Yeah, one o'clock rock. I'm Jay Fidel on Think Tech. Welcome back to Creative Contributions on Think Tech Hawaii. Today we have the honor of having Susie Anderson, Susie Y Anderson in our studio, to discuss her work. She is an unplanear artist, and that means she paints outside in the outside air, in the air. It's very important in Hawaii. So we're calling this show Susie Anderson on Planear. You'll find out exactly how that works. Susie can do all kinds of art, including seascapes and landscapes and people, and all kinds of art depicting the incredible sights and scenes of Hawaii. But she has gone beyond that. We'll talk about her common denominators, the common denominators of her art, and her view of the world. We'll try to understand what she sees in our islands, and through that appreciate her work and ours, and our view of the world, and how it comes together. Welcome to the show, Susie. It's great to have you here. Thank you, Jay. It's my privilege. So, first, on Planear, can you tell the people exactly what that means? It means, basically, in the fresh air, literally from the French. And it means that I take my easel outdoors, and I painting from wife, rather than indoors in the studio, where everything is a set known quantity. But the outdoors has lots of surprises. Yes, and challenges. You need to go outside. And I took you painting with me one time. You did. I'll never forget that. We did a time-lapse thing, okay, and every minute or two, I would take another picture of Susie painting, and the whole thing was coming alive, stroke by stroke. We went to Makapu, wasn't it? Makapu. Yeah. And that's the challenge of being on Planear. You have to go out in the on Planear and find the light, and find the place, and find the colors, and see through the photograph. It can't be photographic. You've got to see through it into the essence of the environment. And it's a timing thing, because it has to happen within a very short period of time. You can't be chasing the shadows. You have to get the painting down very quickly, and then not change your mind, despite what the weather is throwing at you. I think of it as like a fishing expedition.  It's so easy to catch that fish, and then other days, you can't catch a fish to say. For beans. No, you can't at all. So you never know, and that's the kind of challenge I love. But in any day, in any experience, you have to schlep. You have to schlep your artist easel, and your canvas, and your paints, and whatnot. And you have to go to remote places, in the rocks, along the sea coast, and the like. It's not so easy. No, it's not so easy, but it keeps you in shape. So let's do a short slideshow here of some of the photographs you brought down, including photographs of the people around you, and painting itself, and the results. Okay. Let's start with these photos. You can describe them as we go. Ah, there you are. Ah, okay. Well, this is actually the reception for the American Society of Marine Artists show that I was just attending back in Maryland, which I was so excited to have a plein air painting of mine of Alona Cove accepted to this national show. And it just happened, we were in New York for the seven days before this reception and found we could drive down and be there for the opening reception. So there I am next to my painting. There were about 125 paintings and sculptures, and it's a show that travels to five states and six museums over a 17 month run. So I was very excited to have a plein air painting from Hawaii accepted to this national show. Yeah, and just PS on this photograph. The photograph looks like it is also a painting. Right, isn't it? It's just more than just an ordinary photograph. It looks like it was painted, and so you have a photograph of a painting of a painting. Yeah, that could be. And where is that, where did you pick up the, you know, the, the, the scenery there that you of Alona Cove? Where is it? That's Alona Cove just before Sandy Beach and each East Wahoo. It's where they filmed the famous love scene Kirk Douglas and Deborah Carr rolling around on the surf and from here to eternity. Is that right? Yes. It was supposed to be Waikiki, but it was Halona. And Halona has always inspired me. But you have to hike down. It's a very, it's a little beautiful keyhole beach and you have to hike down and perch on the rocks. And so I was delighted they chose that painting. Yeah, that's really historically significant. From here to eternity. That's an unforgettable image. Yes, exactly. Okay, let's see the next one. And the next one was the poster for it at, at the, at the show. So you can skip through that. So keep, but the, the, the Marine Artists Association. Yes. That's very prestigious, isn't it? Yes. It is. It's a national organization. Been around for since the 70s and it has more than 500 artists in, in 40, 40 states, I believe. But the interesting thing about that is that that's the organization has been around for years, but there's a brand new one called the Pacific Rim Institute of Marine Artists Prima. And it's prima online.org. And it is an organization that was just created this year to do much the same thing that the American Society is doing, but for the Pacific Rim. So there are artists now, members that are from China and New Zealand, Australia, Hawaii, Alaska, all through the west coast of the United States. And they hope to attract more artists in South America and all over and link the art between all these nations and even in the trust territories and whatever. But it's just getting off the ground.  I'm always named the fellow for Hawaii. A fellow? Okay. A fellow for Hawaii. So you were shown in the national and now you're a fellow in the, in the Pacific Rim. I'm impressed. Okay, let's go to more photographs, photographs. All right. This is not a plein air painting, but it is a studio painting based on a plein air image from down at the Hilton Hawaiian Village. And I love to paint canoes. They're one of the hardest things you can paint and a very difficult outdoors, but you can get a start on it. But this was a fairly large painting and I, I just love the graphic nature of it. And you asked me earlier about what's my future and whether I want to stay doing the landscape seascape thing. Well, I started out doing a lot of abstracts. So this painting feeds my abstractness. I, I really love the abstract nature of that painting. And that's kind of the direction I'd like to. Really? Well, the comment on, comment on that is that sometimes we see abstracts and we wonder whether there's any talent there. And as in the case of Picasso, who, who is a realist kind of painter in the early stages of his professional career, that was confirmation that he could actually paint.  Although Jackson Pollock could probably paint pretty well too. So Susie has proven that she can paint. Now she can do whatever she wants. Now I can do whatever I want. In terms of abstract. Well, let's go back to that, the canoe for a moment. You said that that it's hard to paint canoes and I'm curious why. Because there's not a straight line on those boats. Everything is curving, absolutely everything. And so you have to get the design down. You have to get the structure down properly or nobody's going to believe it's a canoe. But this one had such great color and the reflections in the water just really attracted me. So it's the reflection, you know, the light. Yeah, the light. It's the light. The light of the canoe against the water, the water against the canoe. That sounds very complicated. Yeah. Yeah. Oh, that's a lovely painting. Thank you.  Really? Great name for it. My husband named it. He names a lot of my paintings. Well, I'd say that your paintings I just paint them. He names them. Your paintings have really wonderful.  It had been retired. It was back from the thirties and the forties and the plantation somewhere. It was a big, wonderful painting and you had this fabulous title for it. Oh, well, you know, since you brought this up, this is a little early Christmas present for you, Jay. Really? Yes, really. I was going to wait till the end. You know my taste, then, eh? I'm going to open this up because I have a feeling I know what's here. Oh, yeah. Of course. This is an original painting from Susie Anderson. This is an original painting. Okay, let me show you. This is the one I, this is not rehearsed, you know. Merry Christmas. This is a wonderful painting of an old piece of plantation farm equipment. This is called Out to Pasture. Out to Pasture. And I think you called it old yellow, I think, when you saw it a few years ago. And this was done on Plenaire at Kapa, a sugar plantation on Kauai. Yeah. Yeah. So now it belongs to you, my friend. Thank you, Susie. Out to Pasture, 2011. Susie, Susie Y. Anderson, on Plenaire, Kaloa Sugar Mill, Kauai. I will treasure this. Thank you so much. You're very welcome. You walk right into that. Walk right into that. That was the surprise you referred to. That was the surprise, yeah. Thank you, Susie. You're welcome. So where are you in the world of on Plenaire?  