Welcome everybody back to Segal Talks here at the Martin E. Segal Theater Center, the Graduate Center CUNY in New York City, at the City University. It's the end of week four. We reacted fast at the Segal Center as we do often and we created a series so we could hear voices from artists and workers in the field of theater and performance and how they are experiencing the moment, what they are thinking, what is on their mind, how they influenced by the moment and what the future might bring, should bring, will bring and what is the way they deal with a situation that's unprecedented, especially of course also in New York City. While we are talking people are in hospitals under respirators, people are dying, we have more dead people than countries in the world or most of them, so something went really really wrong. We just had a call with South Africa where Basel Jones said things are looking kind of okay, the government is doing the right things, we trust them and so it's stunning things. We heard from India where 500,000 people left on foot New Delhi trying to get out, some prepared to walk a thousand kilometers. We heard from Egypt where the government offered $15 for an artist for the next three, four months as a support and they had to call into one national hotline where there is one phone number only and fill out ten pages. We heard from Germany and France where the situation is different, it's supported but everybody is missing what makes life life, when we know when we are live when the stone is a stone and white is white and black is black. We know that when we look at the stage and one of the artists, contemporary global artists who gives us meaning on stage, who reworks the classic but also reacted right away to his own country and to his situation in the U.S. where he studied his Guillermo cultural and from Chile his country went through tremendous changes, has seen many many things we have never experienced in America or in Europe, this might be closer to quarantine when he grow up then these things have changed there and they are changing again, so we are tuning in now to Latin America, it's been a while, we should have done it earlier, Lula Arias will come soon, we have contacted Sabin Berman from Mexico, Lula of course from Argentina, but Guillermo, welcome to Segal Talks. Thank you so much for having me. No really, it's a big, big, big honor to have you here, you have been at the Segal, you have been in New York, you actually also studied for a while at the Gwetsendau, I didn't even know that at the time you were here, you came to our events, you worked with Anche Urgal a lot who connected us also to you at the public with Oscar Eustis who's going to be on next week with Tony Torn together. Guillermo, where are you now and what time is it? It's the same time as in New York City, this is noon and I'm in Santiago Chile. So this is where you live, their home is at the moment? Yes, I've been staying here for the last year or so, yeah. So tell us a bit what's going on in Santiago de Chile? Well, maybe I should start with a dead, we're hitting maybe 180 this weekend and there are people diagnosed with the virus, it's hitting around 12,000, which is acceptable, I guess, because it means that the health system is not collapsing, but of course we're really skeptical about the numbers and we know that the health system is already a collapsed system. So ideas of collapse are, I don't know, everything is debatable right now. We have been under curfew for a while and under quarantine, which is different. The whole country is under curfew, meaning that you can't leave your home between 10 p.m. and 5 in the morning and also curfew means not on the street, not driving cars, nothing. Exactly, exactly. If you step out of your house you get the time by the police, but there's also different regions of sections of the country have been under quarantine, meaning this city has not been under quarantine as a city. Only different municipalities within the city have been under curfew and it's interesting phenomena because the illness arrived here, the virus arrived here through the upper class neighborhoods because it basically came here for people coming back from vacation in Europe. Of course not everyone goes to vacation in Europe, right? So the people who are right here got it first and then they passed it on to the people who worked for them. So now the curfew is being ended, I mean the quarantine is being lifted in the upper class neighborhoods and they are putting under quarantine the working class neighborhoods, which means that again all the people that got it from those rich neighborhoods are not getting it and that's different because it's a very segregated city and we have a whole different health system for the rich and the poor. So now we are really afraid that the working class health system is not going to be able to deal with the virus in those neighborhoods. So it would mean like in New York City terms upper west side could go out and no quarantine but Queens or Brooklyn or the Bronx there's quarantine people are not allowed to go out. Is that true? Is that right? Yes, exactly. In the upper west side everyone had private insurance and in Queens nobody had private insurance. So they have different set of hospitals and different set of doctors for different sort of neighborhoods in the city. Sorry, do you have health insurance as an artist? How is the situation among artists in Chile? Well it's pretty dire. The theater in Chile is always a semi-professional activity meaning that the people who do it go to university sort of career, I mean they started for four years in college to become theater artists. So when they do it they do it professionally, they do it to the higher standards. But the reality of working in this theater is amateur meaning that people do it mostly on the side. They have a day job and they do it during the evenings when they are free to work after their day job. So there's funding of course from the government but that's not enough to sort of let people dedicate themselves fully to creating theater. So people teach and they of course wait tables as they do everywhere in the world. But of course wages are low and there's no jobs for everyone. So people who are who you see on stage working professionally are usually working under the poverty line because ticket sales, well tickets are really inexpensive and the wages you get from performing in theater are not a lot.  