ancient Sparta. Her citizens were trained to fight, and Sparta gave no culture, no art, no music, no drama, no great epic poetry to the world. But think what Athens did. In the South, we have something of the spirit of Athens working among the people. There is a new and powerful dynamic of beauty in the South, the grace, the decoration, even the fire and inspiration and glory of the people's lives is now being realized in their sense and in their spirits to cultural values. We've had the privilege of this NBC documentary of traveling on the road with the North Carolina Symphony Society. Now there I suppose you have an example of the flowering of culture in the New South, and I believe you've had something to do with it. Well, I remember when the efforts to found the symphony were congregating or coming to a permitting boil. One of the leading educators stood up in the meeting and said that he was against having an orchestra here because the musicians were notoriously lax in their morals and if we had such a group here at Chapel Hill, this group would contaminate the students body. Well, I got up and tried to make a reply to that and I said, take a great professional tennis player. They come by here and we let the boys see them and it has tremendous effect on the playing power of these boys. Now I think we've got a good orchestra started down here and have good musicians and the young people who are interested in the violin and the piano and the tuba and the combos can come and listen and watch good players at work think what it would do to that improvement in their own chosen art. The other night, no doubt you heard a folk song out of the mountains of North Carolina. I think the name of it is Johnson's Old Grey Mew played by the symphony arranged here and I heard the other night in the midst of the legislature of North Carolina and the legislators listened to it, shouted their applause and one of them on the money committee said, I say let's give Benjamin Swarley an air that he won't. South still has I think the potentiality of being one of the greatest creative cultural regions of the earth and I think it's popping out this culture. That's a good word. I'm not ashamed of it. Here in Chapel Hill, this little southern town right now as I'm talking, there are 100 or 150 people getting ready to get their supper and go to that typewriter to write books. And when I came here in 1916, the only man in town that had written a book was Dr. Archibald Henderson and he was a miracle. But as I say tonight, there must be 150 people in this little town writing books. There are people here composing music tonight and composing poems, dreaming their dreams out on paper for the edification of the soul I talked about. Now we are going back and are trying to beautify our lives. The things of the spirit. I heard that in a hundred different ways in a hundred different places. Not all had Mr. Green's solicity of expression, but whatever the words, the message was the same. Consider, for example, Mr. Ralph Ford. Mr. Ford is a grocer in Georgetown, South Carolina. He's known lean times. He can remember days when not a single customer pushed open his screen to announce his meet. Then a few years ago, the Georgetown Mill opened down the road and, well, here's how Mr. Ford put it.  When we put poor the military in there, we were at a lower level we were trading amongst ourselves and we were living, but we were doing more trading with each other than anything else. And then how about now? Well, it's a different proposition now. It's wide open market. Well, when I put it in these terms, Mr. Ford, how about your own business? How would you compare your own business now to what it was before the mill came here? Well, before the mill came here, I think we employed about six people. Six, yeah. And how many now? Twenty-six. How about tens of volume of business? Well, we didn't hear much income back in the old days. I'll tell you now, I'm going to give you a favorite expression of both the international people coming to Southern Crafts Corporation. They came to Georgetown and, of course, like any other industry, had their faults. They have a terrific smell, see? Yes, as a matter of fact, they told us about it themselves.  I said, it smells like bacon and eggs, me. So we traveled across this land, to Carolina, Georgia, Alabama, Florida. We thought Texas and learned how courageous men fight back the dust when rain doesn't come. We went to Natchez and talked to one who had gone out from the South in return, Tennessee, Mississippi. Each turn of the road was a new starting out place and always there were hills beyond the hills. There was one facet of Southern life that I had been warned might be well to leave alone, the social aspects of the revolution, the changes that have taken place in the relationship between, as one Southerner put it, those with white skin and those with brown. But I found that Southern thinkers were perfectly willing to discuss the subject. Like all sincere visitors to the South, I was well aware that there were some things in my own hometown that I would rather see ignored by kings with neither solution nor recrimination. The ignorant are best prepared to learn. I learned much. I learned from Dr. Mitchell, the guiding light of a little-known organization that typifies the new attitude. Tradition, of course, dies hard. But listen. Until three or four years ago, the newspapers in our good Southern states felt treated most Negro news with a slight scoff in their attitude and bearing of the 1850s. Negroes were hard on news, if news, then funny news or crime news. We saw that and thought something ought to be done about it. Senator Tavares of our friends said, look, save us all the clippings out of your local paper on this thing. We threw them in a big shoebox. Got a young journalist and piece out of the emerald to take the box of clippings home after about a year and dump it out on his bedroom floor.   