I'm out there. You're out there. Now, for a long time, for 27 years, as I recall, I have a recollection for numbers like that. You were a member, a partner of the gallery in Ward Center. At Ward Center, I wasn't part of that that long. I was only part of that for 14 years. But still, that was a wonderful experience. And I was doing a mix of, like I am now, of Plenaire and studio pieces. You can't always set up your easel in some places that you want to paint through photographs. You have to rely on photographs in your memory and how impactful the scene is. But I love the Plenaire just because it's exciting and challenging, much more. And to be a partner in the gallery is interesting. I think it probably doesn't happen very much. And you have to have a number of artists who, on the same page, who are willing to spend their time, maybe invest some money, and pay the rent every month. Well, it's a business. You have a, and a lot of galleries are closing because the internet and, you know, social media, all of these things are, are um, trumping brick-and-mortar places. Don't use that word. Okay. Sorry. The feeling is going to become more popular as we go forward. Let's go on to a different subject. Would you like to look at the next couple of pictures? Yeah, let's look at the more pictures now. The next couple of pictures are really interesting.  Okay. This was a Plenaire painting of a spot that I'd love to paint out. I don't know if you recognize it, but it's off of Beach Road at the very foot of Diamond Hood. And I took my easel down there one morning about six months ago. And it was a beautiful morning and there were two fishermen out on the end. So this is the completed painting. But if you would change to the next picture, I'll show you. This was the two fishermen that came up to my easel afterwards, and we're so excited to be a part of that. And at that point, I had only painted one of the two guys out there. So I had to paint both of them. They were so happy to be included. Yeah, I was wonderful. And so these are the kinds of things that I absolutely love about the painting in Plenaire. Because you get to meet interesting people, you get to go to places that you may never have had an opportunity to go to before. And it's just, you know, look at the joy, the joy. I don't know who is grinning more. Those guys are me, but we all had a great time. It's a lovely photograph, too. Before we go for our break, I just want to go, I want to return to the previous picture. Just the picture just before that of the painting itself. So there it is. Now, you know, my reaction, and I'm no expert on this, is that this picture has so much heart. You are seeing through the detail of what a person would see in his eyes. You are breathing life into the ocean. It's more than what you would see with a camera. And the sky is more than what you would see with your eyes and the trees and so forth and the beach. I mean, it has a quality beyond reality. It is sending a message. It is sending a number of messages. Do you think of those things when you paint? I can't paint unless I have passion for the subject. And I particularly, I love painting skies. I love the ocean, and I'm passionate about it. And if I can get some, if I can transfer that excitement to the canvas, and then for somebody who has never seen the painting before, pick that up, that just makes my heart sing. So, yes, thank you. And mine, and mine. We're going to take a short break so I can run out and get this thing framed over here. We'll be right back in one minute. Aloha, I'm Carl Campania. I hope you please visit us this summer. It's a wonderful summer. It's actually a cooler summer than we're used to. But I hope that you come back and visit us and watch our show, Education Movers, Shakers, and Reformers here on Think Tech, Hawaii. It's at noon every Wednesday. See you then. Feliz Navidad! Feliz Navidad! Merry Christmas, everybody! Feliz Navidad! Prospero a new y feliz sida! I want to wish you a merry Christmas! I want to wish you a merry Christmas! I want to wish you a merry Christmas, brother! Hello, and aloha. My name is Raya Salter, and I am the host of Power of Hawaii, where Hawaii comes together to figure out how we're going to work towards a clean and renewable energy future. We have exciting conversations with all kinds of stakeholders, everyone who needs to come together to talk about renewable energy, be they engineers, advocates, lawyers, utility executives, musicians, or artists, to see how we can come together to make a renewable future. Tuesdays at 1 p.m. We're back. We're live with one of my favorite people here on, what is it, creative contributions, one of my favorite shows. I'm talking with Susie Y. Anderson, who's an unplanned air painter. Are there many unplanned air painters? I mean, that's an unusual term. Oh, there is. Usually people drop beyond, but it's just plein air. And yes, it's just taken off like wildfire all over the world, really. Because people are finding out how much fun it is. I guess they all have the same kinds of subjects. They're at the beach, or they're in open spaces. Yeah, but you could set up a still life out in your garden and call it unplanned air. Because it's basically painting from life, and usually outdoors. You could do a figure outside, and it would be considered unplanned air. So my apartment is capturing the air. Right. And I have a couple of friends that do beautiful abstracts. And standing next to me while I'm doing something representational, and it's marvelous to see that. Is that unplanned air? Yes, it is. You can do unplanned air and abstract, too. Sure. You can be inspired, of course. So how long have you been painting, without revealing any personal data here? I've been painting seriously and professionally, as a painter, as a fine artist painter, since 2000. But I had been painting throughout my earlier careers. I had two other careers before I became a fine artist, and would paint as I could, you know, between jobs and things. But you have to have the time to devote to it, and now it's a hundred percent. So, besides the trouble. Yeah. Why did you become a professional? What led you to that? Gosh, well, I was always a professional artist. I was a medical illustrator with the med school first. I had a 20-year career designing litigation graphics for attorneys. Oh, I remember that, yeah. And so that was the graphic part. You were training, actually. Yes, exactly. All that was in training for becoming a fine artist, a plein air artist. But at some point you said, enough of that. Yes, enough of that. I want to paint for myself. I want to paint what my heart tells me to paint. And the mortgage was paid for at that time, so that was a lucky stroke. Yeah, big factor. Don't give up your day job otherwise, right? I mean, the art, this field is very difficult if you are depending on it to make a living. Because, you know, a lot of people are enjoying getting out there and painting themselves and doing plein air, and they may not be professional, but they're having a great time with it. But the galleries are struggling, generally, all over. It's not just in Hawaii, but it's kind of all over.  