And I think this next conversation is another one that I really invited to the stage this year because beyond banking, ESG investing in public markets is the next layer that everyone touches through retirement accounts, through mutual funds, and the growth of this industry has been really impressive. But I think sometimes within the hardcore impact communities, people don't see the potential for impact as high in the public markets because it's not direct impact because it's hard to influence those organizations. But the folks we're going to welcome to the stage speak for some of the largest financial institutions and have an insight into the ways that the ESG conversation is really evolving and I think you'll find our conversation really interesting. So please welcome Mark Newberg, our moderator, Jackie Vanderbrug, and Andrew Lee. All right. Hey, everybody. I'm Mark Newberg. That's Andrew Lee and that's Jackie Vanderbrug. There was a point, I mean, we're all friends. There was a point where I could do their titles just from memory, but the titles have evolved. So Andrew is the head of sustainable and impact investing in the chief investment office of UBS wealth management. There are several words in the English language that are not in that title. And the inimitable Jackie Vanderbrug is the head of sustainable and impact investment strategy for Bank of America. And I realized, Andrew, I didn't come up with an adjective for you. Do you want to add one? I'm sure you can come up with one. Maybe end of the session, Mark. All right. So we're talking about ESG or environmental, social, and governance factors, which you can think about that. And then I'm going to ask Jackie and Andrew to fix my definition because they work with this on a daily basis, things that are tied to the operational side of the business. And we tend to think about ESG as the public market's side of impact investing. And as I said backstage before we were coming out, we have about 25 minutes to get through $20 trillion in assets. So I don't know that we're going to cover it all, but it is a huge asset pool that if we want impact to scale and we ultimately want to combine doing good and doing well, we have to incorporate into our portfolio strategies. So Jackie, let me turn to you first. Let's start with what did I screw up in the definition of ESG? Well, I think, you did it well, but it bears repeating. I regularly have people come back to me and say, what's that ESQ stuff that you keep talking about? And so it's important to have people actually think through these what we have traditionally called non-financial factors, right? That these factors are increasingly understood as material to note the conversations beforehand, long-term performance, right? And so some of them being in that environmental aspect of things, some of them being more social, some of them being more governance, but all of them being another look. The analogy that ends up working best with our clients is that of doctors in the next ray. So I say to our clients, look, when doctors got the X-ray, they didn't stop looking at people's skin or their eyes or their ears. They kept doing all of that. They just had additional information. So to me, ESG is that additional information about the DNA of a company that we use in addition to financial factors. And so Andrew, how do you look at it? Because we've seen a dramatic increase in client demand for ESG, and it informs how products are built and created. But what's the sort of where does ESG come in as an evaluated factor when you're thinking about putting something on the platform? Look, I think Jack is exactly right. When we think of ESG, I mean, our broad umbrella is sustainable investing, right? So ESG is just identifying the three factors that are additive to a typical investment process, right? So, you know, when we say ESG investing, to me, that doesn't necessarily mean anything, right? You can have mainstream strategies. Can we stop saying ESG investing? Please, let's do it. Jack, are you about to coin a term? Pardon me? Are you going to coin a term? No, I'm not going to coin a term. That's one I don't love. So I think it's about stepping back from all the terms and the definitions and everything that confuses people and just saying, look, what are our intentions as investors or what are our client intentions as investors and what are the solution sets that are out there and how do they actually deliver against that? And that could be mainstream strategies that are delivering S&P 500 or MSCI World-type exposure, but where the portfolio manager has fully integrated ES and G factors or any one of those where material. It could be exclusions where you have to recognize that there could be a performance impact, but you are aligning with your value set. And it could be impact. Warren was up here talking just now about private equity impact types of opportunities. And that's different, and you have ESG factors incorporated into portfolio companies, but you also have it incorporated into the strategy in terms of what are we trying to achieve with regard to sustainable outcomes. And that's where I think that's the far end of the spectrum, as we call it, with regard to baking it into the strategy. It's not just a piece of the process. So I almost split it into two things. There's the process element of it, and then there's the strategy element of it. And I think the people who are really interested in sustainable investing and things that are beyond just exclusions think about that strategy piece and saying, why is something in my portfolio? Which is perfect, because one of the things we talked about before settling on the design of this conversation was getting to the why behind these strategies. As often we get up here and talk about what's being done. We don't get to the sort of why and how. So let's start with this, and Jackie. Why has ESG and why has sustainability become such a topic of conversation and I'd say asset movement in the last couple years? I mean, why now? So I think one piece of it is, there's three pieces, right? So one piece is client demand, right? So when you have eight of 10 of our clients saying that they believe companies should be responsible for their actions, and five of 10 saying that they think that ESG factors should be used in investment, you're in large numbers in terms of client demand and we know demographics are only gonna drive that further. The second is the economy's changing, right? So the way that the growth in intangible assets, the fact that now brand and intellectual property and things that are much harder to measure with traditional financial factors are dominating the global economy, that's a huge piece. And then the third you can't forget is just the availability of data and the availability of portfolio construction tools. So part of this was that the sophistication of the development of both strategies and the use of those strategies and portfolios wasn't there. So put those three things together and yeah, we're talking about this.  Why now? Yeah, look, I wouldn't argue with anything that Jackie said. I think it's the recognition that increasingly in order to look at the full picture of a company and think about long-term fundamental value in returns, you have to look at these non-financial factors, right? Jackie was alluding to the fact that tangibles versus intangibles as a percentage of whatever index you take has completely flipped over the last three decades, right? Eight, three decades ago it was 85% tangibles and a lot of machinery, equipment, hard assets and it's completely flipped where it's 15% tangibles and 85% intangibles. So as a portfolio manager and investment analyst, if you're not looking at these things and incorporating them, wear material of course, you're not getting the fullest picture of any given company. So you're starting to see that recognition from an investment perspective. We certainly believe it out of the Chief Investment Office and all of the fund managers that we work with think are increasingly recognizing it to a different degree but you're seeing interesting products come on board and now I would almost say there's a proliferation of products where we have to sort through them and say what actually belongs in a sustainable investing portfolio that actually achieves sustainable investing objectives or impact objectives and what is more like a marketing strategy that's cloaked on top of. All right, so this is a really interesting thing. How do you make that determination? Because these are conversations that these have been going on for decades, right? What's real, what's not? Jackie, I saw you nodding when Andrew was talking about making that determination. How do you make that determination? So