Again, if you have a lightning talk, please stay there. We are left already. All the people that I was trying to sign last night after the social event, to be first in the list, I drove that to a garbage. And I put a new one this morning at eight. You ready? Yes. Nice. OK.  Today I'm Volodymyr Piskun. And I'm going to talk about professional vulnerability of software engineers. Yeah, good. Controls work. So I want to start with a question. What is the ability every developer has? To answer it, let's take a look into what is developer learning loop. When you implement something, you begin with learning new things. Then you implement and receive knowledge to the code base. And then you're very likely to have some obstacles. It is not pretty generoto. It depends on your experience and the complexity of the issue. But we all know it. And you repeat it over and over until we die. No, until we solve it. And there is something which is always there when we are struggling with the problems. And it is frustration. Well, so in a problem, we really frustrate a lot. And while you are growing as a developer, you develop your skills of dealing with frustration. And while we grow, this frustration, which is big and takes our view, becomes something like this. It's not anything in background. When you just so focused that you don't really notice that you're frustrated. And with this, you're really getting better at ignoring your own emotions, which is leading to different problems as procrastination, or anxiety, or even sleeping issues. That could be something else. And one small thing I want to share with you during this lightning talk is that you should never forget to listen to yourself. And for this, you could use different techniques, like journaling, or you can just stop for a second and ask yourself, how do you feel from one to five? And how do you feel now, guys? Thank you. Enjoy the weekend. It was pleasure. Yes. OK. Second one, Marika, Masha, and Lisa from Ukraine. And I'm going to share some. Hello, everyone. We are a small team of junior Python developers from Ukraine. And we are very glad to be here. We have just started our career in software development. My name is Lisa. This is Masha and Marika. To start with, we want to thank all countries that support Ukraine, especially Ireland that opened the country for 40,000 Ukrainian refugees, continue to help Ukraine in humanitarian aspects using every opportunity. This is incredible. And we are really grateful for that. Thank you. How can I? Sorry.  On this slide, on the left side, you can see my neighbor's house that I see every day from window in European city. On the right side, you can see something. I don't know how it's naming. That was founded in the yard of my parents' house near Hostelmal. And unfortunately, every Ukrainian now have similar story about his parents, his friends, or his own story. For today, there's no single Ukrainian that was not affected by the war. It's pretty. We want to ask you to help Ukraine. Here you can see volunteer organizations that we support and we ask you to help. The first organization is based on the short item. We are engaged in evacuation of people from dangerous places and humanitarian aid delivery to hospitals, towns, and cities that are in rink or have just been liberated by armed forces of Ukraine that helps with most urgent needs, such as reconstruction of houses of people who suffered. The second is shelter for animals that takes abundant or endured animals from the arrears affected by the warfare. Financially, there is no small help. Any sum is appreciated. And what else you can do for us? Please don't fear to hire Ukrainians, especially young developers, like us. We are really happy to have a job. Most of us started our career at the beginning of the war. But many people in Ukraine are not as lucky. It's too hard to find a job in Ukraine at the moment. So please donate, help Ukrainians and help junior developers, especially women. We are really needed. Thank you. We are open for any questions. So you can find us somewhere here in the hall after talks. Thank you. Thank you. Thank you very much. OK, Sebastian is the next one. What's the name of your talk?  I'm not going to repeat it. The red one. The red one? I don't have a little dongle word. Yeah, but put it here. Oh, OK. Give me one second. Yeah, the projector is not happy with the name of your talk. I felt this one was better. OK, we're easy with you, bro. Yes, go. All right, hello, guys.  I'm going to teach you how to fix production code in five minutes. So first, let's start a little bit with who I am. I'm a Franco-Mexican Python developer. I mean, I develop in Python. I don't develop Python. I'm luckily, I'm a numberly data engineer. I'm a Pew Pew lover, obviously. And I've been attending your Python since 2019. So a little disclaimer here. If you use this at your job, you might not have a job for a very long time. OK. All right, this is what it is.  You don't test it, because why would you ever do that? And there are some errors that come up, and the code doesn't work. Today, I'm going to teach you how to fix all that.     Isn't that great? This is good. This is good. Oh, wow. OK. So this package, obviously, is not developed by me. It's developed by AJ Alt. So you should clap for him, not for me. Please go ahead. And as was written in the official GitHub, but you can't see because it didn't load, this module is like violence. If it doesn't work, you're just not applying enough of it.  Let's see some examples.   So yeah.  So before I knew what this talk was going to be about, I asked my CTO if he would approve the talk. He said, OK, please don't fire me. Thank you, guys. So the PyCon Portugal, so come here. Oh, you have slides. OK, no, wait. Next. Sorry. If anyone wants to announce a conference, there is one minute thing that we can do in the middle. We just like to make your life harder. Yes, after this. Ready? Oh, OK. OK. Five minutes. OK. Hi, I'm Takahashi. Today, my talk title is Spread the Community of the COVID-19 in Japan. Before main topic, did you enjoy EuroPython? Yeah, I know. I really enjoyed EuroPython with good people and nice beer, and nice beer, and nice beer. I'm Takanori Suzuki. Please call me Takanori, because Suzuki is a famous family name in Japan. I'm from Tokyo, Japan. Tokyo is far from Europe. I have a question. Do you know Japan? Wide-hand, almost. Have you been in Japan? Oh, 30%? Do you know Pycon Japan? Oh, 10% to 20%. How do you attend Pycon Japan? One, two, three. Thank you. I'm Vice Chairperson of Pycon JP Association. We launched the Pycon JP in 2011. At that time, the Python community in Japan was so small. The first Pycon JP had about 150 participants. Now, Pycon JP has grown to 1,000 participants over. Yes. In this year, Pycon JP will be held as an in-person event. Please come to Japan. Have a beer with me. Apart from Pycon JP event, we also worked to spread Python in Japan. One is Python Boot Camp due to events for beginners all over Japan. We have had 44 camps with about 800 participants. By the way, I introduced it at the EuroPython poster session in 2019. Does anyone remember me? Oh, thanks. Yeah. Another one is PyLady Scalaman. The event connects local women's communities across Japan. However, as you all know, COVID-19 has changed the world. We are no longer able to organize in-person events. But we must not stop our activities spread to Python. We have started two new activities. The first is the Pycon JP TV. We stream YouTube live every month. We talk about Python news, conference overview, and Python news features, and something. It's selfie time. I will present EuroPython at the next Pycon JP TV. I'd like to take pictures with you and share it on YouTube live on Twitter. Are you OK? Whisky. Whisky. Nice. OK. Thank you. I will share. I will be shared. OK. Are they? Sorry, sorry, sorry. Another one is Python Charity Talks. We wondered if there was a way to combine our spreading Python in Japan and with donating to the PSF. It is the Python Charity Talks event. It is a half-day online event with all participation and the sponsorship fees donated to the PSF. We had three events and donated $25,000 over. So huge. Yes. Thank you. In recognition of these activities, board members of Pycon JP Association, including me, won the PSF Community Service Award. Oh, yeah. It was a great pleasure for us. Please check this. Finally, I'm sorry, but I have to say goodbye because I'm now heading to Denmark because of the Lego house and the Lego round waiting for me. Super excited. Thank you. See you again at the Pycon JP annual. Thank you. Duke? No, no, you connect your laptop. Yeah, yeah. She's going to announce that we are trying to stream things. Yeah, perfect cooperation. Thank you. Do you want to borrow a laptop? Someone just said that I can do a one-minute licensing talk, so I'm just going to announce a conference that is called Pyjamas Con.  I have loads of lies. So if you Google it, you will still see our website from last year. That is actually, you know, we haven't worked on it yet for this year because people who are involved in Pyjamas Con, most of them are still working for EuroPython, so we have no time to do anything. But I will start working on it probably next month, hopefully. So please search for us again next month and maybe CFP will be open. The only thing I'm sure is that that conference is going to be online. So you don't have to wake up super tired and go to the conference venue because there's no venue. And also you don't have to worry about no space to take a nap because you can take a nap in your bed. So that's it. Thank you, Chik. That was exactly one minute. We don't know drinking Guinness. We are like senior Guinness drinkers by now. Yeah. It's kind of, I'm not professional. Don't worry. I know my stuff. Okay. Hello. I'm Melan Lesnek. I'm from Kibikom. I'm a software over engineer and I want to start with the beginning, the video story. I have to come here like a first from the Kibikom and I have to wait for them for six hours. So like every normal person I waited in the pub and right down I came there or the Guinness and start checking it. We are from Czech Republic, so Czech style. Top down. And the bartender just stopped me. It was the hell on, in the pub it was extreme. He just went for me like, I, I'm mental. What are you doing? Did your mama drop you on the head? And then he told me something like when he come down that you shouldn't drink a Guinness immediately. And the problem is that the Guinness is a nitrogen-enhanced beer which is delivered in the glass which is property with the drug. As you can see, the bubbles are dragged by the glass and the current is in the middle of the glass. So the problematic part is that the glass contains much more air and the beer is not tasteful from the beginning. So we concluded a lot of research in the morning. It's going to get better, I promise. Also my pride in the pub, the guy is ugly on me and I'm from Czech Republic and our consumption is 135 liters per person in the year including infants and elderly.  