And it was done with wit and with restraint and good temper and illustration and example. And we printed it as a little pamphlet. In it, in big black print, there were five rules of what to do. They were building headlines and using courtesy titles and treating the news impartially and what to do in crime and so on. Then we were very lucky and got the Southern newspaper publishers to send that out to all their people. Then we were able to get local committees of people, very large church women to go and call an editor and talk to them about what was in the little book. I won't go further, but you can see that that could clean them up paper by paper and it has done so as to a large proportion of the papers of the South. So here you've had a specific effect from your activity? Well, you never can know how much one little organization does on one of these things. But three years ago, most of the papers were careless and most of them were careful. Well, in what other fields like that have you operated, Dr. Mitchell? Well, I'll give you another one. Notariously, the police are a problem in all matters of race relations. A colored guy on the street is accused of some crime. A white policeman comes up and made it and that's an interracial incident.  And it's admitted that our police have not been too well paid, no in many instances too well trained, no too careful of everybody's rights. What could you do about that? Well, we talked to all the guys that know about criminology and police administration and we wrote another little booklet called Race and Law Enforcement, How the Police Automated Hand. Then we got our friends in each state to send that to every sheriff in every county, to every chief of police. Then again we got the church women to go in little committees of three and four and call on the sheriff, booking hand and talk to him about getting the police and his deputies to swing around or this way of behaving in that county. I'll give you one little story out of that. In a county in a deep southern state in the south end of that county, I won't name it, the three church leaders went and called on the sheriff and wrote back into us, give them as a so-and-so. We took the little blue book to our sheriff and the sheriff said everything is all right. He is nice to color and all his deputies are nice to color. But could you send us one more copy of that little blue book we want to give it to the night watchman in the jail? Dr. Mitchell, I wonder about this. In what you're doing, do you encounter resentments? Do you have opposition? Do you have trouble? Some, but not much. You can do things here both if you're polite. All you've got to do is be courteous and truthful, honest and people respect that in them. They want to do better and they will if they're decent about it. And the people in power are decent people too. They just want a little time and a little more knowledge and it's not for courtesy and we can work it out. We'll work it out, he said. That was a recurring theme. We heard it often in a lounge car threading its way through the smoked-dimmed outskirts of Birmingham in a businessman's club just outside Atlanta. A Negro dock worker used almost these same words one hot afternoon as he paused in his work to wipe his brow and talk for a moment with these inquisitive fellows. We'll work it out. It's a compact with the past, a challenge to those who will come after. Listen to this voice, George Buchanan, editor of the Columbia Record in Columbia, South Carolina. I believe that the racial problem in the South and the racial problem in South Carolina in particular is nearer solution today than it has been in many years. What the Negroes call gradualism is, of course, an attempt by the whites and by the Negroes to educate the people of the state in sound racial relations and granting fairness and fair treatment to persons of all races. The whole problem of racial relations has been an up-and-down process. I think we have made and are making very considerable progress throughout the South in better racial relations generally. And here's a voice rich with the music of his people. Emre Jackson, Negro editor of the Birmingham World. Listen, here is the past and the future. Well, in some of the newer industries which are coming into the South, you have a few Negroes who are being given better jobs. One of the things is the matter of training for these new jobs which are opening up. And it may be that when they get more training that they will be able to step into some of these newer occupations. Others have heard that phrase, that promise. Let's sit for a moment in the back row of this Negro school. A late afternoon sun splashes across gaily colored dresses and the uniform blue shirts of the boys. It's almost time for the final bill. Already the lucky ones near the windows are marking the scrawling shadows, counting the hours of sunlight left in this day. But wait, what's this? One of the boys is on his feet. He's talking of the future, his future. One of the changes that has been made in the South for the Negroes in the last 15 years are the building of more schools to try to equalize education among the races. When I finish high school planning to go to college, I want to be a lawyer. I think that if we all could get together in the South and learn to cooperate with each other and try to stop segregation, it would be better in the South and no one would have to be afraid of anything that would happen. School will be out in a moment and already they have forgotten. Mark the sun, young people. Count the time for your hundred plans. Time seems short. You're young. You've not learned what we have learned. There's always tomorrow. Whence came this change that we have marked over the land? What was