Andrew and I were talking about this earlier today. There's not a magic wand here, right? So on the great side of this, if the piece that I forgot, Mark, and my three things of like why now? Part of the reason why now is that the research is now showing that it works, right? The increasingly when our lead equity analyst, quant analyst is saying that ESG is the best predictor of future earnings volatility she's seen in 20 years of being an equity analyst and she's writing about that, our advisors listen, like they think I'm interesting, they think Savita is the queen, right? Like in an amazing way, right? So pause on that. So there's now quant research saying this matters. It's not just it matters in terms of meaning, which is really important to all of us and everybody watching, but it also matters in a financially material way and it's the merger of the two of them. Right, and it's also, I mean the research has gone just beyond the, yes, it can be a signal of volatility, but we've looked at that compared to traditional factors and said it's the least correlated factor, so it's additional whether you wanna say to momentum or to growth or to some other factors that have worked. So from that standpoint, traditional investors are saying, okay, this is useful. But then Andrew and I have to say, well, but all of these investors aren't using this in the same way and if we're actually trying to have truth and advertising to our clients, we need to say this is a strategy that has used ESG factors to reduce volatility by taking out bottom performers and this is a strategy that is integrating ESG but it's willing to invest in anything and this is a strategy that's really using ESG and other outcome data to find those transformative businesses that are solving the world's problems and those are gonna be differently useful to different clients and different portfolios but there isn't a little sticker or a quantitative way, right? It's a qualitative assessment plus some quantitative tools. Totally agree with that. I think it's about truth and advertising. You get back to what are we trying to achieve? What are the different types of outcomes you're trying to achieve and can you properly label against that? Can you properly assess a strategy against that? So in our view, it's kind of two things. You go back to process and strategy, right? And there's a process that we have to assess the ESG-ness, if you will, and how ESG factors are incorporated. I don't think that's gonna be the new tag line. No, it's not, but ESG factors and incorporating those into an investment process. How serious are you? How rigorous are you? How much have you built in terms of resources and capabilities around that? That's about your process and that can apply to a mainstream strategy. That can apply to a deliberate sustainable investing strategy and then there's the strategy part of it which is what is your strategy trying to achieve and being explicit about that? And so for us, the approach that we've taken is really to build a portfolio and say, look, we'd like you to have different line items in your portfolio across equities and fixed income in the liquid space and what do each of those exposures provide to you so that upfront you have an expectation and then your portfolio either matches up to that or it doesn't in terms of the solution set that's in there. So let's talk about the really interesting stuff which I think is building strategies because we weren't having this conversation on stage 10 years ago. We weren't having it five years ago. This is now, five years ago, we were talking about impact getting to the mainstream. Now we are talking about the mainstream. Jackie, you've been at the forefront of gender lens investing for more than a decade. Where does gender lens as a strategy fit into this conversation and how, I'm asking two questions at once, how does building a strategy for this new public markets sector of impact work in real life? Those are two really big questions for the end of the day before Drinks Mark. You didn't sign up for the panel because you thought it was gonna be easy. No, no. And they bookended my day. So here's the thing. I think that what a gender lens has done is pushed us as investors to continue to iterate towards more rigor and better investments. So the research, similar to more generic research in ES and G, there's been more and more research showing that companies that are more diverse from a gender standpoint are better long-term investments, less volatile and a whole set of other factors. Similarly, at the same time, we've had this understanding that gender equality is essential to the other things that impact investors are trying to get. So we're not gonna get the rest of the SDGs accomplished without SDG-5 integrating in. And I appreciate that the Bain aspect of all of them are interrelated. That's I think what impact investors see very whole. But historically, I think people had seen gender equality as a vertical as opposed to seeing it as a horizontal. And some of the challenges, especially US-based challenges of the last year and a half have maybe shown us a little bit more in terms of the risks that we have when we don't use a gender lens, when we haven't thought about toxic cultures, when we haven't thought about our implicit biases and other kinds of things. So I mean, just to come back to your question, what role does gender equality play? It forces additional rigor and you can then say, okay, what was the gender lens, but now what's the racial and diversity lens that's forcing more rigor? What's the environmental lens that's forcing more rigor? And so the process that we've used in gender lens has now been replicated in a number of other ways that I think it's been helpful. And then the other piece is it's bringing in more investors. So we are now realizing that disproportionately women have said, wait a second, this is interesting to me. I wanna pay it forward. I wanna understand the role of my investments in creating gender equality. And we know, again, it's not just gender lens investing is not just for women, but women have the largest aspirational gap, right? Women have the largest gap between what they say they wanna do in impact and what they're actually doing. And so if we don't start offering some products that provide them different ways in making that happen, it's our loss. All right, so Andrew, let's talk about products. What's the, how does a product go from an idea to on your platform? We laugh. Because there is no magic wand and you don't have your fingers and it doesn't happen in two months. There's no magic wand. And we're not creating all the product out there. There are great fund houses that have done a lot to create strategies on their own, whether it's in gender or other thematics or with engagement focus and so forth. So part of it is the process of coming onto our platform and whether we think about how they match up against this sustainable investing framework. Again, achieving the certain outcomes that an investor is looking to do. You know, when we think about co-creation, which is something we have been thinking about for a while, we wanna achieve a specific objective. So right, gender lens is a good example. Another example is engagement in public markets. So I think what's exciting is the ability to really use engagement to drive impact in public markets. And I think this is the debate that's been going on for a while. Private markets is a little bit clearer. You have control in many cases. You're adding capital to situations that might not otherwise have it. So you can talk about all the traditional things we talk about, intent, right? Measurement, additionality. But it's harder to do in public markets. And I think that one of the exciting places that people have done for a long time but where you're starting to see a lot more focus, whether it's around the SDGs or specific themes, is products that really focus on driving that additional engagement, quantifying it over time and committing to hold investments for longer periods of time so that you can actually say, look, I've owned this in a portfolio over time and here's what the incremental impact is as opposed to reporting on the underlying metrics that a company says they're doing and then in a week or two weeks or four months or whatever it is saying it's not in the portfolio anymore. So how can you credibly track impact over time if that's your portfolio? So I think that's one of the issues in public markets and yet it's one of the opportunities if you have these dedicated engagement strategies to really drive incremental impact but you have to be measuring it and you have to have a committed portfolio that says this is what the purpose, right back to that strategy question, this is why we've created this portfolio and we're gonna measure it and report on it for you. And so what do you both wanna see from, let's take this to the company level because companies go into funds and we're talking about ESG being an operational framework that's now being applied at the company level. There's been pressure from analysts to companies to do this. What do you wanna see from a company? Does it depend on the sector of the company's in or are there a set of things you wanna know about like wages, healthcare, environmental efficiency, what is it, energy efficiency? Or is it you know it when you see it and it's different by industry?  