They always sort of marginalize and sort of push into sort of a working class situation in which they can't abandon. So in a way this situation has shown that this situation in which we find ourselves now is not much different from the one we were living before. Now we're not allowed basically to show our stuff because theaters are closed but we were not making a lot of money then anyway. So people, the situation of theater just hasn't changed much. I don't know if I'm being clear there. It was died before and it's on its own now. So however, well there's a big story to this because this coronavirus crisis hit the country in Santiago, especially where most of the theater activity is in March, late March, early April. I want to say mid-March, right? But in the context of basically a social revolution, political revolution in the country which started in mid-October. So in mid-October massive protests started happening all over the country. Something that we have never seen before in Chile and it was a big revolt against neoliberalism and capitalism in its neoliberal form of course. And against the government because once the protests began sort of taking over the streets of most cities in the country, the reaction of the government was extremely violent. Immediately they declared a curfew and then they brought the military out to the streets to control the population, which was really shocking because we hadn't seen that since the time of Finochet in the 70s and 80s. So this was really sort of a nightmare come true. And the actual police began behaving in a very sort of criminal way, shooting the protesters and killing dozens and also taking the eyes out of people's faces. So for some reason we don't know exactly why. Maybe they received orders, maybe they didn't. But they started shooting their guns to the heads and faces of protesters and they took, I don't keep up with the count but I know that more than 400 protesters have lost their eyes and a couple of them have lost both eyes. So they aim at the head, they shoot at the head in order to take people's eyes out, most of the young people, which is really interesting because they're not killing them but they are maiming them, right? And for us we see that as a form of torture because during the dictatorship torture was really effective means of control, the protest and the political activity of the people opposing the dictatorship. And torture is a great sort of control scheme I guess because it terrorizes not only the person who's being tortured but all the circle, right? Family and friends become immobilized and actually it's really hard for them to go back to politics because the horror, the terror is so striking and so run so deep in everyone's conscience and body that you can't sort of rise again to fight. Right now they're not allowed to do that, they do it anyway in certain police stations but now taking out people's eyes serves that function, very similar to torture. Once a person loses their eye it sends shocks with shock waves of horror and young people think twice about going outside to protest again and of course they can't get away with it. No policeman has been sent to justice because of this kind of crime. So this happened, this started happening again in mid-October. Just last year, October 18th. So the government behaved very criminally, they couldn't control the protest, the protest didn't stop, they set up the curfew to control the population and to let basically the police and the military roam the cities and then the protest kept going and they became more intense in March because here in the southern hemisphere we have our summer break in February. So protest didn't go away but they just slowed down just a little bit but when people came back to, students came back to class in March, everything started sort of happening again. People taking over the subway system, people burning tires in every street corner, stopping traffic, stopping the economy basically, unions striking and marching towards the center of the city like a full-blown revolution. I'm talking about March and then this happens, the coronavirus happens. So the coronavirus stops the protests because people are not allowed to go out anymore and they don't want to because they don't want to get the virus. So it's very sad for the protest because we were, it was the one exciting thing that had happened in our country for a long time because we were being sort of, we had sort of a kind of a humiliating situation in which our country was underpunished sort of the laboratory of neoliberalism because during the 70s and 80s the government had a free range to impose all the neoliberal experiments in our country because they didn't have opposing parliament to deal with. So after that we were basically very passive, we didn't quite rebel as a country and that was really, really actually sad. We didn't until we have a sense of collective drive or even ambition. There was a sense of shared sadness I guess for being completely submitted to this horrible system. So now basically people were taking over the streets and there was a sense of collective action. We're finally taking over, we're finally doing something for ourselves and that's when the coronavirus hit. So the protest is over and the government which is basically ready to give up and maybe sort of to call elections or to have the president resign, they take back control and they set up a new curfew but not now not because of protest but because of the coronavirus. So for us it's a weird thing because curfew of course we knew before from two months ago when we were protesting. So this is a new kind of curfew. We know actually we have some sort of experience in this because we were sort of trapped in the houses two months ago. So in October you had a curfew? Yes, yes. Tell us about the curfew. Yeah and now it's a new curfew. Was it the same time, 10 o'clock till five? Yes, well sometimes it started earlier during the protests, maybe sometimes at seven or eight or even at nine. It was the most strange thing because in the summer the sun goes out around I want to say nine, nine thirty. So when the curfew starts at seven you're basically are trapped in your house with full daylight and during a heat wave not able to go out. Very strange as the military tracks twist across the city and military helicopters try over your house. It's eerie and you feel of course it's very dystopian. You feel you feel like you're basically in the middle of a sort of science fiction film or something which is something that is very common now. We all feel like some sort of fictional dystopia. I don't know for me it was really easy to see the helicopters, the