the compelling force that stirred into life this New World Renaissance? We brought that question to Dr. Rex Winslow of Chapel Hill. Why, I asked, why has it happened this way just now? Well, it hasn't gotten that way just now. It has gotten that way through a period of time, but the change has been stirred up by such shaking events as the Great Depression and two world wars, which upset all ways of doing things and all ways of thinking. The change once started tends to be cumulative. But there must have been some other natural physical handicaps that the Old South had on its back that prevented it from coming to this new era more quickly. That is true. The South carried over after the Civil War a bankrupt economy and a bankrupt point of view. Much of the South continued to operate what was in effect a peonyed system in which the land was owned by relatively few families and a great many people without property worked that land. Under this system there was no incentive to do two things which is necessary in any prosperous society. You've got to have an incentive that will make the worker put out. And you've got to have an incentive which will make the owner and the enterprise accumulate and save capital to reinvest in better tools and production techniques. There was no incentive for the tenant farmer and the renter to produce more since the landlord got it all. So he inclined to let the soil wear out and inclined to be shipless and not economically ambitious. He raised the big families of kids to tend the crops and these kids could not afford to go to school, they were needed to work so they grew up to perpetuate the system. On the other hand, the families who owned the land had not much incentive to save and invest. They used the surplus to live a very gracious and hospitable life as contrasted with the behavior of the owning class in New England where frugality and industry were virtues. Therefore you have a sociology which as long as it persists tended to hold back those elements of productivity namely worker output and capital accumulation which are characteristic of other sections of the United States. As a newspaper man it was only natural I suppose that sooner or later I should turn to a fellow craftsman Bill Workman, news analyst, editor of station WIS in Columbia, South Carolina. Bill, how did it all begin? Well the big thing in industry that impresses us who are kind of growing with this picture and there is this fact that industry like agriculture is becoming diversified. It means in a number of respects it means increased income and the textile field there only so much money to be made in the average run of jobs.  You're in that, you become good and you draw good wages but in the more technical fields synthetics and so on the pay is higher and the people prosper accordingly. But we felt that perhaps there was something more some missing ingredient too subtle to be charted or measured a thing without dimensions or form or shape. Once again we found ourselves in the pleasant bookline study of Paul Green. Mr. Green, why this revolution now and here? Well it's almost the same sort of question on a farmer in a drought. It won't rain. It just won't rain. He looks at his crops burning up and he gets up at night to see if there's any lightning in the sky any sound or sign of coming what he calls falling weather. One morning he'll get up and the air feels different. He doesn't know why but it feels different and along about noon or slightly after noon you'll see these dark little clouds in the west and then a little later the clouds will thicken and soon you'll hear a roar and rumble of thunder down under the western earth and your shiver and the crops will shiver and the trees will shiver because they sense the coming of rain. Now why did it rain? The times were right for rain. Yes, there is a new music over the land. Listen to this. It's like the beat of a heart sounding of a pulse but there's melody there too if you will listen. What are they making? Steel? Is this how coal is mined or how they are freezing food trapping flavor and nourishment in icy temperatures? It doesn't matter. It's all there. You can see the pins on the map a new factory where six years ago there was a sleepy time-haunted village new ways to grow food better methods of raising cattle new, bigger, better. The words repeat like the refrain of a song speed it up. This is a time to build. Of course, some of the old survive. The ancient pride is still there the love of land that Jefferson knew and Patrick Henry and the others not in a few years or a decade nor yet a generation does one wipe out the past but I have seen a revolution in economy, in industry, in agriculture, in living. It's a proud thing conceived in sunlight and born of courage and of hope a revolution contrived not of anger nor of hate but of pride and vision. This then is the new self the promise and the fulfillment the future rising from the ashes of the old. To everything there is a season and a time for every purpose under heaven a time to be born and a time to die a time to plant and a time to pluck up that which is planted a time to break down and a time to build. You have been listening to a time to build the first in a series of 13 programs entitled Heritage over the Land based on the developments in the American South. Our field reporter has been Arthur Hepner this program was written and directed by William Allen Bales produced by Miss Lee F. Payton. These reports on the new South of the first in a series done in cooperation with the Alfred P. Sloan Foundation it is planned that other programs will deal with a remarkable growth and changes in other sections of America. Next week at this time we will bring you the second of the series a story of the new changes that have come to those who farm the lands that once were thrall to cotton.