No, no, no, the answer I think is twofold, right? So part of it is your piece, it does differ by industry, right? So it is that aspect of you know you're much more interested in the performance of water recycling for utility than you are for a financial services company. I think that in general we're much more interested in performance data than in policy data, right? So historically ESG was much more about do you have a XYZ policy? And increasingly it's kind of goals do you have and how far are you, you know, what kind of process can you show towards those goals? That's harder to actual do apples to apples for it, you know, so that's where the art of being a portfolio manager comes in. What do you think? No, I agree with that. I think that what I'd point out is it has to come from the right place, right? In terms of you're not reporting metrics simply to report metrics. So when you go to investor day what are people asking you? And we'll report on that, that's fine. I think it has to come from an understanding of what's material to your business model and what's actually important that you want to achieve whether it's through CSR or whether it's through your actual operations. And so I think that's what should drive increased focus on ESG at the corporate level together with an understanding that that's what's important to investors increasingly as a piece of the investment process. But Mark, just to, because this goes back to the very beginning setup, you know, that the community here has historically been less interested in the impact in public markets. And I'll say, you know, my background coming from being part of, you know, starting the good capital fund and being in private markets. I was the same way. I was less interested in public markets. Living inside a large public company now I do see the systemic nature, right? So the role of ESG to our investor relations team has transformed in the last three years. You know, our head of ESG is linked at the hip to our IR head, right? They go regularly together. That was not happening five years ago. And when there's a new ETF launch there's an immediate question of are we in it or are we not? And if not, what would we have to do to get there? So I think it's really hard to measure the, you know, specific impact of some of this but the systemic impact is really clear. And has the demand increased because stakeholders are saying we want this? Is it because the research data shows reductions in risk and volatility or is it a combination of everything and the financial community and the investor community sort of coming together and saying we got to use the public markets to drive some of the impact we want to see? I think it's a combination. I think it's an understanding on investor's parts that they do care about. They have preferences. And I think in the past people had said, well, I don't think that's germane to investing for return. And now increasingly you're seeing that there are opportunities to invest for return and also do something. Whether it's aligning, you know, to values whether it's actually integrating ESG factors into your investing or, you know, creating more deliberate impact, I think there is that realization. So it's a confluence I think of people are genuinely interested in how their capital is impacting broader people and planet and how can they put that into their portfolios. And I think, again, it comes back to a recognition of what can you do and what can't you do in public markets. And I think as long as we're realistic about those expectations going in, then I think we're fine, you know, a year down the road or five years down the road. And that's a good segue to the last question because we're almost out of time. What do you want to see in the future? We talked about what you want to see from a company. We talked about what you want to see from a fund. What do you want to see in the future? If we're back here five years from now having this conversation, what will feel like success? You wanted a philosophical question. You like philosophical questions. So I guess three things. We haven't talked about advisors at all today, but the top three things that get investors in our research to move are performance, proof of impact, and if their advisor talks about it. And so, you know, what I want to see five years from now is that this is a much more natural muscle for our advisors. That they're able to, you know, integrate this into their practice in a way that enables them to build stronger relationships, you know, but also to have more impact on the world. The other thing is we've got to figure out how to have flexible products that are more useful in multi-asset class portfolios. So a lot of our products right now are a little esoteric. Andrew? Yeah, I think I've got 10 seconds. So I would say, agree with everything you said about advisor adoption and advisor interest, greater client interest, and adoption, which ultimately means more capital into the space. And the last piece of it is a real focus on measuring the impact and trying to credibly report on it so that five years from now we actually do understand what was accomplished and what wasn't accomplished both in public markets and in private markets. And I will say I would love for corporate executives and fund managers and board members to have a clear picture of the difference between operational and aspirational and drive it getting ESG to the operational parts that help make the business a better, more successful, more sustainable business. And that's it. Thank you. Thanks.


To those at home who are sitting, watching YouTube, don't start clicking, I know this might look like some kind of extreme baby sitting. It is!  I don't care where you're from, faggot, you ain't threatening me where I'm from, Philadelphia's a spreadable cheese.  You don't take drugs because he's worried about what it does to his body.  He doesn't like rap, all he likes was ROCK as a team. He formed his own group, Rage Against the Washing Machine. Damage.  Things that your bangs are that cute.


and welcome back to Think Tech. I'm Jay Fidel. This is Movies We Can Learn From. And today we're going to review a Triangle of Stateness, which is a dark bath tire about wealth and capitalism and communism and disparity. And our guest today is George Kasen, my co-host, and we'll be right back. Okay, we're back. And here's George Kasen, movie reviewer par excellence, who actually likes this movie. It's hard to like this movie. This is a dark bath tire movie that tends to upends things. So George, why don't you tell this hard to do this, but tell the story of this movie. I know it's hard. Very, very interesting. It ends very profoundly.  But it's in three parts. And the first part is it opens with this silly scene with all these young guys, male models, and they're trying to filter through them for, I think, for this movie, but they're not telling you that it's sort of like for ads and stuff like that. And it gets into a lot of the silliness of the advertising industry when they're trying to find the right person to give the right message for their product, for the product. And that's the way it starts. And it's sort of silly scene of all these by 20 or 30 young guys that are auditioning to be a male model. And then the male protagonist of this movie, he goes and he's got this girlfriend. It's really pretty girlfriend. And they're in a restaurant.  And they're at a table in a restaurant. And she had told him the night before that she was going to pick up the bill, you know, Brave New World, women are making more than men. Well, she's making more than him because she's an influencer and also a model. But she's much further down the line.  