You can use any number of computer programs and come up with very attractive looking graphics. And we're surrounded with color and graphics of all kinds and movies and animations that you name it. So you have a lot of competition out there for people's attention. Yes. And also the web, it has all kinds of online courses you can take, workshops that are wonderful. But one of the experiences that I had recently in early November, and I would encourage anybody that's interested in doing plein air in Hawaii, is that there is a group called the Plain Air Painters of Hawaii. And it was begun in Maui, it's still headquartered in Maui, but it's open to all artists across the Hawaiian islands. And they have paintouts once, and paintouts are once or twice a year on the different islands. You sound like a hackathon. Yes, that's about it. And we were on a beautiful island of Kauai, my favorite, for four days, it was solid painting from sun up to sun down. And we painted everywhere, in North Shore, West Side. I'd like to be there just to watch and take pictures. It was amazing. Amazing. And so sometimes there were as many as three paintings done a day. The energy level is incredible. There were 23 artists from Maui and Kauai in Oahu doing this. And the camaraderie is fantastic. It's just exciting. And those are the kinds of things that I live and breathe for, I just love it. Yeah. Well, that's part of, we have a lot of science. And scientists, as a professional matter, have to be able to explain their work. They have to be able to engage with a non-scientific community. I would say the same thing exists with artists. You can't paint in a silo. You express yourself, but then you have to express what you express. And you have to be able to talk to your peers, your other, your artists that may work with you or paint with you and paint outs and the like. And you have to be able to talk to the public, whether it be in the gallery at Ward Center or here today or, you know, whoever you're talking to, to try to convey what you're doing and why it is relevant and important and better than a computer program. That's right. Let's hope so. Yeah. So you have that gift. And I mean, have you been doing that from the beginning to talk to people and express yourself? Well, I think so. Yes, I do. And, you know, every experience builds on the next one. And it's like those two fishermen that came up to talk. I mean, that was, that was just so joyful for all of us. That's what this painting is. This is joyful. Yeah. It's not talking politics. It's creating something wonderful that has perhaps legs, you know, that painting right there, you know, is a kind of a historic painting because that's the other issue is that I love to paint things that may not be here next year. Yeah. Like the sugar and the pineapple hold all those subjects. I've painted lots of those paintings. And they're all sold because they're a piece of Hawaii history that have been preserved for future generations to enjoy.  And so what other kind of career can you say that gives you that kind of wonderful feeling of continuity and joy? Yeah. Yeah. But, you know, you touched on, you know, the idea of nostalgia, of seeing things in a historical context. So, you know, this one, Out to Pasture, or Old Yeller, as the case may be, that touches me because it makes, you know, historically, historical Hawaii recapturable somehow. I have a piece of the past. That's the message to me. And it is a beautiful past. It's like proust. You know, it floods into your mind. It touches some nerve in your mind and makes you remember all the things that you and your mind associate with this period of time, this kind of thing. So, it gives you a special treat, a special dessert. But there's more than just nostalgia here. When I look at the painting of the ocean, I get all kinds. I get fireworks of messages about the environment. I can feel the water. I can feel my feet on the beach. My whole life is, you know, becomes tactile because of what you did in that painting. Thank you. Wow. You made my, you made my year, Jack. Thank you very much. May I quote you? What I'm saying is it's more than nostalgia. Yeah, it is. It is human sensibility. It's sensory perceptions being delivered to you by the painting. Well, that's why it's important to fund the arts so that young kids coming up understand the importance of what they're doing. And it's just incredibly important to round out what we're doing in all the different fields. Well, let's talk about that. I think, you know, I don't should be modest about this, your leader in this, in painting in Hawaii.  But because you've been doing it a long time and you have in fact delivered the message for a long time. And so I look to you to talk to the next generation and to try to encourage them to do this because this is not only good for the painter, it's good for the community. What is it? A great state deserves great art, right? It's a living example right here next to me. Well, there are many wonderful artists in this state. And one of the opportunities for the public to see wonderful art is at the Punahou Carnival Art Show coming up in early February. So I hope anyone who's listening to this program will take the time to go to Punahou and see this because this show is open. It's not a closed show. It's not a curated show. It's open to all artists. Anybody can put a painting in there. You could put a painting in there if you wanted to. Well, that's going a little far. Yeah, okay. But it is a benefit for the school, but it benefits the artists as well. And just a couple of weeks ago, I loved doing shows like that. The North Shore, there was a benefit for the, oh gosh. It was the Community Foundation for the North Shore, and they had a benefit auction. And I participated with my paintings out there. And it's a wonderful opportunity, again, to support these charities or these nonprofits so that they can continue their good work. And I think that's one of the things that artists like myself try to do as frequently as possible. For the common good. For the common good, exactly. And you know, I mean, the important thing, if you want to have a take-home on this, is that we need to have art in Hawaii. We need more Susie Anderson's going forward. We need more of her work. We need to capture those seascapes and landscapes and even the abstracts so that we, you know, it's food for the soul is what it is.  We can't let the computer-assisted graphics take the field here. The last thing I'd like to talk about is the dynamic of an artist. You know, we talked briefly about Picasso and all that, how we went through various stages in this life. And after the gallery at Ward Center closed, it was in early 2015.  Can you talk about, you know, the dynamic process of an artist who can get out either in the work or in the travels and how that changes your way of thinking, looking at the universe and how it changes your art? Well, we had an opportunity to travel both to Italy last year for five weeks and Spain this fall for a month, as well as New York City just recently. And all of those places, we make a beeline for the different galleries, the museums, because so much fine art is in each of these cities that we never see. You don't get to see the everyday kind of art. And so it's an education, it's totally an education. And for instance, we were in New York just a few weeks ago and went to the New Whitney Museum and they had an exhibit, a fantastic exhibit of portraits, everything from very, very contemporary abstract portraits to very representational ones. And it inspired me, the New Whitney, and it inspires me to learn how to do portraiture, just even in an abstract format. So those are the kinds of things that are absolutely critical to the life of an artist because you don't want to stay static, you want to keep moving. I've painted just about every beach there is on this island and on many others also. And so the challenge for me is to go back and paint it in a different way and going on doing these trips and seeing how other artists have captured their local scenes and their beaches and their landscapes inspires me to go back to the same places that maybe didn't inspire me so much the last time with new eyes. See it differently. What about portraiture? What's in your future? Will you move on to other subjects? This is really an important question. Where is it all going for you? I don't know. I don't have a crystal ball, but I'm interested in everything. I really am. I'm interested in portraiture. I'm very interested in going back to the abstract and getting more abstract with my representational work because with every painting that I do that's representational, you can take a corner out of it and you can say that would make a wonderful abstract painting. You don't have to look any further than that. But painting abstract, I paint from the inside out, painting landscapes and seascapes, I paint from the outside in. That's the difference. The abstract is more self-generated and it's more thoughtful in some ways. But it's all great. Hawaii has such great possibilities for art. We live in a beautiful place with beautiful people. Right now there's a ceramics exhibit going on at Linnikona, which is just across the street from the Honolulu Museum. We ought to see that. We ought to participate in that. We ought to enjoy that, revel in it. We ought to do it. The other thing I want to say in closing, Susie, is that a reminder of Rodin. Rodin carved out of a block of marble and at the end he found his statue in the block of marble. In a way, what you describe as the artist herself is a block of marble. And as she trips away to life, she finds in the core of the block of marble, she finds herself, she finds her ultimate artistic destiny, and I think that's what you're finding. I hope I never see the end of it. I don't want to get to the very end of it. Thank you, Jay. Thank you, Susie Anderson. I'm not there. The life will always. Thank you.