So research. Every day we are here, we are researching the best what we can do about Guinness drinking, what is the best average time of having to start to drink, how to look the best foam and everything. Also, we created this beautiful graph about bartender cling intent and Guinness taste. On the average, it's enough to just wait 10 seconds and the Guinness is completely fine. Sometimes it happens that we have to wait 20 seconds but it's the worst pub and you can find out by the price of the Guinness that the Guinness is like nine euros. So yeah, bartender does not take care anymore in like nine seconds because he has much more work than just take care of for you. The solution. We wanted to trade machine learning application like every other to check out the foam, thickness, color, the average priced quality of this Guinness, how much you have to wait and everything like that. So for this purpose, we already prepared a roadmap about the research preparation which happened on the Tuesday because I was here alone, so it wasn't proper research. When my colleagues came and they are awesome, everyone helped, every one of them helped a lot. Evening research, it was awesome. Another evening research. Another evening research will happen today. It is planned on the roadmap and we are searching for the investors today on this presentation. On the Saturday, we are going to research more Sunday also, Monday also and on Tuesday, we have to return back and unfortunately in the Czech Republic, we don't have a good Guinness. So cal for investors. Current total Guinness cost was 488 euros and we are going to need approximately 1000 euros and burst of aspirants. I think 1000 is enough if we wanted to have six beers, everyone, I think. Yeah, yeah, 1000 euros, it's fine. And for the investment, you are going to get whole company, whole research, everything, I promise. So contact me on my business opportunity, social medias. You can choose any one of them, I use all of them, except they become email. And let's see. That's it, thank you very much. Thank you. Sounds like a really interesting company to invest in. Yeah, I'm sorry, it was a little bit product placement, I know it's not, it's prohibited. Yeah, it's okay, it's okay. You can, it's legal in Dublin. Thank you. Yeah, this one, yes. Yeah, perfect. Cool, yeah, yeah, go. Hi everyone, I'm Omar and I'm going to talk about ML. So who here likes ML? Yeah, a couple of people. So probably in the last couple of weeks, you've seen something like this. This is called Dalimini. It's an online tool that you can write anything such as Lamas visiting Dublin and you will create images. So these are fully generated. And now you might be wondering like, where are you going to talk about machine learning? And the answer is no, I'm not going to talk about machine learning, it's Friday, I'm going to talk about memes and Lamas. And maybe a bit of machine learning as well, just to make this static. So this is a Pikachu that looks like a bug. These are Lamas participating in a hackathon in Dublin. This is Iron Man, but it's a llama. And now you might be saying this is probably magic. What if I told you this is not magic? So right now I'm going to tell you a new kind of model architecture called diffusion models in an elevator pitch. And at the right you can see some Lamas having a rave in an elevator as well. So you say Voldemort and a llama taking a selfie. There is Voldemort, there is the llama and the selfie. So what's going on? So you have the picture, right? And pretty much these diffusion models, what they do is they get noise. You have to turn the picture until you have just a bunch of noise. And then they will try to recreate the original image from the noise. A lot of text. So you say something, Voldemort and a llama taking a selfie. And then you can use a model called Clip, like Clippy, to create something called the image encoding. And it sounds really fancy, but it's just a bunch of numbers, so an array of numbers that has a semantic representation or a representation of the text. And then using diffusion models you will convert that to the last image at the right. So that's pretty much what diffusion models do. And that's how you can create a sketch of a conspiracy theory that Lamas built the pyramids in Egypt. Darth Vader moving the lawn. Among us by the sauce is a llama. Lamas in the matrix. And Lamas and Minos attending a Python conference. So thanks everyone. This demo is open source. Anyone can go on the web and try it out. And we're having a hackathon for the next week. And you can join. Yeah, thanks everyone. Thank you very much. So Christian is next. While Christian is connecting the laptop, Pycon UK is going to do a short announcement. You can use this one. So, what with me? Here.  After two years, we're returning to Cardiff in Wales from Friday the 16th till Sunday the 18th of September. Ticket sales are open. Hope to see you there. Thank you very much. Thank you. So happy to see all the conference. There is a few lining talks that we don't have the speakers. So if you're not here, we are skipping you. And yes, looks like you have a mirror. Come on. Yeah. Perfect. Cool. Yeah, it is funny how some Python conferences try to kind of crystallize around a certain topic. And this year, I think it was very much, there was a lot talk about statically checking your code for metting your code and also about type checking. And John Carmich said who doesn't know who John Carmich is? Show of hands. Who doesn't know what quake and doom is? Okay. John Carmich and John Romero actually are the guys behind quake and doom. Well, that's for context. The most important thing I have done is a program in recent years is to aggressively pursue static code analysis. Even more valuable than the hundreds of serious bugs I have prevented with it is a change in mindset about the way I view software reliability and code quality. And I think coming from John Carmich, well, he talks about C and C++ code there. But I think the shame is applicable to Python. And John Carmich said it's good enough for me. Anyway, I held a talk around this also and I just wanted to say my slides up on the this URL and I linked I have a whole link list to that. To refer to the tools I only could I could not really address it in my talk. While I'm standing here, I want to say a big, great thank you of the organizers of this PyCon. We came to talk about what you like like our angels in yellow. So thanks a lot, guys. You were brilliant. And I like to do another shout out and that is to all of you guys to the Python community. You are so warm and welcoming and you made it so so sad that we have to say goodbye. Oh, that is the wrong meme. We'll be back in autumn to PyCon Ireland in Dublin. Thanks a lot. Thank you. Okay, so we have an announcement here. Good afternoon, everyone. My name is Par Minda. I just want to reiterate the last speaker's comments about EuroPython and how it's been so warm and welcoming. This is my first conference. Just a quick announcement. There will be a social event happening tonight about Hopper 7 and there's a small group going out for drinks and dinner, so if you'd like to join us please meet us outside the convention center around 7.30. All right, thank you. Hope to see you there. Thank you. Are you ready? After trying for two days you have a lightning talk. Finally. Okay. Thank you. My name is Konstantin.  And I'm going to talk about interviews, tech interviews to be specific. And this is another talk of like five hours which is five minutes so fast in the old girls. Sorry. And originally the talk was for interviewers, but I mean if you're a candidate it's kind of hard to listen to advisors to interviewers so I decided to cover kind of both. But first and first kind of disclaimer. So I'm quite opinionated and I'm doing a lot of interviews in Kiwi and Kiwi is large. We have 200 Pythonistas or so and if you're going to apply it's likely that I'm going to be one of your tech interviewers, but other people have their opinions and I try to convince them but they try to convince me and this is one of the reasons why I'm doing this now so you can approach me and convince me back. But anyway I'm doing this talk to convince you too and I think it's going to work. So what's the problem with interviews? Basically you have only a few minutes, a few hours maybe a few days to figure out whatever the person is okay and you can work with them and you're going to happy working with them. But how can you do that? It's pretty unrealistic I would say. So what are shortcuts that people are taking? So sometimes they just assume that if you follow for all of the newest Python change log changes then you're going to know things. But I doubt it. There are people who just follow the same Twitter accounts and memes and it just doesn't work in the end. It doesn't show that they actually know something or can do the work. And the other thing is when sometimes people have a lot of questions that are impenetrable, like you can't pass these interviews and this is somehow a goal of the interview and it doesn't work as well. Of course if a candidate is smart they will laugh at you and if they're really smart they will find the question that you don't know about and they will be like, okay so I know what you're doing. So what we are thinking about usually on the interviews and technically it's universal advice that you can do with anyone who are anxious or in a nervous situation make sure they understand what's going on. Be transparent about who you are, what's the structure of what's going to happen and be clear about everything and be transparent with issues that they might have during the work and etc. So our structure of the technical interviews is like this. So first there is a kind of soft part where there is some conversation which is going on and we want to just figure out what are the interests what the person is having in their mind at the moment and during the technical interview we have kind of a quiz then we ask to share an opinion and finally we do some difficult task. So the quiz is just a five minutes to just clearly verify that person actually talks truth because I mean if you ask questions on the interviews sometimes a person can do this like Google the answer with their phone under the camera. And with the quiz you can't usually do that it's just fast but it's kind of a ping-pong question should be really simple to answer but not too hard like don't go too deep it should be fun then the opinions part well it's about to figure out if the person can learn so like people have different opinions, some people have opinions that not much yours. What we want to learn from this is how people came to this what they have learned to get with this opinion but in general unfortunately or happily interviewer have to know a lot of things so I kind of feel like this in this regard so I can't really help you here you need to know things to actually test whatever candidate knows technically what they should know but there are a few tips we can give so first if it's a challenge we for junior you better know the task really well and be able to help the junior really well so everything goes smooth then with a senior well it's better if you don't know the task and in this case we kind of work together and this feels like the majority thank you okay so the next one while you connect your computer Picon APAC it's going to do a short announcement Hello folks my name is Iqbal I've been sent over by our compatriots from in Taiwan to send you a very special and a very important message I hope I'm my mission is to invite you to Picon APAC which is going to be done online on September 3 and 4 there are two important things that we're trying to do within Picon APAC number one is a young, inspired session where school children from middle school to high school will present their projects and number two is Spring Talks on this new platform called Gather Town so I hope you can look online for Picon APAC September 3 September 4 waiting to see you folks join us there thank you thank you very much and the name of this line is Trump's Twitter yes, hey everyone I'm Peter from a small start up in Hungary called Vizu and I thought to share a story with you about a former president of the United States who I assume is the leader in this round specifically about his tweeting habits so he started tweeting in May 2009 and actually in the first couple of years he wasn't such a big user of the platform so basically his top month is like 36 tweets whereas in the years afterwards he got hooked on quite well and then he got to be a nominee for