So and then she doesn't pick up the check, you know, it's sitting there on the table. So she had told him she was going to, you know, she was going to pay the bill and she's not picking it up. So he finally says to her, well, I thought you were going to pay pick up the bill. And she says, well, I'd like to know that a man is going to take care of me, you know, we ever get married or whatever. So that this, this is sort of a back and forth between them. And they have a big argument which familiar with all was the big arguments, right? And then she's in an elevator with him and she leaves the elevator and he's screaming at her. So then after about an hour, an hour or two, she comes back to her. It seems that the hotel room they're in, she had paid for it, but he still felt that she should have paid for the meal. So this is this was all the part of the thing. So then you're going back and forth. That's this that's pretty much seen one showing all the back and forth and the arguments between them and petty stuff, you know, so silly. What was the symbolism there? What, what was the lesson? You know, the lesson in the male model, you know, recruitment process, their, their trials, so to speak, trial showings was, I guess the part that struck me was the definition of triangle of sadness, where the guy who was recruiting them said, you have to, you have to concentrate on your triangle of sadness. And what is that? Well, the triangle of sadness is, is a very expressive part of the face.   And then what is, this is ridiculous for the name of a movie and triangle of sadness. And you, and you try to make sense of it, George, as a lot of other things in this movie, you try to make sense, you, you try to get through it, you try to find the meaning, you know, and there isn't a whole lot of meaning there. Okay. And that, that scene with the, you know, the, the spat they had in a restaurant where apparently he had bought dinner the night before. And she said the night before that she would buy dinner, but the check sat on the table, you know, I mean, what he should have done was turn to her and I've seen this happen in my own dinner escapades. He turned and turned to her in front of the waiter and say, thank you very much for dinner. That was wonderful. And I really appreciate you picking up the chair. He didn't say that. He just, he stared at the, at the bill. She stared at the bill. This has happened to all of us, hasn't it? And she just didn't pick it up. She was busy on her cell phone, looking at social media. But what struck me about it was that he was the male model. I forget his name right now. The male model was trying so hard to make a big deal out of it. He was trying to taste her with it and blame her for it.  So what?  So what? A pretty girl, nice restaurant. What are you, what are you catching about? And so again, you say to yourself, what, what is the scene all about? Is this trying to tell us some profound point of truth? I don't think so. Well, I didn't, you know, tell me anything profound, except I suppose, and I saw this in one review, that, you know, this was an examination of the disparity of wealth. She had more money than he did. And, you know, this was like focusing on that. But I didn't find it moving and I didn't find it educational. That's just me. So that scene like drifted away into nowhere. The same thing in the hotel room. I didn't get anything out of it. Sorry. I got a lot of out of it, because I don't know, I don't know your personal thing of how long you've been married, but I got divorced. And then I was dating different women much younger than me, who had a very different perception of the world, you know, things change so quickly. So I totally understood, even though my ex-wife was also much younger than me. But from a different era, so in those few years, right, in those few years, you wouldn't make it semicidal about who bought the meal. You wouldn't, you know, he really, he really beat the horse on that. He kept on attacking her over it. And she said, no big deal. What are you so excited? Okay, I'll buy dinner. All right, I'll put my credit back. Oh, then it was a scene. Oh, yeah. Don't forget, there was a scene where she gave her credit card to the waiter and he went and tried to run it. Your credit card doesn't work. It doesn't work. She said, try to do it again. He said, I tried twice, madam. It doesn't work. Does it work? What is this about? She's supposed to be wealthy. She's supposed to be making big money as a fancy model. Models make a lot of money, you know? And yet he didn't have a credit card that worked. The whole thing was like theater of the absurd. I understood those scenes completely, even though you maybe didn't. Because with feminism, you know, and I'm a feminist, I believe in women, human equal rights, but there's still a sort of a residue of when men are supposed to be the protector, making more money, protecting the woman, and yet with women making more and becoming more successful, that whole dichotomy has changed. I understood his aggravation. But remember, he had bought dinner the night before. So this was really, for him, this was just a matter of equity. On the other hand, he kept on attacking her, and he kept raising the subject, and it went on and on and on to the extent that people around the restaurant were looking at it. What are they arguing about?  It was absurd. Reuben Ostlin, what was his name? The director. He was making a lot of points in this movie, and we'll get into that. But the French, it wasn't called Triangle of Sadness. I've got to just figure, I forgot, they had a different name for it, which is something like a farce, you know? So they didn't use that Triangle of Sadness. And meantime, that guy, Harris Dickinson, was the actor in his name, and the movie was Carl. And the filmmaker is Scandinavian, I think. Yes, he's Scandinavian. He's Swedish. They make a lot of good movies in Sweden. Because the director and the main writer, yeah, he made a very good movie, but we'll get into that. Can I get in? Let's go to the boat now. The next part of the movie is about this $250 million boat, and the two of them got invited on the boat to promote the boat because they're both fancy models. Precisely, right. So they get on this boat, this beautiful boat, right? And they start meeting the wealthy people who are on the boat, you know, taking the cruise, right? And then from different, different backgrounds, this director is really trying to make a point here. This is one English couple that are very, you know, refined English couple. And you find out that they made their money selling bombs, though, of hand grenades, right? To all these countries around the world, which are torturing people, you know? So that's how they made their money.  And he's a fertilizer. He sells fertilizer, got very rich, and he's got this wife, right? And he's got this mistress, and they're both there with him, both his wife and his young mistress are with him, right? And he's sort of a Russian character, you know, you know, character, this guy. And then there's this German lady with her husband, who had a stroke, and she can't speak except for two or three words in German, that up in the sky or something like that. And that gets really interesting later in the movie, we'll get into that too. So there's this, that, and then there's this other single guy, he's trying to pick up some woman, you know, he's trying to find some woman or something, and he's the computer man. He's a billionaire. He made his money at some computer product, but he's in a complete geek, and he's like over the hill. Exactly.   But he didn't realize that one of them was, I think, Demetri's mistress, and the other one was Carl's girlfriend. So he's trying to pick them up at the bar. He asked them to take a picture of him. So he's by himself. So this movie gets, it gets really, really silly. And I think Oslin is trying to, I mean, Oslin, he's trying to make a point here. And at the end, you start, it all comes together as you like. Initially, I thought there was, I didn't like this movie. I thought it was really silly, you know, even though some of the scenes were hit home for me. So as this movie progresses, you find this, this steward, she's the chief of all the staff of the upper, upper level staff. And she's telling them how you have to always agree with the, with the clients, you know, the people on the, if whatever they asked to smile and, you know, I worked at. The answer is always yes. That was really, that was a very funny part of the movie. I understand this too, because I worked at Sears when I was getting my first, my second master said, they told us the customer is always right. Always smile, retail work, you always have to smile, the customer is always right. Always say yes. Always say yes. But she's really gung-ho about this. And then, and everything seems to be going initially okay, except the captain of the ship, played by Woody Harrelson, plays his role beautifully, right? I think they had 100, then so many people before they picked him. I mean, they, they, this director decided on him, just like the director decided on Harris Dickinson, I think 120 people auditioned. And that was like the first scene before they picked this guy.  