Leave before the narcissist does this. When you first met the narcissist They were very engaging They were interested in you They took the time to listen to what you had to say so naturally You decided to invest more of your time into this relationship Because at this time it was reciprocal But it isn't long until the dynamic of the relationship begins to change It isn't long until they lose interest in you They get bored Because the potency of your supply begins to diminish And they need constant entertainment So they become indifferent to you and this is a point in the relationship where you should realize that something is wrong You should leave Many of us choose to stay Because of our own internal wounds When the narcissist seemed to be interested in you Maybe they didn't occupy much of your brainwaves Because you knew they would be there whatever you need them Maybe you were more focused on other things But when the narcissist becomes indifferent and they stop responding to you It leaves you chasing after the validation and it is actually psychologically damaging to you Because it keeps you thinking that there's something wrong with you Something that you have an inability to change Rather than accepting that they have a disorder Many people marry these narcissists That are indifferent to them and those people end up being miserable Because they're constantly running on a hamster wheel They're constantly chasing after the narcissist validation They're trying to make the narcissist happy Which is an impossible task It's a problem that cannot be solved So those people who marry these narcissists just end up in a marriage that is very unsatisfying They're never at peace Because they always feel like they have to do more or be more They never feel like that enough Because they have to compensate for the narcissist's insecurities and their inability to be happy or satisfied This is the danger of staying with the narcissist Once they become indifferent to you Once the narcissist begins devaluing you You need to leave There's no going back after that Because nothing is going to change The narcissist will not respond to you But if you persist and do everything you can to be with them You're just going to end up being with someone who is wrong for you You're going to end up with someone who will never be happy with you And you will never be happy with them They're just going to make you miserable They're just going to ruin your life Because they don't have the qualities to sustain a healthy relationship They haven't even developed the qualities to take care of themselves So they will never be right for you Many people choose to stay with the narcissist Even after they become indifferent Maybe because the narcissist is very attractive Or maybe because the narcissist is very successful There must be some quality that is making you stay There must be something that makes you want to be around them Or maybe they've just manipulated you into believing that they have something And if you have something You may be able to sustain the relationship Even while they are indifferent to you But why invest all of your time, energy and money into something like that For someone who isn't crazy about you For someone who isn't exactly what you want and need Which is why when the narcissist becomes indifferent to you You really need to leave them alone Don't waste your time trying to make it work Focus on people who want you Focus on people who make the effort to be with you If you're chasing after the narcissist when they are indifferent to you That means there's an internal wound that you need to heal There's an insecurity or perceived deficiency that you have within Which you think you can correct By chasing after this indifferent narcissist And maybe the narcissist has led you to believe that they are the missing piece to your puzzle Maybe they have led you to believe that only they can make you feel whole and complete When the reality is that only you can heal yourself Only you can give yourself the validation that you need The missing piece to your puzzle is in your heart And it was there all along But you were looking for it outside of yourself In people who didn't really want you It's only when you realise your own value That you see that they're no good for you And they can never recognise your value Because they have no value of their own They have nothing of value to bring to you Which is why you're always unhappy when you're around them Because they can't complete you They can only make you believe that they have what you want By detaching you from reality By pulling you into their world And as long as you're under their spell You will continue chasing them But once you wake up You will realise that they're no good for you You will realise that it was just deception They used brainwashing and mind tricks to put you in a trance To make you their puppet Where it's like a mirage You think you've found something that's finally going to make you happy If you can just do what they want If you can just please them But the real kicker is that they can never let you have them They can never let you please them Because although you don't know it They already know that you're not going to find satisfaction Even if you got them You would get bored of them quicker than they got bored of you Because they're very boring people That's why they're always looking for entertainment That's why they're always looking for the next shiny new toy Because they can't even occupy themselves Narcissists are very miserable people So how are they ever going to please you if they can't even make themselves happy Leave the narcissist before they do this Leave before they become indifferent to you Because it's a trap It's designed to trick and deceive you into doing something contrary to your interests and intentions It's designed to lure you in and then confine you Where you end up chasing someone who doesn't even care about you It takes your