becoming the president as you can see the closer the election day comes the more they took away his phone it seems so it has a downward trend and then he won that election and became the president and there are these you know bubbles of growing number of tweets over there so these are almost all the tweets I have to admit these are only for May 2020 and you know so six months is missing before and it's out of the platform and yeah so we're going to have a glitch now and it's going to come back in a second it's going to be okay just one second not so much but yeah here we are right and let's get back okay so the interesting thing is like these were the number of tweets and this is the number of times these tweets were shared so you can say no one really cared about the guy before he became a serious nominee and then when he became president we call this graphic the Trump Twitter trumpet wow thanks okay so the number of tweets for now there are obviously three types of tweets original tweets retweets and replies and if you check the trends there are some interesting things here so in the bottom you can see the replies that's a function he kind of forget of after he became president whereas there is a huge number of retweets towards the end of this period so basically this huge growth in the number of tweets comes mainly from just retweeting things and obviously he wasn't the only one using the account so he put in the minimal effort let's just say there it's even more apparent if you see the share of the tweets a long time and then another aspect you can take a look at is like what tool he used to send these tweets first in the first period he was overwhelmingly using the web interface and then he switched to his favorite android phone and then when he became president he was banned from it because of security reasons he chose he had to use the iPhone exclusively as you can see if we take a look at the number of tweets in total sent from these platforms you can see the iPhone is ahead by far just another aspect you can take a look at at this dataset is the time of day Trump sent these tweets so it's like a 24 hour clock here AM is on the right PM is on the left as you can see there are these famous tweet trends in the early morning hours like 78 between 215 and 230 in the morning and if we filter the results based on the periods that we see in the beginning so when Trump was still a businessman he was using the web platform throughout the day and there were these tweet trends from his android phone like typing in the middle of the night when he got angry when he saw something on Fox News or God forbid CNN and when he became president these early morning and night sessions became less apparent and actually if you check the peak so when he was a businessman let me just go back the peak is around the afternoon so around here 4 in the morning whereas when he became president the peak went to the early morning hours so around 9 AM so that was the story that I wanted to share but there's a catch here because actually all I used here is Jupiter notebook to do all this this is like 400 lines of python code within a notebook I put this story together during the conference and you can do that too by visiting ipyvisu.com there are two open source packages ipyvisu and ipyvisu story with which you can build animated data stories yourself thank you very much for your attention thank you can I take a quick picture with the audience? I will disconnect your laptop so last lightning talk of today are our friends for the porto Pycom Portugal yeah you're welcome sorry so this is the last one please don't leave a stay, we have the closing session after this so we didn't use the one minute opportunity because we wanted to share with you what all of you will be missing if you don't come to porto this September we will be hosting jungle con Europe and the very first python Portugal we hope to share with all of you our beers I don't know if they are better or not but they are good enough and they are cheaper Portugal is a country that is not that expensive so even if you have already come to Europe python you probably still have budget for you and to leave you with something you can all apply for free tickets in this QR code hope to see you in Portugal thank you, I lost promising okay that was the last one in a few minutes we are going to do the closing session and then we can all go and cry in the ferryman see you in a minute


There's history here! And here. There's history there! History is everywhere! So, what we're going to talk about today a little bit is entertainment in Southern Oregon, and then focus specifically on the Holly Theater, a little bit about theater architecture, and why the Holly looks the way it does. Entertainment, obviously in the 19th century, was not what it is today. People entertained themselves. After the trains arrived in Southern Oregon, in particular, larger venues were built, and traveling musicians and acts and vaudeville and comedians and speakers came. And most of our communities, including Ashland, had an opera house. They would occasionally actually put on opera, but mostly you just called the theater the opera house. Our opera house in Ashland was the Ganyard, which is the building in the middle there is where the Wells Fargo Bank is, and it's on the corner. We later got, after the turn of the century, the Vining Theater, which I think of as sitting where the Western Bank was. I can't remember what bank it is today, but it's Caddy Corner from the Ashland Springs Hotel. The interior of the Vining was designed in a different way, still for opera. I thought it was fascinating when I was researching this that for the first show at the Vining Theater, the tickets were $4 apiece, which was a ton of money in 1914. They had a high-class show at the Vining in 1914 when it was built or opened. The Ganyard burnt in 1912. The first floor of it was saved and is still standing. I think it's a used clothing store now. If you've ever wondered why that used clothing store has such an elaborate entryway with the sandstone corner, it's because it was a four-story opera house. Medford had an opera house as well. It went by a lot of different names and no longer stands. In that era, local musicians, including the Medford Coronet Band, would frequently perform at the local opera house. I don't know that we would consider it sort of an amateur hour. I think that there were quite quality entertainment. There were actually traveling shows of actors and performers that moved to Medford because it was conveniently located on the rail line and would occasionally put on shows. There was quite a history of local entertainment when KMED, the radio station that opened at the top of the Sparta building in Medford, first went on the air in the 20s. Most of their musicians were locals. There was a music school, many music schools in fact, on the top of that building and the quality students would leave class and go over to the studios and provide background music for whatever show was going on. I've interviewed some of them over the years. The first real movie theater that was built for that purpose in Southern Oregon was the Bijou, which opened in Medford. If you know Medford, the building closest to me in this photo is the long-time home of Joseph Wynand's furniture, the weeks in which we're building. Most of these buildings were converted storefronts. There was an existing building. Somebody decided to show a movie in it. It wouldn't have a rake. It wouldn't even usually have permanent seating. It was just a long, narrow gallery that they could put a screen at the end and show movies. The ISIS was a pretty typical example of that. They began to decide that they needed more of a sidewalk presence. The beginnings of the show starting on the sidewalk, if you will, to identify it as a theater and entice people to come in. The first building specifically built to show movies in Southern Oregon as opposed to being a converted storefront was the Page Theater. Dr. Page was a local investor and a well-to-do sort of guy, community-minded guy. This building, if you know Medford, sat where there is now a sunken parking lot just on the main street side of Bear Creek. If you look closely at the extreme left of that photo underneath the page sign, you can see the Bear Creek Bridge going over Bear Creek on Main Street. The page burnt in 1923 and was not rebuilt in its original form. Medford, of course, in 1923 was by far one of the biggest cities in Southern Oregon. Robert Rule, who had opinions about things, said we need a theater and editorialized that we did. He had great faith in the people of Southern Oregon. In the year later, Robert Rule got his wish and the criterion opened in October of 1924. I always ask people, the criterion is an interesting name. If you do Google searches like we all do today, there are very few things named criterion. The criterion was actually created by somebody who won a contest, a $25 bond. They just made it up, sort of Crater Lake. Medford, in that era, fancied itself as the gateway to Crater Lake. Craterian and Crater Lake seemed like a good idea. About 650 people when it opened, 700 people. It was by far much larger. Unusually compared to the previous theaters and opera houses and even still today, you go into the side. The theater, the auditorium, is parallel to Central. So you don't enter at the end of the auditorium. You go into the building on the side and then enter. And that was, as architects, this was designed by Frank Clark. Architects were playing with how to design movie theaters. It was a new type of structure and there were really not a lot of rules. And so some of the ideas worked, some didn't. There are a number of side entrance theaters of the 1920 period in Oregon. The best one that I can think of right now is the McDonald and Eugene, which is also still in use. The, the Vining Theater became the Lithia Theater. I don't remember exactly when. It's, and they, their show to the sidewalk. I don't know if you remember the original photo of the Vining, but it had a very small, tasteful sign. When I do theater restoration, I usually tell my theater clients, you can't use the word to garish and theater in the same sentence because there is no such thing as to garish. That's the whole point. Not only did the Lithia Theater have a giant pylon sign, but it also had what becomes the sort of first iteration of a movie marquee, where they can change and advertise what's going to show in a very easy way. And that technology all sort of grew up with theaters. This is the Lithia Theater after World War II. I think what's interesting about this is that for whatever reason they decided the, in this, in this they have a black pylon and a black marquee with black lettering. For whatever reason they painted it here. Pay attention to the L and the way that the marquee is designed because it will come back later in the show. Oops. This is what happens when I skip around. I didn't make up the term. The show starts on the sidewalk. That's a title of a book about a particular architect in California named Charles Lee, who was really amongst the first spokes to realize that there were absolutely no limitations on what you did when you were designing a movie theater. It was just sort of a big fantasy in as long as you provided seats, decent acoustics and presumably enough restrooms in a candy store. You could do anything you wanted and people started to do anything they wanted. In 1924, Neon was introduced into the United States. The first sign in the United States, if you are ever on Jeopardy, was in 1924 a Los Angeles sign that was imported from France and all it said was Packard to advertise a car dealership. What year was that rendering then? The rendering of that for the book. Lee was mostly active in the mid 30s, mid to late 