So, so basically everything's going smoothly for up to a certain point, right?  And then the head steward. He's drunk. He's drinking. He's the captain in his cabin. He's drinking. It doesn't, you know, he's unclothed. Exactly. He's a complete waste. So you get a stormy sea, and he's drunk in the cabin. So if he was at the helm, he may have been able to do some, you know, changes to keep the ship from being too much back and forth. But because he's drunk, the ship starts, you know, rocking back and forth, and people start getting seasick. But in that dining room, you know, eventually, yeah, he gets to that captain's dinner, right? And he's all dressed up in a nice, you know, uniform and everything. And that's one of the other chief stewards is there next to him. And, and, but he's not really aware of what's going on in the boat, because the boat is tipping back and forth.  So people are getting seasick. And that's the staff in the restaurant playing as if nothing's happening.  And so it's all these wealthy people. And some of these, there's one woman, she's really out of her mind. She starts talking about the sails on the ship are dirty. But there's no ship sails because it's motor power. And you got all, and then this Dimitri's wife, the sailor. Wait, wait. He says, the sails are dirty. You've got to clean the sails. Exactly. And Woody Harrelson says, it's motorized, the rhino sails. No, she says, I saw the sails, they're all dirty. Okay, Harrelson says, okay, in the morning, we'll clean the sails. Right. So crazy. So they say yes to everything. Yes, yes. And I've been there, you know, with the customers all of the right.  She gets into this jacuzzi. And this is young employee there. And she starts telling her, get into the jacuzzi. And the young woman says, I can't do that. I'm on work. You know, I got a, there's certain protocols. I can't do that. And she insists upon this.   So the woman says, the wealthy woman, she says to the waitress, she says, you're saying no. You're saying no to me. I asked you to get into jacuzzi and you're saying no. Exactly. And the waitress is having a breakdown because she's been instructed in so many words to say yes to everything. And yet she's also been instructed that you don't do things like that, right?  And all the staff, Dimitri's wife wants all the staff to get, so they get all from the lower level, all the Filipinos and Indonesians and all the cooking staff, the engine room staff. They're all dark skin, you know, I mean, and they're all going to swim down a long slide into the ocean. Right.  So I start, I really got sick of this movie at a certain point, until the end, right? And so they're all doing this. But Austin's trying to say something about racial inequality, financial inequality, who runs the show and how they have the right, that might is right, wealth is right. He's really making a lot of statements. So then you remember the conversation between the Russian and Woody Harrelson about communism versus capitalism. Now that I thought was the core of what the filmmaker was trying to talk about.  What in our nation is this? We're not just talking about a little bit of throwing up, Jay. We're talking about a lot of throwing up. And we're not talking a little bit of poop coming out of the toilets. We're talking about tons of poop. And the ridiculousness of it is that all these people are billionaires surrounded in poop. He's making a statement here that, you know, so this goes on and they're all throwing up. And then at this dinner, there are more and more people are throwing up, right? And then they've got Dmitri's wife, she's rolling in her in her cabin and throwing up, right? The ship is going back and forth. And while this is happening is what you were just alluded to is that Dmitri, who's a capitalist, Russian capitalist, and Woody Harrelson, the captain, are having a discussion about, you know, politics.  And then Dmitri starts talking about capitalism, right? So this goes on and on while they're showing all the poop and all the throwing up. So Oslo is making a point here, the emphatic point. And then it starts to hit me that what this is such a farce, where he's trying to say something, right? More than, and even with the models, he was saying something, but it didn't, it didn't catch me until at this point, right?  I mean, all these special effects, you know, showing people one after another, throwing up what they put in there, and then you get to the point, okay, I don't know if I'm jumping ahead. Then these pirates. Well, I thought, I thought with all of the failure of seamanship, okay, and the weather and, you know, and Woody Harrelson being completely drunk all the time, that the ship was going to, you know, have a some sort of catastrophe. Turn over against the wave, it was going to sink or something. But no, that's not what happens at all. You get a whole new level of disparity. Now you get a bunch of pirates, Caribbean pirates, very poor, you know, in a rotten old boat, and they are coming at this $250 million yacht in the darkness, and they're going to take it over, and the first thing they do is they throw a grenade, the very same kind of grenade that that English couple got rich on, and it drops next to the English couple, and the wife says, oh, isn't this one of yours, dear? That scene was phenomenal. But then immediately after that, they pull away, they put back to the boat. Close up. And the back of the ship grows up. While she's holding this thing, it explodes, right? Yeah. And then that's sort of the end of that scene, scene two. There's no more ship. It's gone. And a good number of these billionaire passengers are gone. And now you have a fraction of who you met earlier in the movie if they're on the beach. And as I recall, Woody Harrelson is gone. He's gone to the end of his appearance in the movie and others too. So you have, you know, from maybe, I don't know, 40, 50 people in the dining room. Now you have like half a dozen, a dozen maybe. And they're on the beach in this Caribbean remote, deserted, apparently deserted Caribbean island. And that's where the movie really takes off. Exactly. That is where he's really making the point. But Woody Harrelson, he had another engagement. So I was reading that he had to be taken off the, because the filming was stopped because of COVID. And then it was, so they had 37% of the filming in 2019. And then they didn't start again until late 2021. So Woody by Harrelson probably had something else to do. But as you said, that is where everything comes together like you like. And then I started liking the movie because it, I started to understand now what you have there, he's really mocking all Woody and Austin, he's mocking all these wealthy people. And when you get on that island, everything changes because the head cleaning lady for the toilets, right? Abigail, who's played by this phenomenon. She was the bathroom manager for the yacht. She was the lowest one on the pole. She was like an invisible staff member, having no consequence whatsoever on the yacht. And here we are in Lord of the Flies, where all these people are on a desert island and their true nature comes out. And some of them are really pretty ugly.  But they can't do it anymore because they can't find food. And she can find food. This changes the whole social structure of that group. And she knows how to, as you said, has a fish and she knows how to make a fire. But just as I said, I worked at Cat Lane Swim Club on the North Shore of Long Island, all these wealthy people. I was cleaning toilets at 16 years old. So I totally understand where this woman was because I was a toilet cleaner.  So bottom line is getting back to this. So the tables are turned and she says that the cleaning head cleaning lady. I am now the captain because I'm the one who knows how to make good food for us, right? That's the best scene in the movie. She turns to them all, she says, I'm the captain, right? Because if I'm not captain, if you don't want to admit that I'm the captain, then no food for you. Exactly. Because she had this little lifeboat which is enclosed and had all the provisions, you know, an emergency provision. And she was floating around in that, right? So she comes there and she's got this little enclosed boat, right? And now she's on top. Now she's the top. And their waves, as they're opening, their meat pre-waves is Rolex to her and someone else, who else? They're showing their wealth, right? But it doesn't mean anything anymore on this island because all that matters is getting food and she's the one to get the food, then she becomes the top of the heap, right? And all these millionaires they're nothing because it doesn't matter. You're on this deserted island. Right there is a part of the movie that really struck me. I couldn't believe it. You know, it was almost subtle.  