This is stock number 10087A. We are here at Summit Automotive in Fond du Lac, Wisconsin, your new and used car headquarters. Today we are checking out this super clean 2016 Chrysler 200 Limited. This vehicle has the 2.4 liter four cylinder multi-air motor and from this HD video you will be able to tell that for the age of miles on the car. It is in excellent condition. Front fender no dents or dings on that. Black is the color we shoot all of our videos in 1080p. So if you have HD capabilities on your computer tablet or smartphone device turn them on right now because it is like you're right here looking at the car with me and definitely your best way to check out the vehicle before seeing it in person. Very clean on this side if you want to check out more pictures in the upper right hand part of the screen I link to this vehicle on our website. In the front we have Bridgestone Acopia tires and these tires have probably about I'd say 50 to 60 percent of the tread left. 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These seats do fold down for extra storage and they go down pretty pretty far when the front seats up a little bit more but uh it also has a pass through and the back carpeting is in nice condition as well. We'll take a quick look under the hood also it does have the child car lock right there for the back doors. I'd personally like to thank you for checking out the video today and hopefully from this HD video you'll have been able to tell just how clean this car is all the way around inside and out. Under the hood we have the 2.4 liter multi-air motor 180 horsepower engine bay is very clean runs very smooth this car has been fully safety to and inspect by our service shop has a fresh oil and filter change all the fluids have been checked and topped off. The car has been gone through mechanically 100% and is 100% ready to go. 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to Inventing Our Future on Think Tech Hawaii. I'm your host, Brittany Zimmerman. And I'm your co-host, Richard Ha. Joining us today is our guest, Stephen Wiscombe, who will help us do a deep dive into our J conversation. How are you doing this week, Richard? Oh, top shape. Nice and sunny. Good, glad to hear it. All right, this week we'll be addressing the JAG method. So to learn more about that, let's get to know our guest this week. Welcome, Stephen, and please tell us about yourself. Hi, how are you guys doing? Thanks for having me. Yeah, my name is Stephen, as they've said. I do handyman work on the island here. And one of the things I, one of the services I provide that feels like it's really, really important is mold remediation, particularly on the west side of the island. I mean, it is an island wide problem and really a problem worldwide in all kinds of environments. But particularly on the west side of the island here, it's, yeah, it's definitely an issue. So yeah, I do handyman work and with the specialization in mold. Oh, wonderful. Is that what the JAG method is? Is that a style of mold remediation? Tell us a little bit about mold remediation, please. Yeah, the JAG method, we can probably go into that a little more in detail after we talk more generally about mold, why it's an issue, some things that I've learned that are helpful for in the remediation process, helpful tips and tricks. The JAG method is kind of our latest, greatest idea and it's very nascent. So it's in the pipeline and it's still something we're fine tuning, but we have to get into that in more detail. All right, awesome. So maybe we can start at a really, really basic level, right? What is mold? Yeah, mold is, it's, well, the kind that we're working with or that we're dealing with is specifically household mold, right? I mean, a lot of people don't know this, but the ambient air we breathe outside is full of mold spores. It's just part of the natural environment and it's a byproduct of decomposition. So anything in the environment that's decaying has a mold counterpart, like a mold specialist that helps break it down. And like any living thing, mold has a way of spreading and reproducing itself and it's a very integral and important part of the environment. And so anywhere you see something breaking down, you're going to also have as part of that mold, the presence of mold, mold spores. And yeah, something important about mold is that the mold spores are really, really small and really light and that's how they move around, right? Some tree seeds and whatnot, they use birds or other mechanisms for movement, mold gets around because it almost doesn't weigh anything. So mold spores are very small, they move very easily. And that's a pretty important piece to understand when we're talking about indoor mold as well. Does that make sense? Yeah, that does make a lot of sense. I wanted to make clear that M-O-L-D is the same thing. Yeah, it's just one is English, England kind of pronunciation and spelling. Anyway, I looked it up. That's news to me, Richard, but that's what you want to do, okay? If I were doing work in the UK, I'll be sure to get the spelling straight. Yeah, you know what? My sense of mold and I don't know much about it just in general, but I had the feeling that it has a lot to do with humidity and we have a lot of humidity on the east side. Is that fair to say? Yeah, the really kind of scary molds that we encounter in our indoor spaces require basically the same environment that any outdoor mold requires, which is just wet, dark, and mold needs air to survive, but very, very little. So it's kind of like a Goldilocks thing. So one of the ways to combat mold in interior spaces with proper ventilation and typically for where we find mold present in homes is in spaces where there is poor or no ventilation. So mold spores light, just a little bit of air typically. So that's one key factor for mold growth in homes has to do with ventilation. So is mold an animal? Is it a plant? Is it a bacteria? Like at its core, you know, how should we think about? How should we think about? Well, I know the kinds that I know and there may be many kinds of mold that I don't know about, but mold as a fungus, right? So it's in the fungal kingdom. So it's not a bacteria. It's a decomposition specialist. And it's actually the world of fungus is more similar to humans than a lot of other elements of the natural world that we're aware of. Yeah. Yeah, I don't, yeah. Very good. And are all mold, you were saying there's some molds that are specifically bad? Are there good molds? Well, yeah, I mean, I would say that mold is just it's a natural byproduct of the environment. So what we call bad is stuff that shows up in homes where we don't want it and can impact health. Obviously, if we didn't have mold in the natural environment, we wouldn't have soil. You need something that's going to break down organic trees and leaves and all of this stuff and put it back into the earth. So yeah, it's really important. It's not like mold is the bad guy. It's the mold shows up in places and informs in our homes that are not conducive to human health. And again, like when we walk outside and we're taking hikes in the woods or anytime we're outside, we're breathing this stuff and we're breathing it in concentrations that are more or less harmless, right? And if you're very sensitized, sometimes people can even be outside and desensitized by mold in their environment. But typically for the average person, you're not going to experience that just with breathing normal circulated outdoor air. It's on our interior spaces where we do have poor ventilation, higher concentration of mold spores that we get issues related to human health. And we also get funky kinds of mold that you don't get in the national environment as often. It all exists out there, but to get it in those kinds of high concentrations, it just shows up in our environments where we have bedrooms with drywall and all of the things we use to build conventional living spaces. Digging into that a little bit, do you think that the way that we're building homes today, as opposed to the way that homes used to be built, make us more conducive to growing mold, or do you think that mold is something that's been dealt with in interior spaces regardless of how a home is built? It's a good question. I don't know what the longer history of mold would be in homes built, for example, 100 years ago, or homes built in cultures of the past. I mean, mold can really form on any surface and it's interesting even in modern homes to see mold forming on places like latex paint. It's non-porous. It doesn't seem like there would be anything for the mold to take root in, but we see it commonly and a lot of that I think has to do with just like there's just enough of something for the mold to eat. A little bit of dirt and dust on the wall collecting over a few years and all of a sudden you get the right conditions and the mold will take off. So, yeah, it's a good question and it's an interesting one. It's hard to answer by comparison. What kind of mold would people have been dealing with in homes before? Probably it's always been present. Probably it's always been there and it may be true that our grandparents had issues with mold. Maybe they didn't know about it. Probably they didn't have the same kind of sophisticated methods to deal with it, which has been spray and wash. But yeah, I mean, I think it's safe to say that it's always been around. Like these moldboards have always been around. It's just that, yeah, when we create homes that are more and more airtight, right, we have homes that are like double-sealed windows and those kinds of factors, they create a unique environment in which mold can grow. So we just, yeah, as our methods change, those aspects of nature change with it, yeah. Seems like we could save some money, yeah, make it more simple. Yeah, I think so. Yeah, I think so. Can you see the mold? I mean, is it visible when you're looking at it? Can you, identify it just by looking? Typically, yeah. I mean, there's some, mold spores come in all different colors, right? So you, in some cases, it can blend in a little better than others.  