sound, the way they fly low in order to sort of make sure you hear the rumble and you feel like everything shaking inside your house. It's a show of power. It's a relief in a way because you see the system showing its true colors. Everything becomes very clear and transparent. So in a way it's a moment of honesty for everyone involved. Yeah. So I keep thinking about people wanting to go back to normal but for us here normal was a revolution. So when we say we want to go back to normal we want to go back to the normalcy of revolution because that revolution as complicated and difficult and bloody as it was it was a revolution about collective action and a sense of future and even optimism. It is really stunning to hear and to take that all in and did you participate? You was a director and playwright. Your work has been shown. It was at the public theater in New York and Berlin and so many countries around the world and you say you still have of course a hard time in Santiago to be produced but you as an artist how were you involved in that revolution? What did you do as an artist? Well as much as we could and I'm speaking collectively because well what happened immediately after this revolution started was that theaters closed because you couldn't go to the theater because the theater was basically I mean the city itself was closed. You couldn't go anywhere and the police were everywhere and then the curfew happened so theaters were closed immediately and theater artists were immediately sort of paralyzed and there was a collective realization that it was impossible to do theaters theater in these circumstances. Not only because it was ethically complicated to drag people into sort of this bourgeois sort of activity of being in protected closed doors, engaging in some sort of a version of high culture and while outside there's some revolution in which people are dying of course that's that was impossible for us to do even if we wanted to do some such thing but also because the revolution had the effect of immediately challenging our way of doing theater or aesthetic or subject matter everything so I think there was a collective understanding that the only thing that we can do right now is just stop everything and go out to the streets to protest and to join the movement. There was a realization that we're not going to be opening new shows anytime soon maybe in six months or a year so we might as well engage with this and see what it does to us and maybe we can make a play a show a performance piece out of this in a year from now after we are able to digest and come up with something worthwhile so basically join the protest there's a routine in which you go every day or you go every Friday you join you get you I guess the most common experience is to just breathe a lot of tear gas cry a lot with that tear gas realize that it's basically a chemical weapon see the violence engaging social media and see every single videoclip in which they show you the complete violence in which the police is engaging the radical violence that they are using against the people so we we did this thing which we went out joined the protest do whatever we could and then go back home and spend hours on social media seeing what other people were doing and exposing ourselves to extreme violence and when we when I say extreme violence is basically um police cars for example not even thinking anymore about sort of keeping some sense of um dignity or some sense of uh legality to what they were doing and basically um pressing the gas and just running the cars against the crowd and just have people sort of fly hitting people and just having people fly in the sky fly up after being hit by a car so we're exposed to that with a sense of responsibility because we can't sort of we can't look away we have to engage by sort of engaging with the violence it's kind of a citizen's duty to do so um and um wait and think I'm trying to figure out if theater is possible after this if it's possible at all this is amazing the same police that uh executed that state power represented and killed people to eyes out they are now on the street trying to manage the curfew right they are the same same uh same soldier same policeman it's uh incredible it's unimaginable and it also puts a lot of what we experience also in in perspective how do you as a as a human as Guillermo uh how do you feel at the moment what's what's going on what's going on in your mind how do you feel well I think um I feel very not creative at all I think um I think at some point I thought maybe this was going to be a fertile moment to just imagine theater or some sort of art for the future something original to say about this going on but um soon enough I realized that it wasn't possible the the the fear for the future the the acknowledging the the criminality of um people in power all over the world is so overwhelming that um that um I feel like I've been pushed into a corner which I I can only sort of um think trying to inform myself to just trying to grasp understand what's going on but I've been sort of pushing to sort of um um facility and a sort of kind of a abject facility which I'm completely sort of ashamed of my situation um I I'm not engaging much with people um um I thought there was going to be at the beginning a lot of um conversations and zoom parties um every evening but I haven't been doing that at all I think it has a it's a more um an experience of being um alone worrying about the future and trying to um imagine a future of dystopia not because I wanted but because I think um it's always better to anticipate the worst rather than to hope for the better I'm not always like this but I I I've been sort of um pushing to that extreme so um yeah so I keep I keep thinking about um the moment in which they say oh listen um um uh political rights yeah we're not doing that anymore because we're in a state of emergency uh you know um you know what television yeah we're not going to be doing that anymore because we need to sort of allocate the resources to somewhere else supermarkets yeah only one but run by the government we're not doing supermarkets anymore gas yeah just bikes we're doing bikes now so I anticipate a situation in which we're going to slowly and and very bored walked into sort of a state of um or of um poverty disconnection and a new kind of civilization that I I don't know um what it's going to look like I guess that that's one version of it on the other version of it is just um um some sort of us uber capitalist system um even more authoritarian but the one we