I want the hunk to come with me and live with me in the lifeboat. It was an enclosed lifeboat.  Yeah, but she doesn't say that but that's what she wants. That's what she wants. And right, it's subtle. You don't realize at first what is going on here.  And she's way older, you know, than the models are. And she's not pretty at all.  But now she's just you, the hunk. You come with me. I need you to service me. Just like these actors, the old actors, you know, some of them still got their looks, some don't, but they've got these young pretty, young women, wives and girlfriends.   And her girl, his girlfriend sort of wonders what's going on.  And he gives her whatever Abigail gives him, he gives it to Yaya. Yaya, right. That was her name. Yaya. His names. Yeah. Yeah. We'll get into what happened to the actress too, which is really, really sad. So bottom line is, as things are going, finally, Yaya gets tired of this. And she's going to go and look on the island to see, oh no, before that. She invites the Filipino to go on a hike. Right. Because she feels she ought to have a better relationship with her. Because the Filipino is stealing her boyfriend. Exactly. He's sleeping with him every night. Exactly. And she's like disturbed about that. So she goes on a hike with him, with her. And that hike is probably the, now we're getting close to real profundity. Exactly. What happened? What happened? But then we'll have to get back to that, to the woman that didn't, that couldn't speak. So bottom line. Oh yeah, right. Yeah. I'll allude to that later. And they're hiking and hiking and hiking. And Yaya is young, so she can climb. But Abigail is older, so she has trouble climbing some of these mountains and stuff. So finally, Yaya's walking ahead. And Yaya's comes upon the beach for a luxury resort. And there's an elevator that goes up to the hotel from the beach. And she says, my God, civilization. Right. So she's calling to Abigail, who's still further back. And Abigail comes. And then the revelation in Abigail's mind is, oh my God, my world here will fall apart because the minute we get back to civilization, I'm a cleaning lady again. Right. So meantime, right before that, Yaya hugs Abigail, you know, and said, because she's so happy that they found civilization, but she doesn't realize that Abigail really doesn't want to go back to civilization because now she's on, she's the top of top dog, and she'll be the bottom dog again.  But even that is not good enough for Abigail. Now it's an insult. Yeah, it's an insult, but Yaya doesn't realize it's an insult because in that deserted island, half of the island, she's, she's the chief. And now she will be back to, in a secondary role. Right. So she starts thinking, and this, this is how the movie ends. It's very, you never know where it's, where it's going to go from there. But she's, Yaya is looking at the water and, and, and, and, um, uh, Abigail, she's waiting for Abigail to come back. Abigail says, I got to take a leak and I'll be right back. When she comes back, she sees Yaya, you know, waiting for her, looking at the water, facing away from all the fancy, you know, chef's lunges and umbrellas and that elevator you talked about. Okay. So she grabs the rock. This is a big rock. This is a big rock. This is, you know, a 20 pound rock.  Just, you know, she, her life is, her life on the island is coming to an end. Her power in, in Lord of the Flies is coming to an end and she, she can't stand, uh, losing that power and losing the man, you know, the hunk can lose it all. But if she had a moment of greatness in her life, and now she is about to lose it all.  Just as the tourists are coming down in the elevator. Yeah. And that's when the movie ends. And you never know for sure whether Abigail did it or didn't do it. So my question to you, I've been waiting a week to ask you this question. Is she doing it? To me, there were two factors where she might have been stopped.  I mean, that's anybody with any soul at all. That's a pretty, you know, and she, you could tell that Abigail was sort of, she wasn't really sure if she wanted to do this, but I didn't catch that the people were coming down in the elevator, right? So there was people coming on the beach at that point plus Carl, what was his name, Harris, is running desperately running through this.   Yeah. There's nobody smart here. There are no heroes, including Woody Harrelson. They're all working on automatic. Automatic. Nobody is thoughtful. Nobody is smart. But he must have had some sense that something might happen. They show him running through the beach.  I really don't think because as much as she was the boss with the food and stuff, she was giving them pretzels and stuff, even though Carl and the other guy, one of the mechanic were stealing some of the food that she had left on the beach, right, back at the where they first came in. So, and then one of the things, you know, that, you know, this is the profanity. Dimitri, his wife washes up dead on the beach and he's crying, but the first things he starts to do, he takes off the diamond necklace and the diamond watch. All the jewelry and he puts it in his shoe. In other words, she's gone, but I'm not going to let go of that. I'm not leaving his jewelry on the beach. So, what is really important in life? What is important in life? You know, I mean, Aslan is obviously a Marxist or a socialist, right? And he's really disgusted with all these wealthy people that push their weight around. And, you know, even in the Democratic Party Republic, there were only wealthy people who were running the show on both sides, you know. So, Bernie Sanders, you know, very few of him. So, I mean, bottom line is, Aslan is making a point here. He's making these people look silly, right? He's stripping away every sense of their honor, right? And the throwing up and the poop. He's degrading them. He's telling you they're billionaires and they're, you know, absurd billionaires. Exactly. And they did, you know, awful things to get to be billionaires. Exactly. And now he makes fun of them. And he degrades their lives. He degrades in every which way. What he's trying to tell you is that, you know, the disparity is really bad news. And at the end of the day, Abigail has the leverage, you know, when you get down to the beach on the deserted, apparently deserted island. By the way, my analysis on what happens at the end after the movie is over is that it was going to be too obvious that she killed Yaya. She was portrayed as pretty sharp, you know, more Akamai than you would ever think looking at her. She didn't look like she was Akamai, but the things she did were Akamai and, you know, the statements she made were articulate. And so I thought, she's not going to do it because she's going to know that she'll be caught in a minute. And so it isn't good.   So you caught that. So I think to me, he didn't do it. Even though maybe she really wanted to do it. And she, whole life. But you see, it's also life and death. I mean, no matter when I was volunteering for Gregory Peck's son, Kerry Peck, in his campaign in 1970, they sat me, I worked so hard for the campaign. They sat me next to Angie Dickinson and all these big shots, right?  So no matter how high you rise in life, we all end up pretty much in the same place, maybe in a more fancy cemetery or in a crematorium. But I mean, Austin is also making the point here to me that it's not only that you lose your status in life, but when all those millionaires were on the boat that didn't make it, there's a lot of things he's trying to say here that are very profound. So at the end, I really liked this movie, Jay. Even though it started, I didn't like it. I thought it was silly. I thought it was ridiculous. It was absurd. In the end, it makes some very, very, very critical points. And what are those points? That in this life, you rise, but the people who, I mean, whoever is in charge makes the money. They call the shots. They get who they want sexually. They get what they want on yachts. They get the beautiful five or six beautiful homes, right? But when the tables turn, it was the cleaning lady who became the chief, right? Because she was the one who could provide the food through the cooking and the catching fish. She had the skills that they didn't have, that in their wealthy lives, they didn't have those skills. Even if they had them at a younger age, they lost them. The other thing was when Abigail was thinking of killing, it's because she was going to lose everything. What are we dealing with in the world with Putin, Erdogan, Saddam Hussein, all these bad guys, right? Gaddafi, right? I mean, you've got all these despotic leaders, right? They're calling the shots. But if the tables turn, what happened to Saddam Hussein? He was murdered. Gaddafi was murdered, right? The shot of Iran. He had a leave, right? And he came down with cancer. So that's the point. Mussolini was hung by his heels. Exactly. So when it comes down to the end, when you're on the beach in Lord of the Flies in a sort of reinvented society, a simplified society, you'll find out who's really in charge. And yeah, the billionaires are not fairly in charge, I guess. See, I have a couple of things you wanted to mention. I'm going to remind you with women with the stroke, okay? She's in a boat, a lifeboat. She's all by herself. And this guy, this Caribbean peddler comes up and tries. He's carrying all this swag. And he's trying to sell her everything in the world. And she can't speak. Now that has to be very symbolic. So all the trash, swag, and she can't speak.  