30s. But Neon is such a perfect model, such a perfect tool for the excitement of Hollywood, the excitement of movie theaters that they're almost mean the same thing. We think of Neon and we think of big signs and we think of Hollywood all at the same time. And so the Fox and the Paramount in Portland, Portland Broadway Street in Portland is one of the only streets, only locations in the state of Oregon where most cities regulate sign codes. You all know Ashley has a very stringent sign code and limits the size of signs by code. You can't have signs that are bigger than this, it's prohibited. Broadway as the theater district is the only part of Oregon where you can't have signs that are smaller than this. You have to build big signs in Broadway and so they do. And they always have. The other signs, the Nile and the Aladdin and then the Egyptian. The Egyptian is something to remember because it's interiors. How many of you ever been to the Egyptian in Cusbe? Good for you. When you walk into the Egyptian there are 12 foot or 10 foot tall plaster pharaohs on either side of the lobby. It's absolutely incredible, definitely worth seeing. It was designed and opened in 1924-5. And it was designed by a man, the interiors, by a man named Charles Burke. Remember that name. So in Medford, in Ashland, in Southern Oregon, neon in the mid-30s becomes the way you build a movie theater. And we're going to go through these really quickly until we get to the Holly and go back in time. The Rogue Theater designed by Frank Clark and Robert Keeney, really by Robert Keeney. Beautiful neon signs still in business, still in operation. They take great care of the neon. They also designed our own varsity here in Ashland, Clark and Keeney, really Keeney. And this sign for those of you that have lived in town was restored and Ashland changed its code to allow historic signage and historic neon, which is otherwise prohibited in the community. And so these theaters really were the newer iteration, the evolution of converting a storefront or something akin to an opera house like the Page Theater. Now theaters had their own architectural design, their own style, and were clearly recognized for their function. That continues. The little theater that was the ISIS, it goes through a number of iterations, but basically its location ends up being the Rialto. I've never seen a color photo of this. I'm sure it was pretty spectacular. It's gone as well. And since one of the nicest things about working on movie theaters is that they always put the title of the show on the marquee and put the glory of the internet, you can always tell exactly when that show was released. So you can always date the photo, which is always kind of a challenge when you're dealing with old historic black and white photos. There were other theaters in Medford in particular that kind of went through this same iteration. The Roxy Theater ends up roughly in the location where the page had burnt. It has a sign and marquee that I think you will agree looks very similar to the Lithius Theater in Ashland. After the war in 1940, this sign was old fashioned, so was the marquee, and they remodeled the Roxy into the Esquire. The Esquire I think has a rather pedestrian late 40s, early 50s exterior. I kind of like the portal windows in the doors, but I love the interior. The interior just must have been absolutely to die for. So the Esquire was a remodel of the Roxy. Oh, yes, yes. You know, I don't know the answer to that Maureen. Looking at it, I would think this was probably a little earlier than the 40s, than 47. And again, thinking about what's coming with The Holly, a lot of this, the show started on the sidewalk, particularly in our community, which has never been an incredibly wealthy community. A lot of this was creating an impression on the cheap. You can do amazing things with plaster and paint and mirrors and simple materials. Whereas if you went to Los Angeles or San Francisco or even to Portland, they would have stainless steel and copper and gold leaf. We didn't do a lot of that. We would paint things to give you that impression, and that is part of our history. At any rate, I wish I could have seen that. It looks pretty amazing. The criterion is still pretty much, it was the queen, if you will, like most of the single-screen theaters, the criterion falls on hard times by the late 70s, early 80s, and it closes in 87, becomes, like many of these theaters, a focus of a renovation effort or reconstruction effort and was rebuilt as the criterion center for the performing arts. And that brings us to The Holly. I actually, I put this slide up when I was in Medford, did the show in Medford, and I should have changed the little thing at the bottom. As things have come back to The Holly during this renovation, the face, the frame face is actually sitting on the floor of the auditorium. If you happen to have taken the last tour last Saturday, I don't think the HT has been found. And the HT sat underneath one of the niches on either side of the proscenium and was the original logo of the theater. The Holly was built and opened. Construction was announced in late 1929. It was formally announced what the construction on the corner of Holly and 6 was going to be in November of 1929. And it was going to be Medford's largest movie theater. Auspicious timing, don't you think? The Holly was really the product of four men who had a dream, maybe not all of their sanity. And those four, I'll go into a little detail. The first was the guy who paid for it all, which was Louis Niedermeyer. And Niedermeyer was a orchardist, a wealthy individual. He had property out by Jacksonville. I think he had somehow ended up owning this lot. And it was seen as the location for a movie theater. Frank Clark, you've heard his name before. This is in 1930. Keeney's still in school at the U of O. So this is actually a true Clark design. He designed the exterior shell of the Holly and what most people call a Spanish colonial revival style. Yeah, all right. You know, whatever. People like terms like that. Charles F. Berg and the National Theater Supply Company, same individual that I mentioned was responsible for the Egyptian Theater in Cruz Bay, did all the interiors. And Berg was nothing but accomplished. The Holly was like his 100th theater design. The National Theater Supply Company was a national company. They had an office in Seattle where Berg was located. And architects like Clark, owners like Niedermeyer, wanted to build a theater but really didn't know a whole lot about it. They didn't have a lot of experience. And so they would contract with the National Theater Supply Company who would sell them the screens and the projectors and the film rewinding equipment and all the seats. And as part of that service, they would help you design your theater. And I always am amused. Berg has probably designed 100 or more theaters within the span of a decade. And if you think about the movie theaters from this community or any community you've lived in, there's always things like the Hawaiian, the Egyptian, the Greek, the whatever. And they must have just been bored out of their minds. And had to, let's do it. There are a couple in New Mexico that are like in the Hopi. They're all Cachina dolls and stuff like that. I mean, they just must have thought, well we could do it in Spanish colonial revival, whatever. And so they would make something up. The guy who probably deserves more credit for the Holly being here than anybody is one of the most amusing or interesting guys in Southern Oregon history. And his name is Earl Fail. And if you've never heard of Earl Fail, Earl Fail, he was not only the contractor for the Holly and sort of the idea guy that we needed to build a theater and he had weird political reasons for wanting to do that that we won't go into, but know that he had weird political reasons for most everything in his life. He was a newspaper publisher. He was a contractor. He ends up being county judge, which was the equivalent of the chair of the board of commissioners. If you've ever seen the Medford Mail Tribune a Pulitzer Prize winning paper, part of the reason they won the Pulitzer Prize was for reporting on a period in our history called the Good Government Congress, which was sort of an uprising in 1932-33, that culminates with the judge of the Jackson County Court sitting in the brand new courthouse on Oakdale in Medford and the Oregon State police coming in and whispering in his ear, you can either come with us peacefully or we'll put you in handcuffs and drag you out. And we won't go into that whole story. Maybe someday there'll be a windows in time about that, but Earl Fail was taken from Southern Oregon three or four years after the Holly was completed and by court order was never allowed to return. But nevertheless, he was arrested, a lawyer for rubber rousing, he was arrested for sedition. And sedition is basically trying to overthrow the government in an illegal way. Anyway, the Holly opens in August of 1930 to great fanfare, 1200 seats, almost twice as big as any other theater ever built in Southern Oregon with its beautiful Spanish colonial revival exterior. And it's very similar to the other theaters that we have seen in Southern Oregon alone, Marquis. It was different in that it had a 33-foot-tall neon pylon, which was the largest pylon, not largest neon sign between San Francisco and Portland. It was huge. It was a very expensive project. It was still the Depression. They had the Holly Follies to open it up. Local dignitaries put on skits. There were local performances, and they showed a movie whose name I don't recall right now. Hold everything right there. There it is. There was a whole insert in the Medford Mail Tribune about Medford finally has this new huge theater. Aren't we pleased? All of the developers, all of the contractors, and most of the other movie theaters in town were tickled to death to have the Holly open. The interiors, probably by Berg, were lush. I've actually described this as early whorehouse a couple of times. Most theaters in this period did not have a concession stand. They hadn't quite figured out that you could make... Well, first of all, Hollywood hadn't figured out that they could get most of the ticket prices and let the theater providers spend for themselves, and the movie theaters hadn't figured out that they could really make most of their money at the concession stand by selling us all popcorn for $7. That would come later. So this is the lobby of the Holly, the main lobby where the concession stand would end up was a smoking room, and that's another thing, of course, that we don't think about being in theaters anymore, was everybody smoked almost all the time. Like I say, a big theater, unusually it was a single rake. It has no mezzanine. And what that meant is that even in the nosebleed section, you still got a great view of the screen. The Holly was so big that as all of the problems that started accruing to single-screen theaters in the 60s and 70s happen, they hit the Holly even worse. When I was in Medford... Sorry, I didn't turn my phone off. When I was in Medford, I mentioned that there's an old joke, which I'll tell because we're in the Ashland Public Library that was full credit to Barbara Ryberg, who was the first president of the Friends of the Ashland Public Library, and Barbara had a great sense of humor, probably still does, I don't know. There were three major population groups in Ashland. There were former Washingtonians, former Californians, and former owners of the Mercantini Hotel. You could make the same comment in Medford about former owners or at least operators of the Holly. It went through a number of changes and not exactly a single trajectory to economic success. They tried to remodel it to make it more modern appearing. They ditched the old neon pylon and the old neon marquee to try to update it. They added these really kind of hideous brass-plated hoods over the entryway and over all the windows. There's a picture of it later. It didn't work, and it was closed for theater use. The storefront stayed open. It went through a series of changes again, and finally the last theater operator said, okay, I'm done, and put it up for sale. I usually refer to it in this period with those metal hoods as its Darth Vader period, for some reason it reminds me of Darth Vader's helmet.  