The infamous black mold is hard to miss. It's very black and typically when you see that, you know. You can always do testing. That's something that we provide as a service, is mold spore testing. If you're interested in getting a lab report that characterizes specifically what kind of mold is in your living environment, it could be a short list of one of 20 different kinds of mold that are the most common culprits for indoor mold that could be, you know, harmful to someone's health. So in a lab report, you get a detailed summary of what all those are, but it's not necessary to know that. If you have mold in your house growing on anything, whether or not you're sensitized to that, whether or not that's creating an immediate health concern, it's not healthy for your home. That's the other piece, right? It's not healthy for human, for humans to be breathing or anything else. That's animals to be breathing. But it's also not healthy for this material because it's decomposing something. So if you're getting mold growth on a substance in your home and you let it go long enough, you're that thing is going to decompose. So for that reason as well, yeah, it's important to keep an eye on it. But yeah, you can see it. You can see it in the environment. It can be confused with, obviously, people can, I've been in homes and done inspections where people are like, oh, is that mold and it's not, it's dirt or scuff. So it's, you know, and it also can be confused with mildew, which is kind of, I would say, stage one. You can get grimy mildew starting on a wall, and we're not quite to the mold stage with the mildews yet, but it's usually an early indicator. So if you're paying attention to your environment, your internal environment in the house, and you're looking for those things, and you're seeing mildew growth superficially on your walls, that's usually a good indicator to start tidying up, clean up before that starts getting worse and turning into a mold issue. You know, I've been a farmer for many years, and we did hoop houses. So during the dry season, you know, if you're driving by, dust flies up in the air and lands on the top, then the rainy season, I have a funny feeling that that's something growing there. And the reason why that's a concern is whatever's there is blocking the light. I'm wondering if that's a mold, because, you know, when I go to the university and look at their hoop houses, that's the first thing I look at, look up and see what's coming through, what's blocking the light. Is that possible that it could be mold on top? Oh, yeah, yeah.  And you see it. I mean, the most obvious example that I see a lot is solar panels. Solar panels grow 10 years into it, you've got enough dust collected, got enough grime collected on the panels, you can get growth right on the panel. And that's definitely blocking your light intake. Yeah, it can grow all kinds, and it's very pervasive on the wet side of the island.  You have people in Kona and other parts of the island that are drier that have issues as well. Those are typically related to, you know, plumbing issues in the house or flooding issues, they get standing water in the house and then they get a mold issue. But a lot of the exterior mold growth that we see is just, yeah, it's just the way it is on a wet jungle. Yeah. So the next question is, what can we do? That's simple, you know, and I'm thinking what can we spray on it that's reasonable to do and effective stuff like that? So, yeah, the first thing I would say about that is if you're not comfortable dealing with mold or if you feel like you know yourself best, if you feel like you have a health related issue or you're sensitized by mold, then definitely talk to someone who can help. The DIY approach, a lot of people want to do that and that's fine, it can be done. So you can work in a good way to eliminate mold in your space without sophisticated equipment, but you do need to prepare yourself and probably talk to a professional at least before you do. Yeah, I mean, the Reader's Digest version of our process, we have three primary chemicals that we use to mitigate mold in the environment and just a quick sidebar on that, there's in my line of work, there's kind of like two primary kinds of services. I fall into the middle ground. I try to do work where we mitigate or mediate mold without demolition. Typically if you have a water issue, flooding issue in the house and you have to extract water and then treat after the fact, that's more of a water damage restoration and that's kind of a different niche, that's a different service. They're related because a lot of mold issues in homes come subsequent to a flood or subsequent to a plumbing leak or there's some kind of standing water behind the wall. So, but my services specifically are targeting non-demolition related mold remediation. So if you've got a mold issue, but it's early in the game or it's not like taken over the house or it's not a major flooding issue, but you've got maybe an air quality issue or a sense that there's mold in the environment or you're experiencing some of the typical symptoms like itchy eyes, nose, respiratory issues, headaches, brain fog, those are common symptoms of having mold in your environment. Then in terms of conditioning the interior air quality and preventing mold blooms or kind of like reducing the amount of mold in the environment, that's kind of the specialized niche within which I work. But to your question, Richard, about doing the work yourself, you can just talk to someone who can help, talk to someone who has done some professional work and mold to get some tips. On the, in a farm context, that's new for me. So I wouldn't know exactly how to answer that question. 90% of my work has been residential interior spaces. And within those spaces, we have a chemistry set that works for us, probably for outdoor applications, we'd have to go back to the drawing board or for greenhouses or different kinds of farming applications, we'd have to go back to the drawing board and explore and find out what chemistries, I mean, maybe what we're using would work there as well. I just don't know, I don't have a lot of experience in that arena. But yeah, we use three different kinds of chemistry that are effective. The first is to neutralize all mold spores, dehydrates them. And I really like the chemistry because it's working. On that level, it dehydrates everything and it leaves the internal airspace microbiologically neutral. So it's a pharmaceutical clean room technique. And when we're done treating the space, it's basically an aerosolized peroxide, it's a version of peroxide, hydrogen peroxide. We aerosolize that and it brings all of the dust and any of the microbiology in the space is neutralized and comes to the ground, basically. So it leaves the inner air quality really neutral, really fresh. And it's kind of starting at ground zero with your any kind of living microbiology in the space, you're just starting at zero. Like there's no living things in the space at that point. But then we open our windows and doors and we ventilate. And once we do, we're reintroducing all of the normal air, the ambient air, air outside of all of those spores and everything that are already in the environment are reintroduced into the space. So people are like, well, how does that work? Well, we'd like to start with the ground zero. And then we follow that up with this the second step, which is it's a microbiostatic film. And this chemistry set I really like because it's working with microbes on a mechanical level. I mean, you can use all kinds of things to kill microbes, right? And bleach, for example, bleach is probably our famous most overused chemistry for killing little bugs that we don't like, right? Just spray some bleach. Well, that also comes at a price because bleach is also toxic to us. And at concentrations, right, we can get away with it. But bleach is killing microbes chemically. And so it's like chemical warfare against microbes. What I like about the second step or the second set of chemistry we use is that it's a film. And we basically do a spray and wipe. So we just coat the surfaces of the house or the room or anything that's having a mold issue. And it makes that surface antimicrobial. And also the way that it works at the microbiological level is those little spores that are floating around in the air. When they hit the surface, they rupture. So it's a mechanical kill. So relative to a biological kill, it has more longevity. And it's being like a nature nerd and someone who's kind of sensitive to like all kinds of chemicals myself and wanting to do