She's not buying any of his wristwatches or caps or whatever kind of junk he was selling. And you realize at once that this is not a desert island. There are people walking around trying to sell you things. Exactly. So you realize that she can't communicate with him. And he is disgusted, disappointed with her because she's not taking her wallet out. Exactly. Because he doesn't understand what she's saying, right? And he probably didn't have a wallet, right? The reasons I like this movie too is because you know I'm blind in the left eye. And I bumped into people in the supermarket and they give me stink eye. They're pissed at me because just like that merchant, the seller, didn't understand that the woman can't speak. People don't understand. I don't see them on this side. I don't have little kids. Were you with little kids? I don't see feeding. So there's a lot of things in this movie that hit me very much to my own personal life. So I really, really like this movie. And oh, I was like, I don't remember what are the flies exactly and I've seen it. So you understand the relationship to Lord? Well, it's a bunch of teenagers who might have on a desert island and they do terrible things to each other. William Golden, I think, was the guy who wrote the book and the book got into a movie. And there are people who criticize the book and the movie as an incorrect statement of, you know, social psychology. But be that as it may, it does remind you that desert island and people, you know, reordering their power within a small group. It was really like that. But before we leave on this, before I ask you your numerical rating of the movie, one thing you mentioned, and it's really sort of sad, is that this very pretty model who was an up and coming actress, played Yaya, a very, very pretty woman, nice face, nice, nice, nice. She died shortly after the movie was completed, like last summer, you know, like within six months from now from then. And she died suddenly. I don't know if I know the story about that. I know the story. See, the thing is when in the movie, when you had Abigail ready to kill her, and then six months later, she dies, she died because when she was a teenager, she was in an automobile accident with another young model, male model. And she had to have three ribs removed, had a collapsed lung and broke her wrist, and they had to take out her spleen. And a spleen is one of the organs that really helps with infection. And somehow she picked up, you know, these New York restaurants as fancy as they may be in the back room, you don't know what goes on. You know, I worked in the cafeteria at starting book, God picking up the poop of the food off the floor. So bottom line is she comes down with this bacteria that's in the digestive tract of animals, you know? So because the spleen was removed, she goes to the hospital, she has a very mild case, she's not feeling well. And within hours, she dies. Now what they did in the hospital, did they make mistakes? I'm very familiar with hospitals making mistakes. She died within hours because she came down with, she had sepsis because the spleen being removed, her liver couldn't take the infection, and she died within hours. Okay, anyway, it's very tragic because she's a very pretty woman, and she was, she had a certain gravitas in this movie. So why did you give the movie as a rating? At the, at the end, a 10, a 10 plus, because the message was so profound, so many messages were profound. This Oslin is a genius. And this movie, one, Hamdor, it won the, the best movie at the Canfield Festival, and it's coming up for Golden Globe and, and, you know, the other, awards. So a lot of silliness, Jay, a lot of stupidity, a lot of poop, and a lot of throwing up, but in the end, he's really made a point. He hit home. So that's, that's why I'll give a lot of this movie I don't like. I don't like all that sewage. I don't like all that throwing up. I think that was a little overdone. Yeah, there was a lot of absurdity in the movie. And I did understand what you were talking about, the, the messages that he was trying to give us. Sometimes they were more clear, you know, more, more obvious than other times. But I thought he could have done a much better job in, in, in giving us a movie that would have helped us hear on this review, that would have helped us, you know, identify the lessons he was trying to portray. I think, you know, the lessons were valid. And when you shake it and bake it, but the so much absurdity around them, I thought he could have done a better job. And as you know, as an example of all these awards and cans and the like, sometimes I think those people are like the people in the movie. They don't really know what's going on. They just, they're on automatic.  And I'm not sure I would have given an award in cans and niece. I would not have done that. And so I don't give it a 10. Sorry. Maybe it's because our life experiences, George, are different. You experienced a lot of the absurdity that we described, but I wouldn't give anything above a seven might be less than that. Only because I, I didn't think that some of the, some of the absurd humor was necessary to make the point. And, you know, if he had been a more refined movie maker, by the way, he's working on another one right now, then, you know, he might, he might have done a better job. Maybe, maybe we take a look at the next one and see if he does do a better job. Thank you, George, for a very interesting discussion. Thank you. You'll have another one and another movie two weeks from now. It's always fun to review these movies with you. Movies we can learn from with George Kaysen. Thank you so much. Thank you. Thank you so much for watching Think Tech Hawaii. If you like what we do, please like us and click the subscribe button on YouTube and the follow button on Vimeo. You can also follow us on Facebook, Instagram, and LinkedIn, and donate to us at thinktechhawaii.com. Mahalo.


Between 2006 and 2010, there were an estimated 42,800 fires reported annually in industrial and manufacturing properties to U.S. fire departments. That's an average of roughly 112 industrial fires across the country per day. In order to keep a facility up and running properly, it is important that potential employees understand the best practices to ensure fire safety in the workplace. Make sure all areas are clean and free of debris and clutter. This includes maintaining access to critical needs like electrical control panels and emergency equipment. Material or equipment stored in front of these items could slow down the execution of important tasks in the event of the emergency. Never block sprinklers, firefighting equipment, or emergency exits. Learn how to properly use a fire extinguisher. Place oily rags in a covered metal container and make sure they are disposed of properly and regularly. Perform preventative maintenance on equipment and report electrical hazards. Many fires start as a result of equipment overheating or being in a state of disrepair. Only attempt electrical repairs if you are qualified and authorized. Read the label and the material safety data sheet for any chemicals you may need and make sure to use them and store them appropriately. Help maintain physical security to prevent arson fires. Report any suspicious persons and make sure everything is locked to the standards of your organization. Follow all safety and regulatory guidelines as outlined by your industry and government organizations. Fire safety is of utmost importance in business, especially in industries that require 24-7 operation and mission critical facilities. Being mindful of fire safety best practices will go a long way to make sure that you stay safe and your organization stays up and running.