I think the first time it sold was close to 1987. I think it sold in 1989 or 90. The first guy that bought it was a developer from Eagle Point, nothing against Eagle Point, maybe some against the developer. He had the idea of gutting it, creating an atrium, cutting windows in the side walls, and it would be an inward-focused office complex. He would build floors in the auditorium, and everybody would look down on, I don't know what. And in order to do that, he didn't need any of the seats, which he sold, and he didn't need most of the decorative detail, which he tried to sell, and people would go to sales at the Holley, and they would literally jackhammer detail off the building so that he could build this atrium. He went bankrupt, too bad. Another guy bought it with the intent of trying to restore it into a theater again, and well-intended, was going to relocate his family here, and literally was killed in a car crash on his way here to start that project, so that didn't happen. It ends up being sold to another individual who had the dream of making it strangely enough in sort of a full circle. The home of the Rogue Valley Opera was not very well capitalized. And the roof failed, and one thing that happens when roof fails is that water gets in, and on wooden buildings, wet wood is a lot heavier than dry wood, and the trusses started to fail, and one of them cracked. And the owner got the money together and put in a roof on, but the city nevertheless condemned the auditorium. Pardon me? 2002. The solution to that was to get more cribbing than most of you have probably ever seen, and building two gigantic stacks of structural cribbing to support the truss on a big steel I-beam. They had to cut a hole in the side of the building, basically, to get these giant I-beams that were about that tall and maybe 60 feet long, and they would be supported by this cribbing, taking all the load of the roof, stabilized it, it wasn't going anywhere, and it just sat that way. And he tried to get funding to complete his project. That didn't work, and he ultimately decided that it needed a better owner, another home, and so he put it on the market. Jefferson Public Radio expressed interest in the building, and ultimately would buy it, of course. That made a lot more sense than it might seem at first. JPR had previously purchased the Cascade Theater in Reading, which had followed a sort of similar trajectory as The Holly. It had been vacant. It was built in 1936. It was about the exact same size as The Holly. More of a deco, a little bit more elaborate of a building, but it had closed and been chopped up into a three-plex, if I remember correctly, and was pretty sad and pathetic. JPR moved its studios into it, and when they bought this building, they would laugh that they bought a building for their radio studios, and it came with a theater. And challenged Reading in Northern California and the state, essentially, to work with them to raise the money to renovate it. And they raised about $6 million, and I'm sure most of you, I hope most of you have been to the Cascade. It's won all sorts of awards. It's been operating now for quite some time in the black. It's a phenomenal facility, and has turned around downtown Reading. So the idea was that JPR, having been there, done that, could been there, do that in Medford with The Holly. And so, with great fanfare, The Holly project was announced, front page of the Mail Tribune. Good things are going to happen in downtown Medford. At the time I was working as the designer for the Medford Urban Renewal Agency, and one of their primary goals was to increase downtown activity and nightlife by building things or supporting things exactly like The Holly that would support restaurants and after-hours businesses and all of the things that we enjoy in Ashland that Medford doesn't, because most everybody there tends to close up at five o'clock and go home or come to Ashleigh for dinner. But not everybody was thrilled by this concept. And so that was kind of a little bit of a shock. I've never been involved in a project where someone announced a multimillion-dollar renovation and the city went, nah, we're not so interested. But the city was. The city got it. And the Urban Renewal Agency and the city of Medford put funding into renovating The Holly. As I said, it was one of their projects. And the first thing that we do in any renovation, well, let me step up. What we decided to do with The Holly, is what we had done with the cascade and what I usually do with theater projects that I work on around the state. I worked on the Egyptian, too, among others. We do the outside first. And you do the outside first because most of these buildings have sort of gone fallow.  They have boarded up windows and lack of maintenance. And although everybody is usually really supportive of the concept, wouldn't it be cool to do that? Most people are like, but they're absolutely crazy to try. And so you restore the exterior with the goal of sort of establishing your bona fides and getting people excited that, wow, this is going to be so cool. Can I help? And so the way you do a theater restoration or any restoration is that the building tells you what it was. And you start looking at a very fine grain about the information that's still there. And any building that has survived over time has all of its pieces, its evidence, usually is there. And so we do paint analysis. We figure out what the original paint colors were, what it really looked like. We look for little hidden details or details that you might not notice when you drive by that survive. And we use them for design details for things that we need to create to change the use.   One of the things that we did for the Holly when it was purchased, its recessed entryway, its exterior foyer had glue down carpet on it. It was really terrible. JPR actually bought new carpet, just because the old carpet was so disgusting and just put new carpet up. And then below that there was a thin set mortar, a little concrete layer. There were no historic photos of what the exterior foyer looked like that would give us any detail. And so we didn't know. And I designed, I'm obviously a little sorry that we didn't get to build it, this really cool terrazzo entryway that was going to go in there. And so they were starting to do the demolition. They pulled up the thin set and the contractor calls me and says you've got to come down here. And so this is the original tile. This tile, incidentally, designed by Charles F. Berg at the Egyptian Theater if you go behind the concession stand at the Egyptian, when we pulled up the carpet there, same tile, but in terracotta and cream rather than green and cream. So Berg for his 100 theaters would occasionally duplicate things. Big exterior restoration. We rented most of the scaffolding in Southern Oregon for a couple of months. All the windows get restored and we start taking on the exterior. Got to recreate the signs. It's a big statement for any theater. And so we sent out RFPs to qualified sign companies to replicate the pylon using the information that we could get from the available photographs that we had. I would get these weird calls like the signs in a field in Jacksonville, you got to go find it. We never did. If you know where it is, we're still interested. Same thing for the marquee. Same process. Hired a company that had expertise in movie theater design. They replicated it. I don't think this will work. This is actually a little video that shows you the sequencers of them making that sign. People started doing all the other pieces, restoring all of the original wood windows, putting the windows in, faux-painting the pattern of the stucco, building your sidewall to the pop-up spot. Hello. I'm losing things. Sorry. I don't know if I can recreate that or not. Anyway, I told you we know how to do tile. We do. We had, when we found that original tile, we, we might be out a lot more. When we found that original tile, we just had it recreated because building for this building was a technological failure. The pylon showed up on two flatbed trucks. We had trains all over the street, which is always a fun part of a project. My absolutely favorite photo of this restoration is this one, which was taken from the roof of the Federal Courthouse building just across the street from the holly. I knew it was the perfect vantage point and I was foolish enough to go ask the homeland security guards if I could go up on the roof and take a picture. They absolutely not. They said, what do you want to take a picture of? I said, there's a sign going up. He said, hold on, the guy went up. This is his photo. I don't know his name. He took it with his cell phone and emailed him. He marked he up, putting the interior poster cases all created in the spirit of Spanish colonial revival. Re-revival. Re-revival, there you go. It's right there. I know, but I can't. All right, I'll just hold it. How's that? Getting everything ready. And in April of 2012, we had the grand re-lighting. In theater renovation, the grand re-lighting is sort of the culmination of phase one. You've now restored the exterior. You have a huge event. Thousand people show up. Everybody's kind of convinced, wow, this is really going to happen. I usually stand way in the back of the crowd. I've been to four of these things. I usually stand way in the back of the crowd and I say, you can just see people reaching for their wallets. We did a nice job. The city recognized that we did a nice job. But then we entered into what Jefferson Public Radio itself once called a period of organizational chaos. And most of you are local. Most of you know my last name. Most of you know this story. So I won't go into a lot of detail other than to say that Mary Cullinan is no longer on my Christmas list. Back two years, 18 months, new executive director has to be hired. You have to rebuild all of the You have to rebuild all of the doubts about the renovation, the efficacy of the renovation in the community and build that back up. Money starts coming back in. We turn the corner. We decide that we'll bring the show on the sidewalk inside just a little to show people again what we can do and what this will look like. This is the interior lobby. This was actually done as a demonstration project by a previous owner. I won't say anything. One of the problems of doing most renovations is especially on interiors that tend to change a lot more is that all the photos are black and white. And so you don't have much information other than the patterns. So we, in the demolition of this set of doors, this original paint detail was underneath a 2x4 nailer to hold the doors up. And so we had not only the original pattern but all the original paint colors as well. We created templates so that we could recreate that pattern not only in those areas but anywhere else that they were appropriate for the theater. And that's what it looks like if you were lucky enough to get on a last tour last week. And so on the circuitous journey of the Holly, we will break ground for the rest of the major renovation of all the interior work sometime next month. It'll take 12 to 18 months, if we hope, and we'll complete the project that was started in a way by Earl Fennel in 1930. Thank you very much. I'm happy to answer your question.