attention away From someone else who might adore you But you're just chasing this mirage You're chasing something that doesn't even exist And they know it doesn't exist But as long as they can fool you and bring you along for the bride They don't care Narcissists do not respect reality It means nothing to them In reality they're always at a disadvantage They always lose So why would they ever honor or respect it? They would rather put you on their playing field Where they have the advantage Which is why emotions are so important to them Everything is based on your feelings Because you can manipulate a person's emotions You can mold it into whatever you want it to be But the reality is that they will never fulfill you in the way that you think they will It's never going to play it out in that way You can have that with someone who makes an effort to be with you The one who likes the same movies or music as you do The one who laughs at the same jokes or situations You can't have that with someone who is not compatible with you Because there will always be problems and conflicts You will never agree on anything When you chase someone who is indifferent to you You're just chasing your own unhealed traumas Which is never going to solve anything You have to accept that the narcissist is indifferent for a reason You do not belong together You are not compatible That piece does not fit in your puzzle So do not force it Before watching I hope this video resonated with you Please like, comment, share and subscribe If you would like to donate My PayPal link is in the video description Clutched inquiries You can email me at clutchonandarchsurvivor.uk Thank you for watching and I'll talk to you soon


All right, new clip here. It got sound. Hey man, that is all a myth. Drugs don't mess you up. Hello? Hello? That wrong number. That's a coffee! BAD DUCK! Well, like I said, that drug don't mess you up. Hey man, that is... All right, so the biggest... ...concern I have here... ...is this, how it really breaks the audio. That's just killing all the devils there. And in this... I don't know if that would kill, you know, a demoreal... ...in general, or just, to me, it kills the piece of it. I wish there was a different quality of that sound piece. That might just be me, but that's just a bit jarring. Apart from that... ...let's bring down the sound a bit. Hey man, that is... He's leaning heavily... That is all a myth. ...for the whole time. And it's almost to me, like, you could start the other way and go... Hey man. ...and that's when he goes over there. And because of that lean, he has to take steps... ...to then land and sit there. Even then, the watch out. This feels like you got a neck here and the head is over to the left... ...where you want to bring that head over a bit more. I mean, a sea line there, but it feels like we're just a bit over compared to what this is. But that's the main thing there. Also, in terms of like... I like this in terms of... ...you got your line with the hair, asymmetry in the face, but then we're kind of symmetrical and it's kind of like... It feels like we can go broader... ...not broader, but a bit more interesting. That's why I would... ...maybe you can have him like this, where... ...maybe he has like one hand on there and then he's about to say something and goes... Hey! And then with that gesture there, is like he pushed himself off and gets into that whole pose there. Watch out. Again, we're very twin. I would offset that a bit more, given that he is clearly on... ...you know, something's going on with his head here. We can push that a bit further and also that way you don't have that moment of... ...up arms going up and then they're locked and then it feels like it's mostly coming through the elbows there. A myth. I do like the timing of hold into this. A myth. Of what the arms are doing. This nice hand poses there. The drop, though, feels very harsh.  But it just generally feels really... ...harsh. I'll probably soften that a little bit. That might just be me. And then on something like that... Watch out. That path is fairly straight. And then fairly straight down with a little pop there at the end where I think you can... ...be a bit more playful in your arcs of how that foot comes up. And even this one, it feels really... ...really broken there.  And then how he gets this out is... ...through the very end and then maybe, you know, the foot moving comes it out like that and then you can bring it down. But again, we hit then this pose where it's pretty much the same orientation of that foot till the end where I will play with that again a bit more in terms of what the feet are doing, what the arcs of the legs are doing. It's good to have a bit more of a... You know, a bit more of a relaxed little... ...little drop there and watch out. It feels a bit like hand and foot orbit in sync there and how they drop. And then just as an in-between careful when you have stuff like where it's right in front of the upper arm killing the silhouette where this could have been a bit of a... like a flourish plop there to give it a clean silhouette. Same thing there. At this point, I feel like his arms, almost like long spider legs, are doing something totally separate from what the upper body is doing. So if he's like this and he brings those legs up, I like that he also goes up a bit, but I think we could do a bit more to feel like that massive move of the legs influencing what the upper body is doing there. And watch out, it feels like, are we kind of drifting? Hello! No, it's okay. Hello! This is just me, but you got a tangent right there. I'm always looking at lines. That was tricky when you have prop lines, you know, sets and stuff like that. If you be careful where they're lined up, especially with the darkness here, I would clean up that negative space there a little bit, that finger right there on that upper arm there. It feels like there's a pinky intersection through there. That was a coffee! And the same thing here. Not that it's, you know, it moves over that lamp, but then it's kind of stuck right there. I don't know.  