things more naturally. I much prefer that something that's eliminating microbes mechanically versus something that's chemical. So yeah, that was probably actually not the reader's digest version. But yeah, that's an introduction to the chemistry we're using. And then there's one which is we do use bleach in cases where the aesthetic is important, which is very important to many people because mold stains are very persistent. And once a stain gets into a fabric or into a substance, it can be very difficult to remove. And those first two chemicals we use do not remove mold stains. So in the event that like it's got to look great, we can do a third step and follow up with a bleaching, essentially, of the mold stain in certain cases. In some cases, we just can't. But yeah, that felt like a fire hydrant information, but hopefully that was... No, that's awesome. Thank you. Yeah. So what are the long-term effects of living with mold? Even whether we're doing it intentionally or unintentionally, I know we were talking about how it's detrimental both to the human and to the house in terms of decomposition. But what are the long-term effects in terms of human health? That's a great question. And it's something I don't know as much about because the people I work with are typically taking those issues to the doctor, which is where that should be. The short-term and acute effects of mold in the space are some of the things I mentioned. You're going to have allergies. People who have allergies, you're going to have those kinds of symptoms, itchy eyes, nose, any kind of respiratory issues, ongoing chronic coughs, like shallow coughs are common, things that I've heard from people, headaches. And then if you're just getting by and you're like, oh, that's more or less normal for me, more of a long-term thing is it takes a toll on your immune health because it's one more thing that your body has to constantly work to clean filter. Yeah. So if you're in an environment sleeping where you're breathing that all night long, you can just imagine how much your body has to work to try to. So it's not something that anyone needs. If you have a mold issue in your house, it really should be something that you consider, something that you're thinking about and asking questions like, how do I deal with this? How do I improve my... Yeah, for sure. Are there any deadly molds? Are people risking their lives by living in places that are heavily inundated with different types of molds? Yeah. Yeah. I mean, again, if you get into the nitty gritty of the different kinds of molds, each mold has, in the data, has more common, specific things that it will cause in the average person. But I mean, the human health system is so complex. It's really more about like, how does one affect you and your living environment? And again, when we come in, a lot of times people are interested in having an air sample taken, or a surface sample. We set it into a lab and then they'll tell you, they'll break it down parts per million and tell you what, according to the lab, is considered a risk. This is a medium or a high spore count based on the sample. But nothing trumps just what it's like for the individual in the space because there's such a wide spectrum. There's people who can live in really moldy environments and be more or less unaffected, just how it is. And then other people can get very little exposure to specific kinds of molds and be very sensitized, be very sensitive to that. So it really depends on the individual. So regardless of what comes back from a lab test, it's just confirmation for people. Sometimes that brings people peace of mind to actually get a lab report. The treatment's always the same. So if I come into a space and we're looking at a mold in the environment, we're going to treat it the same no matter what, which is just like, let's get the mold out of your space. Could be 20 kinds, maybe one kind point is you don't need to be breathing mold when you sleep. Yeah. And Stephen, what got you into mold? Like how does a person end up being a mold guy? I was being a mold guy. I keep asking about that sometimes. So actually, yeah, I went to school at UH. I studied linguistics somewhere along the way. There's that guy who talks about trade skills, right? He's always preaching trade skills to people. He's like, you know, education's cool. Get yourself a hard skill. I can't face to face with that. Just a chapter of life where it was very difficult finding employment. And on top of that, 2020 came. So around 2020 was when all of this started for me and it was one of those kind of several little things fell into place in a surprising way with a lot of support and a lot of directions and myself and three of my brothers started this company back in 2020. And initially it was to treat ICU's. So we were doing, we were doing hospital lobbies and ICU's specifically during the season of COVID when everyone was, you know, super concerned about these kinds of things. So the chemistry set we use works on mold, but it works on any kind of microbiology. So the little viruses or COVIDs or whatever is out in the air, the people who are scared up, it works the same for all of that. So that's where we started and worked in that arena until it didn't make sense for us anymore. And then we pivoted to residential service with mold remediation. So yeah, it kind of came as a backdoor surprise for me. It wasn't, I didn't have dreams of working in mold as a kid. But yeah, my brother who does the same thing in Portland, it's a cold, wet environment, right? So north facing addicts in Portland, almost universally at mold and different environment here, but similar in the sense that mold is so pervasive, just you find it everywhere. There's a huge need for it on the island. And I think there must be like a ton of people walking around the island who whatever they're dealing with with their health may have some connection to mold and have a connection or maybe they have, but don't know what to do about it. You know, from a farmer standpoint, I'm thinking is, well, first let me ask this question. Is fungus a mold, a type of mold? Is fungus a type of mold? You got me there, Richard. I want to say yes. I mean, well, I would say, I would say mold is a type of fungus. A mold is a type of fungus. And the reason I ask is because there are plants that are susceptible to various types of fungus, you know, like in bananas, for example, they grow what's called a black cigatoga, which is on the leaf. And it's a mold, it's a fungus. So I don't know if there's any way to kind of deal with that outside of the regular chemicals that people use. Um, yeah, I don't know. I would. It's a good question, Richard. I don't know. We're going to have to run some experiments. That's what I hear. Yeah. All right, Richard, you bring the bananas. Steven, you bring different types of mold remediation and fungus remediation techniques, and we'll put some controls up and we'll see what happens. Sounds like plants. All right, awesome. Well, thank you so much, Steven. I think as a recap, we now know that mold is a fungus. We know that different types of mold are extremely important in our environment and help us in our soil sciences. There are also some molds that we as humans are relatively sensitive to. And in these very wet environments that we live in, in Hawaii, in many places, we experience them residentially. There are different ways of dealing with those both chemically and nonchemically. And yeah, any other major takeaways you want us to leave with Richard or Steven? Yeah, so mold is something I'm happy to work in right now. And it's, like I said, I believe it's there's a real need here on the island for for these services and for people to learn more about it. I think there's a lot of room for growth there. Just one small seed, I think it's important for us to to be more mindful of what kinds of materials we're using in building structures. One of the headscratchers for me is that we're using typically it's just an industry it's supplied by the industry gypsum and dry the gypsum in drywall is something that mold likes it's like a mold food almost so it's it's a little bit of a catch 22 and and manufacturers are not unaware of this and they put things in the manufacturing process to help mitigate that but I do think as time passes we can do better we can go further in creating houses with materials that are more harmonious with the environment where we build them. Without a doubt and maybe that's a good topic for another day because I know you're have really involved in some very exciting work on that side of things. So if people wanted to get a hold of you, is it okay if we share your email or your contact information so if anybody has any mold related questions they can reach out. That would be great. Yeah, happy to help over again. All right awesome. Well thank you so much Stephen. Thank you so much Richard. With that then I think we'll wrap up. This is Inventing Our Future on Think Tech Hawaii and thank you again Stephen for joining us today and thank you to you our viewers for watching. If you want to get on our email advisories to see a complete listing of all of our shows you can sign up for them on thinktechlight.com and we'll be back in two weeks so please tune in to deep dive into our Kay invention. Until then I'm Brittany Zimmer. I'm Richard Hall. All Hall.