Alright I got a little time today so let's throw together a little video on something that might be educational or at least informational for some of you guys. So if you know the first thing about Linux you probably know that there is this command called man that you can run on the terminal. So if you want to learn about any kind of terminal command let's say the command ls you can just type in man ls and you get a full manual page that you can read and learn all the stuff about any kind of command. Okay you can even run man on itself and learn about man and all the different options you can use with it. Okay so here's the thing maybe there are some people I'm gonna throw together a hypothetical scenario because we're gonna do something involving pipes, involving lots of fun, standard input, standard output and hopefully it'll clarify some things for some people watching but here's what we're gonna do in this video. Okay let's say instead of let's say I'm bored by reading manuals on the terminal. Here's what I want to do. Okay I want a user interface where I have a menu of every manual installed on my computer. I want to be able to select one of those and then I want that manual to appear not on the terminal but in a PDF. Okay that's what I want to do and in fact I want to do it in one line, one line of shell script. I want to be able to do all of that. That is easily possible with pipes that's one of the easiest things to do just standard input, standard output that's all we're gonna do. So now if you watch the channel you probably already know some of the programs I'm gonna use to do this. Two of them in particular so I recommend you install these programs because they're great. One of them is D menu so D menu if you don't know the first thing about D menu let me show you. Let's say we have a file with you know two lines here's the first one line one and here's the second one and you can pipe a file like that into D menu and it's gonna give you a menu of the each of the lines and you can start typing one in let's say to press enter and it'll print that out the standard output. Now D menu by itself is useless but it's one of the most useful programs in the world. Okay and we'll talk about why well no I won't talk about why. I'll show you why in this video and by the same token there's a PDF viewer that is called let me actually just show you what packages I have installed. There's a PDF viewer called Zathura and the reason why Zathura is a great PDF viewer is because it can read from standard input and I'll show you why that's great in a second but so the two programs you should have installed if you want to follow along are D menu and Zathura although if you're a true subscriber you probably already have both of these installed because they're honestly fantastic programs. I'm not I'm not telling you to install them just for this command or something but they're fantastic and I will show you why. Okay so anyway back to man so let's say so again we want to have a menu of all the manuals on our computer and select one of those and we want a PDF of that to pop up and we want to do it in one line. So let's start by getting a list of all the manuals on our computer. Now one of the off if you type in man man you will know that one of the options to man is K and this is so basically the idea behind it is let's say we want to find something that has to do with law tech. Okay you can type in K and then law tech and all the manuals that have law tech either in the title or description will pop up now man K is actually the same thing as this other command for a Poe but you know some I always use man K because I don't know why not so that's a way of getting a bunch of manuals but you can just give period to print out every single manual so that actually gives us our list of all of our manuals automatically don't have to worry about that whatsoever. So now we want a menu of those and as I showed you just a second ago that's really easy we can just pipe that into D menu so if I pipe the output this list of manuals into D menu what's going to happen is D menu is going to give us a menu here with with all of the manuals in it now it's not very visible now I mean we can type something and we can type in DWM and select it but D menu has an option L that allows us to us sort all of the options I guess either vertically or horizontally however you can screw that but let's say we give L the you know the parameter of 30 that'll give us a list of 30 of these options and again we can type in like delete or law tech or anything else and we can select one of these and notice once I select one it prints the standard output okay that's great okay so keep this on one side I'm going to move this to another workspace so the other thing I want to do is let's say hypothetical let's say hypothetically we've chosen one of those man pages or let's say you know we just have the man page for LS how do I view that as a PDF well one thing that you can learn by running man man is that it has an option capital T and what that means if I just run man instead of running man LS that gives me this view here I can run man capital T PDF LS and what that does is it actually prints the manual to LS to standard output in PDF format so this thing that you saw right in front of you that's what a PDF looks like in text form so the nice thing about that is we can pipe that directly into the thorough and if you give the thorough this if you give it hyphen that means a read from standard input so if I just run this I now have the man page for LS as a PDF okay now this is there is not a PDF of this man page on your computer that's not what this is it's that man is converting it real time into a PDF it actually goes actually you can see down here it's actually a temporary file is how Zathara reads it in and it displays as a PDF in Zathara okay so that's great that's how you get a PDF okay so let's combine what we did just a second ago with this oh and I should say I might have mentioned at the beginning of the video but Zathara is a very modular PDF reader you are going to want to install I mean if you're outputting it as PDF you are going to want to install one of the PDF reading modules but you can also you could you know output it as PS as post script or something like that if you want to use post script instead but just be aware of that okay so let's combine these two commands so I get again back here so if we select like law tech or let's say we select a bit of it's going to output this entire line but really what we want is just the name of the manual so instead of running all that well after running all this that is going to give us this entire line I'm going to pipe it into all and I'm going to tell all only print the first word in that line okay so now if I run it and I select Biber now there's only this one line here or this one word here okay so now let's combine these two commands okay so here's our first one actually well just get rid of them because you know it's too much stuff on the screen so we're going to combine those with XRs so XRs is a command that can take standard input and can create a new command with that so here's what I'm going to do I'm going to run XRs I'm going to run it with the R option you don't actually have to that just means if XRs gets nothing it does nothing so XRs and then you are going to actually let me make a little smaller so things can fit together we're going to run that same man command so we're going to say man TPDF and so what's going to happen is XRs is going to read the standard input if we choose Biber it's going to be Biber and it's going to run man TPDF on Biber and we can pipe that into Zathura like we did just a second ago you all also have to type it right though okay so once we do that now we have this menu here so let's say you pick a Biber and now that is going to display our PDF okay so with one little line here we have basically taken a list of all the manuals we have given a user interface for the user to select an option and now we have a result we actually have the PDF okay so let's actually so you could take this and make it a function in your bash RC let's actually you know I'm the kind of person I like you know I actually don't like making functions there are reasons for that I like making independent scripts for something so let's make a name this script something like mansplain okay so let's say shell script and we'll just write it in here I'll rewrite it just to make sure so print out all the man mans actually let's get some syntax highlighting so print out all the manuals give me a D menu of all those manuals let me select one of them take that one of them and then print the first word of it then give that to XRs and create a command man TPF with that standard input the standard input is going to appear at the end here and then pipe that into Zathura okay now one of the reasons I actually like making independent scripts is actually because of XRs because XRs can it doesn't read your bash aliases it's it creates some kind of sub shell or something it but it can read your independent script so anyway so made this little script let's actually let's make this executable so now you know let's say I get rid of this all right I can run mansplain and it will give me this little thing here so let's say I want to learn about ST and that manual page now pops up okay so that's basically all you have to do so why did I do this video is it because I particularly now this might be useful useful for some of you guys you might want to have PDFs displayed you know for man pages maybe you want might want that I don't I don't particularly need it but my point here is just the kind of things that you can do just you again this is literally just one line of shell script POSIX compliant shell script all it is is pipes that is you are just taking one command and editing that text until you get a command that you want and then you run that command and that's all it is so you know if you want to get good at least the command line doing you you know shell scripting and other stuff the biggest recommendation I can give you is just get good you know have sort of a pipe like mentality and once you have that it actually all becomes easier so anyway that that's about it for this video I'll see you guys next time throw whatever suggestions you have in the comments and yeah have a good one