I know you want him to go crazy, but now we're suddenly, I feel like this is so stretched that it almost feels like we're off model. Again, you got a bit of a tangent there. You could free up that silhouette. That's just that sound kills me. That's like, that's the biggest bummer. And then at the end here, when he kind of goes, like I said, the couple of things here where it's, if you look at the beginning, it seems like he's talking. It will pass us a bit more on the right. Watch out. Now he's suddenly talking almost at me. Yes, he talks on the phone. And that's, I don't mind all of that. And then he says all of this, but then it's looking like way to the left over there and then way to the left down there and then back up there. And it feels like that eye has a bit of a drift. Watch out. Like those eyes a bit wonky through there. Then it gets a bit too separate to me how those arms are moving compared to what the upper body is doing. Again, this feels more like there's arms between your pose. There's a tangent right there between the finger and this and right the crotch. And the thing is there where I would have that go into like a different pose. Like he's out like this and goes like I said, then he could maybe straighten up a little bit. Because that is starting to like a heavy, heavy drift of what the root is doing before the sit down. But then again, just going back to your eyes bit wonky and slidey and I was suddenly looking and passed us up there and then he's like really cross-eyed which I know, maybe that's how you want to play this, but so watch out. There's eyeliner. What is he looking at? Who is he looking at? Is he by himself? Is this just something that he does to himself there? I was kind of looking at that. I do like that little head shake there. It just feels very strobie. I jittery fast, but like the idea for a little subtle thing. I would just slow down, like how quickly he does it and gives it a few more frames. Just soften a little bit, but I like the idea a lot there. But careful then we are, even though still wet-wise it's not, it just feels very twinned. It's just the same pose and he could do something else. This is a very lazy critique where I'm saying maybe something more original. Okay, well what then? But it could be something where like I said, maybe he wants to be playful and puts his hand back on the table. Maybe his fingers dance a bit around and they're like, I want to distract almost from what just happened. And then he kind of slides them back to that moment. I mean, something where maybe he's like, maybe he's stuck in this. Oh, and he uses this while I'm already hunched over. Might as well put my hand on there and then kind of pretend to be like with the shoulder up here like, eh, it's fine. I'm totally fine. Versus this. Got some more asymmetry there.  Might as well hold on to this as I'm sliding back into the chair and then I don't mind this. That's because now he wants to be, it's all fine. Like in terms of, I have control over this. This is where the twinning I don't mind. But this is almost reinforcing. I'm in control.  This is control. I'm fine. But then this destroys the image of like, nah, it's not, it's not fine. I'm not fine at all. Anyway, that's kind of that. As always, let me know what you think. Take whatever you want from this feedback and that's it until next time. All right. There's an email you can sign up. You can start whenever you want. You can submit whatever you want. You get 16 submissions. Either way a like and subscribe would be awesome. All right. Thank you.


In this final video for lecture 26, I wanna compute the derivative of the function y equals x times the absolute value of x. Now it turns out that absolute value of x can oftentimes cause a lot of trouble when you try to calculate its derivative, but if you use logarithmic differentiation, we can avoid a lot of that trouble. And the main reason is if you take the derivative of the natural log of x, that's equal to one over x, but if you take the derivative of the natural log of the absolute value of x, that doesn't change the formula whatsoever. So using natural logs, we can actually avoid some of the confusion, complication that would come from these absolute values here. So if we take the natural log of the absolute value of y on the left, and we do that for the right as well, the natural log of the absolute value of x times the absolute value of x right here, you can then expand the right-hand side, which would become the natural log here of the absolute value of x plus the natural log of the absolute value of the absolute value of x, right? Double absolute value doesn't really make much of a difference once you switch to be positive, it'll just be positive again. So you get the absolute value of x, this becomes two times the natural log of the absolute value of x, this is important. Then when we take the derivative of both sides with respect to x, the left-hand side will become y prime over y, like it always does with logarithmic differentiation. The right-hand side will then become two over x times both sides by y, you get y prime equals two y over x, but why is x times the absolute value of x? So you get two times the x times the absolute value of x over x, for which then the x's cancel out and we see that the derivative here is just two times the absolute value of x. So with effortless ease, we can compute derivatives involving absolute values if we employ logarithmic differentiation. And that will then conclude for us lecture 26. If you have any questions, feel free to post them in the comments of any of these videos, I'll be glad to answer them as soon as I get an opportunity. If you learned something, hit a like button. If you wanna see more videos like this, subscribe to see them and hopefully I'll see you some other time. Bye everyone.