So Moons, you must have been pretty satisfied with that. You had to wait for your moments and pick them at the right time. Yeah, I look really, really happy with the result. Football was a funny game because I thought the performance wasn't as good as the last three games, but the result was there. And I think, you know, we worked a lot on the things we needed to in the short space of time and, you know, I think you saw a difference in attitude, personnel, but really pleased for the players who put in a really good effort tonight. Our game plans changed a little bit. I played with two 10s or two 8s against the victory side because of the way they defend. But like I said, it was very tight, even at halftime. We knew it was going to be a really tight game. It was just moments here and there that could decide it. And, you know, we needed to get the first one as well. And that's what we got. And then, you know, the subs came on and did well. And Bernie made a good forward run and finished the game not for us, basically, but another clean sheet, which I always like. You just touched on clinchings there. What was the thinking with the change of keeping? Well, yeah, for me, there's always different reasons. It's either tactical or it's your form and things like that.  And for me, Daniel Margoosh has been training really well. And I wasn't able to happy with the last game, the way we consider goals. And at the end of the day, you know, it is my decision. And it's always a big one when you're changing goalkeepers. But it's always about the performance. And I thought Daniel was really good. He wasn't really tested tonight.  Do you think you'll stick with him going through the next couple of weeks, at least? Look, he's earned his place for the next game, you know? And that's how it is. You know, these games are coming thick and fast. And, like I said, he's deserved his chance today. And he deserves to be there again. You spoke a couple of those who are pretty down. Like, you obviously got started with the win and then two losses. What does 2-0 against a team who've leading the league in the start of the season? What does that do for you? Yeah, this is probably our biggest result.  Against teams that were winning 1-2 in the table, right? So you could understand that as well. But against this, another quality outfit, you know, a lot of people have made them favourites for a reason. And they won, you know, the first trophy on offer only a couple of weeks ago.  So there's a lot riding on tonight's result.  Even when they went 2-0 up, you can see the boys really hungry. They were chasing back, you know, players who you probably don't think have got that in them or are more known for their technical ability, like James Trevisse and Dimitri Petratos and these sort of guys. They put an absolute shift off the ball as well. They really worked hard. And so, to the subs that came out, everyone did. Yeah, it was the top three, the Alex Tobin medal, Russell and Gordon. They're three blokes who just weren't getting a look in this season under the previous coach.  You've obviously played well. So are you a little bit, I guess, surprised at how the squad has been used for the previous part of the season because you've obviously got some, you know, difference to the opinion to the previous coach in terms of players? Yeah, it's always subjective, that kind of thing. And, you know, what you see, Vince and what I see across have been different. So it's got nothing to do with what the last manager saw and did.  But we all see things differently and those decisions were based on different reasons. But what pleased me wasn't just those players. You know, you have to be ready as well. And, you know, there were so many different things that I had to assess kind of when I came in. And one of it is their fitness levels and how they are mentally, technically and tactically. And that still takes time. But, yeah, all three of those that you mentioned, again, even the three-two ones are subjective too, Vince, as you know, right? But, yeah, they're all very good. But I had 11 players out there that could have shared those points if that's important. But it's not for me and it's not for them either because it's always about the collective. But those guys, I mean, I was really, you know, I don't like pinpointing or isolating anyone, but I thought Kanka, you know, I thought he was so composed for his debut, for a young guy. And he's someone that caught my eye and has a lot of attributes that I like in that position. And, you know, I think he deserves a bit of a mention and he's so low-key. And I can actually talk about him because I know that it wouldn't bother him. And that's just got the kind of guy he is. And he's got an interesting story behind him too and, you know, like they all have. But he's, you know, he's made us some stern stuff and he done well. But he needs to keep his feet in the ground like he will and just keep going. Yeah, and just finally, for me, I mean, a little bit bigger picture, but, you know, it wasn't very long ago that this fixture of Wanderers vs. Victory was enormous. You'd have 15, 20,000 people, no problems. Now, obviously, the surface dance is around tonight. It's a Wednesday night. There's a reason for that with COVID and all that. Yeah. We've dropped off a long way. What do you think has to happen? Like, wins alone to the Wanderers, obviously I'm going to do it. Just based on the sentiment for the supporters at the moment. What's your mind about that? How do you get the glory day back? Yeah, look, I'm a bigger picture person too, you know, and I'm no different to you. And I see not just tonight's fixture, but maybe the whole league have got to talk about and communicate about how we can get fans back in and how we can build this game, you know, in all aspects of it. It's a game that keeps us employed. It's a game that we all love, whether you're involved in the football club or you're a fan. And, you know, there's a lot of things there. I mean, even when I wasn't working, I didn't know too much about the games. You know, a lot of good mates of mine were the same. But like I said, it's something that I hear all the time. It's not really my department, Vince, in terms of how we get all those messages out. But certainly from my point of view and my football club, you know, and I've said this before, this is an area and the fans just want a team, first and foremost, that are going to represent them. And then, you know, and once you have that solid base, you know, the wins and then the results start to come. And then hopefully, hopefully things progress. But, you know, everyone says for a strong league, you need a strong victory and a wanderers. But I get that sentiment, but I think you need everybody to lift and everybody to, you know, you've got two teams who are playing outside of their cities and states, which must be difficult for them. But, you know, I think there's a holistic approach here that needs questioning and I think it's important that if we all reflect on our own positions, I think everybody needs to do the same across the board. And I think that's going to be important going forward as well. I mean, we know how limited we are, but in terms of coverage, let's say, I mean, you know, you used to sit down and share, you know, a seat at a venue with others from different companies and different organisations. And that's been shut off somewhat as well. So we can only just keep chipping away and make sure that we can put on a good product and the fans, you know, start turning up. But like I said, I'm not the guy that can make those decisions. Thanks very much. Thanks very much. It's just one for me. You've obviously had four games in charge now all at home. Have you seen enough positives from these games as you have another short turnaround and some more games on the road now? Yeah, I have, and I said that in the first three games, you know, particularly when you look at the statistics and people can look at a scoreboard and maybe be lazy and say, oh, you lost because of this reason or whatever. I've, again, been a picture for me in terms of the players. We've asked from the players and what we've been working the training around. I've been seeing it. And like I said, if it wasn't for a couple of little mistakes here and there from set pieces, as you mentioned, and we've worked extremely hard on that area as well, I think we're in a good position. But it's been a pretty tough ride because you look at the last three opponents who are all there, they're abouts and are challenging. It makes it even more difficult, irrespective of where you play, Carly. So I think tonight was more about, you know, believing in ourselves and getting that win for the fans and for the football club because everyone will tell you that that just brings a whole different dimension to everybody that works at the club who works really hard at the club as well. And I think that was most important was the result. I think, like I said, the performance, I didn't think was as good as the last three games. And I'll have to look at the statistics on that as well. But what was important was the win. And a lot of people, and you can manage a lot of other issues with a win. But that's not how I look at the game.  And that's not always easy, like I said.