Ευχαριστώ και καλώς ήρθατε back to another card making video. Σήμερα θα χρησιμοποιήσουμε ένα από τα τέτοια μου φορές μου, από τα τέτοια μου φορές μου που χρησιμοποιήσαμε και αυτή είναι τα μπροστά μπροστά. Θα χρησιμοποιήσω μπροστά μπροστά και πραγματικά το ίδιο σχέδιο για να δημιουργήσω τρεις μπροστά μπροστά. Και για όλα μου χρησιμοποιήσαμε σήμερα να χρησιμοποιήσω my Arteza watercolour pencils. Έχω εδώ το 120 πέντρο μπροστά. Ήρχεται σαν την εθνική μου, έχει μια λαβιά καλύτερη σχέδα και μπορείτε να βρήκετε για εάν χρησιμοποιώσει μπροστά μπροστά. Ο πρώτος είναι καλό και όσο έχω έναν πιο μεγαλύτερο, μπορείτε να βρεις ένα 72 πέντρο μπροστά, όπου θα βρεις τόνες τόνες μπροστά μετά για λίγο από 30$. Θα χρησιμοποιήσω αυτό το πέντρο σχέδιο στην σχέδα watercolour. Έχω ένα νέο πατ που δεν χρησιμοποιήσαμε πρινά, που είναι, τώρα, με τον Arteza. Αυτό είναι 32 πέπρες inside the pad. Υπήρχαν δύο σε ένα παγ και έτσι βλέπεις όλοι μαζί 64 παίδες και το πραγματικό είναι πολύ καλύτερο. Είναι λίγο από 25$. Έχει χρήση εδώ ότι αν δεν υπάρξει καλύτερα με τα μηδιούντας, μπορείτε να το δείξετε. Είμαι χρησιμοποιώντας την εξαιρετική πόλη εδώ. Είναι 9 x 12 inch και είναι 140 πάντρες, που είναι καλύτερα και χρή. Είμαι χρησιμοποιώντας να χρησιμοποιήσεις κάποιες αυτές τις παίδες για να δημιουργήσω τα μηδιούντας μου, αλλά θα κάνω αυτό σε ένα άλλο βίντεο. Λοιπόν για σήμερα θα ξεκινήσω να ξεκινήσω. Τώρα, αυτό το παγ έχει δύο παίδες. Ένα από τους είναι πολύ σύμφωνος για να μπορείτε να κάνεις το παγ εκεί, αν θέλεις. Το άλλο είναι πιο τεχτουργείο. Ξεκινήσω να δοκινήσω από το τεχτουργείο σήμερα, για να δείξω πώς τα μηδιούντας που υπάρχουν εκεί. Τώρα, remember that I am not an expert when it comes to watercoloring. I just used different mediums for coloring in my cards, as well as in my art journal. And for what I do I find that they perform beautifully. So here you can see I am applying a few colors on this paper. And I am going to move them with water. It is really easy to move them. The more water you add, the more you will be able to move the color and blend it out. The brush that I am using here is thirsty, so it is wet but it's not soaking wet. Now if you are interested in this marker, or in any other product by Artisa, I do have a coupon code that they sent me for my audience. This is exclusive and you can find it down below. Since I am planning to make three different birthday cards, I am going to use three of the images from my stamp set, the elephant, the little pig and that bunny. So I am going to stamp that with a permanent black ink, just because I will be using water on top of it and I don't want this to be smudged. I am going to let the ink dry. And by the way, I stamped everything on the textured side of my paper. So now I am going to apply the color. There are many different ways you can apply color with your watercolor pencils. You can use your pencils to color the image, add the shadows and everything and then just blend everything out with your pencil. However, today I am doing a different technique, so I am going to apply a first layer. I applied very smoothly, just the first layer of color. My tip is not sharpened, it is dull. And now I am going to move the color, blend it out. And you can see here how this color performs. I can easily blend it out. It comes to be nice and smooth. And now to add my shadows, I am going to directly pick up color from the tip of my darker pink and apply it exactly where I want to. I feel like I have more control when I am using this technique. Now maybe I have said it before, but I actually find it more satisfying using other mediums to color my images rather than my alcohol markers. With pencils or watercolor pencils, I absolutely enjoy the process just because I don't have to rush before the ink dries to make sure that the markers are going to blend nicely together. Here I take my time, I can always use water to move the color and you can always build up color with this technique, just make sure that your first layer is completely dry and then go and add another layer on top of it. For the little flags, just because they are such small areas, I alternate yellows and greens and just with a little bit of water, I am blending it out to avoid those pencil lines. For my adorable elephant, I decided to go with shades of blue, so again I am applying the first layer very lightly, I am going to blend it out, have a nice smooth area and now with the darker blue I am going to add my shadows. It's a really easy technique, you don't have to be an expert in coloring to do that and you will always get lovely results. So I am going to do the same thing for the whole elephant and of course you don't have to work in parts like I am doing here, you can just color everything with the first layer, then blend it out with water, add your shadows all together, it depends on how you like to work. For his party hat, I first went with light green, applied the color, blended out with water and now I am adding the darker shadows with the darker green and you can see how nicely it blends. I repeat the same technique to color the balloon of my little bunny and added some color on the flowers on his head and now there are matching dyes for this stamp set which I don't have, so I am just doing my fuzzy cutting, I am going to cut out all the images, as I cut out my images I am also leaving a white border, just like if I used the dyes. Now it's time to turn all those lovely watercolor images into a card, for that I am going to use the same design for all three of my cards and you can see that the same design can look completely different.  I am going to peel off the backing and apply the mask on top of my 4.25 x 5.5 paper. Now it's time to do the blending. I decided for this first card to use a combination of my distressed oxides, this is a warm lipstick and I am going to bring in some seedless preserves and for applying my color I used my blending brush just to make sure that everything is very subtle. And you can see here that I am just using a paper towel to wipe off my ink from the brush and I am going to use the same brush for another color. This time I am going from the top towards the center and I will end up having a lovely planted area. I am going to peel off my mask and place it somewhere safely since I will be using the same one for the next two cards. Now I have a lovely background where I can nest on top my little bunny. I cut out a couple of clouds using a very old die set that I had in my stash and I am going to use a foam tape at the back. One of the clouds is completely flat. This one is going to be popped on top of my card just to add dimension and if you are wondering about this big roll of foam this is by Artisa and as always you will find everything linked down below. The foam tape is 36 yards I believe for less than $20. It is a great quality. It doesn't stick all over your fingers. You can easily cut it with your scissors and peel off the backing. However you cannot tear it with your hands but it doesn't really bother me. I find that the price is perfect for the quality. I stamped the sentiment with black ink at the bottom and the sentiment also comes from the same stamp set. I inked up the edges of my card base to match the colors of the main area and I am just sticking on top of my panel. So I have a lovely card ready to go. You can embellish it with some gems like I always like to do. And my card is ready. Here are some close-up photos and I find this image is absolutely adorable. This is a really lovely birthday stamp set. So for the second card I'm going to repeat the same process. This time however I'm using a different color combination and instead of having an ombre blended effect from one color to the other I'm going to go more randomly here. The two colors that I'm using are spiced marmalade and mustard seed. And I'm still trying to get used to those brushes. These are completely new to me. I like how easy it is to blend the colors and how subtle the final effect is. However you can see that if you want to build up color you need to load your brush again and again. With those you will never get harsh lines. So use those if you want a subtle look but you can use your good old blending tools if you want a more saturated look. Or if you don't want to spend as much time building up the color. For the sentiment I did some white embossing on top of a black cardstock. I have popped my elephant with foam tape at the back. And now there is a little stamp set here that adds a confetti coming out of his nose. So I'm going to stamp that there and I'm going to color it in with my glitter gel pens. These have a very fine tip so I can easily color inside and it adds some shine as well. Here is a close-up look on the finished card and I absolutely love how clean and simple these all came out but so colorful and bright. Moving on to the third birthday card for today. Again I'm using the same mask but this time at the bottom I'm going to stick another piece of tape so that I can create kind of a ground. Now for another color combination this time I'm starting with tumbled glass I'm going to cover up completely the whole area and on top I'm going with a darker shadow of blue which is peacock feathers. Love the smooth blending with those brushes and now I'm going to peel off all the masking tapes. I'm using black ink to stamp the sentiment at the bottom. Again the sentiment comes from the same stamp set. And now to put my card together I have used an old die from my stash to cut out two rows of grass which I have a stick one on top of the other with foam tape so this strip of grass is kind of dimensional. I'm popping the pig on top just in between those grasses. Again I have a couple of those clouds that I used for the first card which I'm going to stick there just to add something more interesting on my little sim there. And in the latest release by my favorite things they came up with a die set which is balloon numbers so just to personalize my card even more I cut out the number 1 since this card along with the gift is going to a baby girl that is turning 1 this month I popped number 1 on an angle and at the bottom I'm going to stick the little string and I absolutely love how this looks as if the balloon is flying away and that little pig is trying to catch it and just because I cannot stay away from gems I just spread around a couple of them and here are some close up photos on the last card for today and here are all the 3 birthday cards that I made today using the same stamp set and the same card design I hope that you had fun, that you got inspired Don't forget that down below you will find a coupon code to the Artisa online shop as long as links to multiple online shops where you can find all the products that I used on this video Don't forget to leave me a comment and like this video and also subscribe if you haven't done so already Thank you all so much for joining me today and I'll see you all next time