So, in this section, I'm going to talk about our online tutorials and library workshops. So, SPOT is a series of structured online tutorials that is set up as another way to support research and writing for your courses. SPOT can be accessed from our library's homepage to the tutorials link under Research Toolstruckdown menu. So, the way SPOT works is the students can take these tutorials at their own face and it can be offered as an additional assignment or as an additional support for the assignment. The tutorials are divided into modules, different modules reflecting different stages of the research writing process, so the instructors can assign just one topic at a time and spread them throughout the quarter. SPOT also can be embedded into Canvas, which allows the students to complete the tutorials without leaving a course. You can find some information on how to integrate SPOT into Canvas and how you can utilize these tutorials from the instructors toolkit up here. So, now I want to shift gears a little bit and talk about workshops our librarians do. So, if you click on the Services drop-down menu up here and you will see the workshops and instruction link right down here. So, our librarians offer a series of three different integrated research writing workshops and these workshops are designed to help the students with topics like how to formulate their inquiry questions and how to find and critically evaluate and use different types of sources for their research and how to organize their ideas in their paper and much more. And we recommend these workshops to be offered in different parts of the quarter depending on the face of the research writing process. These workshops are usually 50 or 80 minutes long and we can come to your class either in person or online and we have been doing more online workshops since the recent pandemic. So, now you can request workshop instructions for your class using this online form that can be found right here on the library webpage. And if you go down here, you can also find these asynchronous versions of the workshops linked right here on the webpage if that's something that might work better for your class depending on the classes. In addition to the integrated workshops, we also offer some workshops and citation styles and research posters and so on. And you can also request these using the same form if you want some of these workshops for your classes. We ask you to send us a copy of your assignment or the latest version of your syllabi through the workshop request form and this is so that we can customize our lesson to match your requirements for the class. Our librarians are happy to accommodate whatever needs you have for your class and so just let us know if you have any questions about our workshops or online tutorials or anything else, you can always reach out to us.


Unicam is a web-based video platform. It is available to all DCU students and synchronizes with Google Drive, which allows easy sharing of video files through loop or email. To use Unicam, open your Chrome browser and go to dcucloud.uni.com. Then sign in with Google. Enter your DCU email account credentials here. Then click Allow. You are now in the Unicam homepage. To record a video, click Record webcam or screen. Your microphone and video should automatically be picked up, but if they are not, you can change the settings here. When you are ready to start recording, click the Record button. You can cancel the recording at any stage, or when you have completed your video, click Stop. You will now be presented with three options. The first option saves the recording to your device. The next option saves the recording to your DCU Google Drive account. It is recommended that you save your recording here, as your Google Drive has unlimited space and files are easily shared through loop or to email from here. The final option deletes the recording. I am going to choose to save mine to my Google Drive, so I will click on the second option. The video will start processing, and once complete, you can play it back to see if you are happy with it by clicking on the Play button. If you have created the video as part of an assignment, you can share a link to it by making it public. Then copy the link and paste it into your loop assignment, your loop reflect portfolio, or an email. When you have finished, click Done. The video can be played from here. Or to find your video in your Google Drive, simply log into your Google Drive and search for a folder called Unicam, where you will find a copy of all videos you have created and saved through Google Drive.


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Hello and welcome to the session. In this session we will discuss about the scalar or dot product of two vectors. The scalar product of two non-zero vectors A and B is given by vector A dot vector B is equal to magnitude of vector A into magnitude of vector B into cos theta where this theta is the angle between vector A and vector B and theta is greater than equal to 0 and less than equal to pi. If in case vector A is equal to 0 or vector B is equal to 0 then theta is not defined and in this case vector A dot vector B is equal to 0. The scalar product vector A dot vector B is a real number. Now we have A and B are two non-zero vectors then vector A dot vector B is equal to 0 if and only if vector A and vector B are perpendicular to each other. Now in this if we have theta is equal to 0 then vector A dot vector B is equal to magnitude of vector A into magnitude of vector B and if we have theta is equal to pi then vector A dot vector B is equal to minus magnitude of vector A into magnitude of vector B and if i cap j cap k cap are mutually perpendicular unit vectors then we have i cap dot i cap is equal to j cap dot j cap is equal to k cap dot k cap is equal to 1 and i cap dot j cap is equal to j cap dot k cap is equal to k cap dot i cap is equal to 0. And also from the formula of the scalar product we see that cos theta is equal to vector A dot vector B upon magnitude of vector A into magnitude of vector B or we get theta is equal to cos inverse vector A dot vector B upon magnitude of vector A into magnitude of vector B. Also scalar product is commutative that is we have vector A dot vector B is equal to vector B dot vector A. Now we shall discuss properties of scalar product. The first property is distributivity of scalar product over addition. According to this we have if vector A vector B vector C are any three vectors then vector A dot vector B plus vector C is equal to vector A dot vector B plus vector A dot vector C. And now the next property is if A and B are any two vectors and lambda be any scalar then we have lambda into vector A dot vector B is equal to lambda into vector A dot vector B equal to vector A dot lambda into vector B. Consider vector A equal to i cap minus 2 j cap plus 3 k cap and vector B equal to 3 i cap minus 2 j cap plus k cap then if theta is the angle between the vectors A and B then we have cos theta is equal to vector A dot vector B upon magnitude of vector A into magnitude of vector B.  So this becomes equal to 3 plus 4 plus 3 upon square root 14 into square root 14. So this becomes equal to 5 upon 7 that is we get cos theta is equal to 5 upon 7 or we can say theta is equal to cos inverse 5 upon 7. Next we shall discuss projection of a vector on a line. Suppose a vector AB makes an angle theta with a given directed line L in anti clockwise direction then we have projection of vector AB on line L is given by the vector P where this vector P is called the projection vector and magnitude of vector P is given as magnitude of vector AB into cos theta magnitude of vector P simply called the projection of the vector AB on line L and direction of P is the same or opposite to that of line L depending upon whether cos theta is positive or negative. If P cap is a unit vector along the line L then projection of vector A on line L is given by vector A dot P cap also projection of vector A on vector B is given by vector A dot B cap which is also equal to vector A dot vector B upon magnitude of vector B that is equal to 1 upon magnitude of vector B into vector A dot vector B and if we have theta is equal to 0 then projection vector of vector AB will be vector AB itself and if theta is equal to pi then projection vector of vector AB will be vector BA also if we have theta equal to pi by 2 or 3 pi by 2 then projection vector of vector AB will be 0 vector. Consider vector A equal to I cap minus J cap and vector B equal to I cap plus J cap then projection of vector A on vector B is given by 1 upon magnitude of vector B into vector A dot vector B which is equal to 1 upon square root of 1 square plus 1 square into I cap minus J cap dot I cap plus J cap this is equal to 1 minus 1 upon square root 2 which is equal to 0. So we get projection of vector A on vector B is 0. So this completes the session hope you have understood the scalar product of two vectors.


Well, to be a soldier for life is something that I'm honored to be a part of. I've been asked, would you go to war again? And I said, well, you know, nobody likes to go to war, but I'm at some of the bravest, most courageous, most caring people I've met in my life as a warrior in Vietnam with the United States Army. It also made me realize that I'm, once I get on the other side of the fence, and I've been on that side of the fence where I've been at war, maybe not all of my athletes, maybe not all of my students will become soldiers, of course, but I've got to prepare them. So I prepare them with, I use the sports that I coached to prepare them for life.  Might be your mom and dad divorcing, your best friend moving away, somebody that you're real close to dying, whatever it is. I realized that you gotta transfer that war situation into the whole picture.