something a little different. I'm going to actually make some smoked sausage but I'm going to bake and wrap it and put it in little bite-sized chunks and we're going to take that to a potluck tonight for church. This is the smoked sausage I made in one of my other videos. You can look that up and homemade smoked sausage and what I'm going to do is because I don't want to overcook this sausage when I throw it on the grill with the bacon is I'm going to actually sous vide the bacon and cook it down a little bit before we wrap this, wrap the sausage in it. I'm going to throw it in the GMC 680 sous vide pot at 155 for about an hour and all that's going to do is cook it, park cook it a little bit just so that it renders some of the fat so that we don't have to keep it on as long on the smoker so that the smoked sausage doesn't dry out and lose all its fat and juice in that. So I'm going to go ahead and take the bacon out of the store packaging just because I don't want the paper in there to affect the bacon with the heat from the sous vide. I don't want that to deteriorate and kind of mess up the bacon so I'm going to go ahead and remove both of these packs and put them in the gallon-sized ziploc bag and sous vide them for about an hour. So that's what we're going to do to get started. See you guys back. Coat it in the run and wild pork candy the maple bourbon maple sugar bourbon flavor so that's what we're going to rub this down with and then we're going to throw it on the smoker. So it's a pretty easy recipe you can use this with any kind of sausage you can any kind of store-bought smoked sausage, kielbasa anything like that you can any kind of sausage just wrap it in bacon throw it on the smoker put a nice rub on it and then we're going to throw it in the Gourmia multi cooker and use it as a crock pot to keep it all warm. Of course we're going to use toothpicks to hold the bacon on so it doesn't fall off and then might even just put a little bit you can always put a little bit of barbecue sauce on them kind of toss it up in there so that's what we're going to do so I'm just going to prep these sausages like I said about maybe a little shy of two inches just kind of make it even. I'm kind of trying to make them as even bite-sized. Pulled out of the sous vide and it kind of looks a little sad but you can see some of that fats rendered down so what I'm going to do is going to take some of it out I'm just going to wrap one or two of these to show you and you can see it's not cooked too much just part cooked it and like I said we're just doing that so that we can you don't have to wait as long on the smoker for it to crisp up so the sausage doesn't dry out so what I'm going to do I'm pretty much just going to cut it in half and then wrap them around a piece of sausage so I'll just kind of show you this one here just kind of cut it right in half kind of fold it over so that it's there I'm going to take our toothpick and just kind of push it all the way through so hold that in place and we're going to throw them on this rack and then when we're all done wrapping them up we're going to throw some of this run and wild pork candy maple bourbon on there so I'm going to go ahead and get these rest of these wrapped up at all I got these all wrapped and I ran out of bacon so I couldn't wrap all of them so I've got a good number of them though wrapped in bacon so what I'm going to do I'm going to go ahead and put some rub on these bacon wrapped ones and I'm going to toss some rub on these two and just toss them in the on the grill and we'll throw them in the cooker with them so some people get jipped without getting any bacon but oh well they'll still like the sausage so I'm going to go ahead and get the rub on here like I said it's a run and wild maple bourbon pork candy and our grill is up to temp and the smoke is rolling pretty good so I'm going to go ahead and flip these over and do the other side so we get a good even coating of the rub on both sides and then I'll see you again when I throw these on the grill the Kamado Joe Big Joe's sitting right at 375 maybe 365 close enough so I want to get these on like I said we're not going to be really cooking these a lot so what we're all we're doing is crisping up that bacon so I will leave those in I'll check them out about a half hour and see how they're about 35 40 minutes and I hear the bacon sizzling in there you can hear that fat sizzling and we're gonna go ahead and take these off because it's not time for us to get ready to go to church I want to take this scender rack off so you guys can see what it looks like close up there so they crisp up pretty good and I'm gonna take them off real quick and then we're gonna throw them in the multi-cooker to just stay warm I'm gonna toss some sauce in it and then pick them to the pot look at that guys they are really crispy and the sausage is not dried out so what I'm gonna do with these now like I said is throw them in the multi-cooker and I'm going to toss them in a little bit of sweet baby raised sauce matter of fact I'll just get a little bit of that on my fork and let me grab one of the small ones here let's put a little sauce on it take a bite so you guys can see that bacon-y and smoky mm-hmm still hot too yep the sausage didn't get dried out so part cooking that bacon really helped out now it's nice and it's nice and crispy that rub makes it nice and sweet and I'm gonna have the rest of that as soon as I get off camera but you should try this out guys I know a lot of people do bacon wrap meatballs and stuff like that but smoked sausage works just as well and this part cooking the bacon will work on several different things if you ever do bacon wrap shrimp it'll make it so you don't have to overcook the shrimp you cook that bacon you know get that bacon cooked a little bit before you wrap the shrimp in it and throw it on the grill it'll actually make it so your shrimp is not really overcooked so try it out like and subscribe follow us on Facebook and Instagram and I'll see you again on the next video see you guys next


Scott was able to spot me and called a dope a champion and put me on second round Onto a mile plus 20. Yeah 1780 1780 yards with a 6.5 creed more shot out of a Ruger precision rifle Jackson Hole shooting experience looking through vortex. He instructed us Self-instruct I Was so crushed I felt so sorry for the steel. I wanted to embrace it and hug it You know you're gonna have to buy a new piece of steel because this one's gonna be mounted over his bed 1780 right yes 1780 yards of the world that's 1.6 kilometers Long range we do extended right 20 yards further 300 win mag nice job Finish shooting right now. He's hit a mile a time or two spotting for him is Mike He's been hitting the mile a ton up here spotting a Scott He hit the one mile target five times in a row with his 6.5 creed more Standing kind of behind the spotting scope over there in the black is Don and he took a shot with his 22 creed more And he hit it the first time at one mile and then he's talking to Audi who got her first hits today at one mile And when I say one mile, of course, I actually mean 1780 yards and over here we have David who got his first one mile hit today Got his rifle. It's his first day shooting at first day shooting with his scope and he got a one mile hit So we've been having a good time here today nomad rifleman in Wyoming