How do narcissists react when you know who they are, when the narcissist knows that you know? When they know that you figured them out, how do they react? Before you had figured them out, you were susceptible to their revelation. They were able to use you to meet their needs. You were an excellent source of supply for the narcissist, but once you figure them out and they catch on that you have figured them out, you're no longer a good source of supply. Because you are holding them accountable for their actions, you're not seeing them in the way that they want to be seen. You're seeing them as they are and that is not something they want to deal with. They don't want to be accountable. They don't want to be exposed for who they actually are. They don't want to take responsibility for themselves. Narcissists need constant validation. They cannot deal with people holding them accountable. They cannot deal with people telling them that what they did was wrong. They cannot deal with you not giving them attention whenever they need it. They need the relationship to be all about them, often at the expense of your health and well-being. They need to be able to control you. They need to have influence and authority over you. They have to control how you think of them and how other people think of them. There's nothing more important to a narcissist than their image of reputation. They care a lot about how people view them. They need to be able to get you to do what they want. As though if you do what they want, then they will be happy. This is their narcissistic supply. When you're telling them everything they want to hear, when you're giving them whatever they want, whenever they want it, when you don't hold them accountable for anything, when you act as though they never do anything wrong, and you just forget about your own feelings and needs and just focus on theirs. They do all of this because it minimizes the risk of abandonment. It minimizes the risk of you leaving them. Narcissists feel very vulnerable. They always feel like they're at risk of danger or harm, or if they're at risk of losing their supply. And that is why they always have to be in an authoritative position where they can give orders and make demands. But when you stop following their orders, that is when they're going to realize that you know that is when they're going to feel like they're at risk of losing their supply. They will become very angry. They will try to punish you.   They will display their new relationship on social media in an attempt to provoke envy within you or to show defiance. They will tell all of their friends and family that they're so much happier with this new person because they need to convince everyone that you were the problem. But none of this has anything to do with you as a person. There was nothing you could have done differently. Narcissists are very weak and insecure. They will do whatever it takes to dodge accountability for their actions.  Like you never meant anything to them because you're no longer susceptible to their manipulation. You're no longer a good source of supply.   So don't think that this has anything to do with you. Don't think that you're not good enough. You were better than they deserved. And nothing good comes out of being around a narcissist. Be thankful that you have this awareness. Be thankful that you have figured them out. The narcissist may have discarded you, but that is actually a blessing in disguise. They only left you because you weren't willing to put up with their abusive behavior.  When the narcissist knows that you know, it will cause a narcissistic injury, which will then be followed by a narcissistic rage. At this point, their mask is all the way off and you are face to face with something so unpleasant and disagreeable, something so immoral and harmful.   You will see things that you may never have seen before. You may never have imagined that a person could even act in this way. It's like they become the exact opposite of everything they were in the beginning. When they experienced narcissistic rage, they can become very dangerous. Because you have taken away their supply, you have taken away their source of validation, you have removed yourself and just by seeing them as they are, rather than how they would like, they feel like you are trying to expose them. Because you are no longer validating their false self, you are no longer validating the illusion that they were trying to portray, which is something that maybe no one else has done before. By you just seeing them as they are. It's enough to trigger narcissistic rage.  It's their way of trying to deal with the situation because now they feel like they're not perfect. They feel like they're flawed when the narcissist is trying to portray an image of perfection as though they never do anything wrong, which is why when you see them as they are and you point out faults and mistakes that they have made, or even if you just try to give them constructive criticism, it can make them really angry and upset. When the narcissist experiences narcissistic rage, they will say and do whatever they think will hurt you the most.  They will bring up stuff from your past. They may damage your property and even become physically violent. They will deny anything that you say. They will project their insecurities onto you. They will shift the blame onto you. They will gaslight you. They may even try to smear your name and ruin your reputation. Or they will play the victim. They will act as though you didn't do enough for them. You didn't understand them. You didn't treat them right even though you may have gone above and beyond to meet the demands and expectations. Nothing is ever good enough for the narcissist. They can never be satisfied. They will always have a bone to pick with you. They will always have a reason to argue or disagree. They will always have a reason to be annoyed with you. So they will use that to play the victim role. But it really depends on your individual narcissist and your situation on whether or not they will attack you or just play the victim. Once some time has passed their rage may become less intense, violent or severe.  They will go back to the love bombing. They only got angry because they were trying to gain control over the situation. So once some time has passed they're going to start being nice to you again in an attempt to gain control over how you think of them or how other people think of them. It's all part of the cycle of abuse. They still know that you know but they just see it as though they have to win you over. They have to make you question your perceptions of them and this is what creates that cognitive dissonance. It creates two conflicting beliefs where you question yourself and wonder if it's you. If maybe you said something wrong or made them angry but while they're playing the nice character again they're going to be looking for ways to discredit you to make it seem like you're not a good person or that your views and opinions aren't going to be trusted. They've been studying you for a long time. They know how to get to you. They've made mental notes of every fault and mistake that you have made of anything that you've confided in them because they knew that one day they were going to use it as ammunition against you. They knew that they were going to use it to tear you down when you finally figure them out. They will push and provoke you until you finally react to them. They get a kick out of watching you suffer and it makes them feel better about themselves. It makes them feel like they're not the problem but as soon as you react they're able to calm down and point the finger at you and they will ignore any of your feelings or anything that happened up until that point. If you question or confront them on it they're only going to deny it.  They never did what they did. This is designed to create further confusion and really make you think like you're losing your mind so that the narcissist is able to gain further control over you. They will try to take things away from you whether it's your money or children. Because they just want to hurt you. When the narcissist experiences narcissist rage they will say and do whatever they think will hurt you the most.  When the narcissist knows that you know they're going to rage at you because they believe that they can get away with it. They believe that you're going to tolerate it and as long as you remain in their presence you are tolerating it. You're saying that it's okay for them to talk to you in that way. You need to teach them how to treat you by not tolerating their behavior. When the narcissist is experiencing narcissist rage you need to walk away. You need to show them that you're not going to tolerate that behavior. They may play the victim and act like you've abandoned them. Whatever you do they're not going to reflect on their behavior or understand that what they did was wrong but they will think twice the next time they do that now that you've made them realize that there are consequences to their actions now that they know that you're not going to tolerate it now that they know that you're going to leave if they disrespect you when you leave they will hoover you they will try to get you back they will go from being the most evil, despicable person you could ever imagine to being this kind, caring character who only wants the best for everyone they will try to make you feel guilty they will provoke fear within you whatever it takes to get you back but you need to enforce strong boundaries you need to hold them accountable and once you stop letting them talk to you however they like once you stop letting them disrespect you they will be forced to find another source of supply they will be forced to find someone else who will listen to their endless rants someone else to use as their emotional punching bag because the narcissist needs supply they need validation and once you figure them out you're no longer a good source of supply for them so the only option is to find someone else because they don't want to deal with the truth they don't want to deal with reality but while it may seem like they're discarding you they're actually just discarding themselves and that is why they don't stick around when you know who they really are once you put the mirror in front of a narcissist you may never see them again they won't want anything to do with you because they don't want anything to do with themselves thank you for watching I hope this video ends with you please like, comment, share and subscribe click the bell icon to receive notifications for my future videos check out the new Narc Survival website at www.narcsurvival.uk where you can read my blog posts, book coaching sessions and join a support forum if you would like to donate my paypal link is in the video description coaching inquiries you can email me at coaching.narcsurvival.uk thank you for watching and I'll talk to you soon