already know do you feel your government listened at all to the street protests are there signs now where you feel I mean it was as you said it looked like elections would happen now with the corona which is so strikingly similar to authoritarian rule imposed by an authoritarian government but do you feel now there is perhaps some trust that could be put into the government is there anything where you're saying yes maybe something will change for the better how it is does it exist or do you feel it is hopeless no I think that they are they are as criminal as they were before um criminal in a very sort of um cool way because the same guys who were killing you actively sort of sending out people to kill the protesters are now saying um we're we're here to protect your health so you don't die please stay at home so that's very I don't know extreme whitewashing um to the point in which it's almost um laughable but I think the changes come from the um sort of a changing the people how people see their power for example uh when this crisis started they wanted to keep the shopping malls open and immediately all the the people who work in retail at those shopping malls the the employees basically stepped stepped out of the of the stores and they started clapping uh protesting and that was um very striking because those retail workers um never ever protest so I think that they got from um sense of um encouragement from the revolution before so in a way that way of resisting the system was applied to what happened next which was the coronavirus crisis so I expect more of that um for the future and again all the people who were protesting uh five months ago are can't wait to go back to the street again so after this coronavirus situation is over lifted the vaccines are arrived whatever people are going to be um killing the streets and protest by protesting by the millions so the the last protest we have was um International Women's Day on March 8th I guess it was the march happened a day before um a million and a half people women march in the streets protesting the government and and asking for justice and asking for the stop stopping the violence against women so that's that's the strength of the movement and that's not going to go away at all and by the way I should add that the woman did accomplish something that um there's going to be an election to um write a new constitution it's going to be an election to vote for or against um writing a new constitution for the country and that's a big deal um and that's happening in October so whatever happens well the they were originally set for April but now they moved it to October because of the virus so that's happening whatever happens there's going to be a new constitution in Chile and there's going to be um a very new world and a very new country um but um um yeah you know you know how it is you can be optimistic and pessimistic at the same time and make that kind of um your um identity um as a theater artist um with the work you um you put up the work you imagined uh is a symbolic way is a way of of a real way uh on stage um it's portraying the world but perhaps also was the call to change it as Milo Rao said that what you view and others are doing now um do you feel the revolution but perhaps also the corona now is something changing inside your your thinking about your practice or do you feel have your too much ostomizes I feel I'm just hit by a bus I can't really put it into words it but do you feel there's an adjustment that things might be approached differently when when this is over and it will be over things nothing lasts forever so for the good or for the bad but this will be over yeah is there something that well something interesting happened because we I was doing with with a lot of people my generation and younger we were doing these political plays for a long time into we're sort of foreshadowing the revolution yeah to the point in which we were becoming um boring right because we're repeating this message over and over again this guy's going to fall down on us but the system is completely unfair we have no justice we are under a dictatorship under other name we were going on and on and on about this um some people were maybe um saying with some sort of uh justification why didn't you stop it move on to some other subject matter you know because that's all news um the country moved on you know and we would never shut up um and we became even more radicalized as we as as as years went by and then this revolution happens we were sort of um vindicated in a way but revolution stole our immediately stole our thunder because it was so big and it was so such a popular movement that our theater became immediately old because we were seeing the future and sort of again announcing the announcing the revolution but when the once the revolution arrives um you can't see the future anymore you become part of the past the people who announced it but we are not um um for seeing anything and i'm talking about our subject matter and also about our aesthetic as well so we were we're completely stunned yeah a big boss hit us but at least we had the revolution and the revolution had like a sort of beautiful um artistic component people doing graphic arts were just covering the city and sort of the most beautiful art graphic art graphete that you've ever seen um there were performance everywhere there was music on the street it was just beautiful but we were stunned anyway and then something really interesting happened which was not a feminist group from Valparaiso called Las Tesis creating created a piece of performance uh called El violador it is to or the rapist uh is you which is something um that was performed by group of um i want to say a hundred women 200 women on the streets and everywhere and the performance was so successful that it was repeated all over the world including a new york city and most cities in the u.s and europe but i'm talking about everywhere in the world and and this was a piece of performance alright basically it was um a dance in which um i can't really do it right now but it's basically i don't i wouldn't know how to do it but it's basically uh they repeat that um a little speech with um some sort of um sing song as they move their um their arms and legs representing um different situations of oppressions of oppression and then sort of um fighting back against authority talking about about the way they use their body but it's one of those um sort of um short dance pieces that um you can learn rather easily and that you can do on the streets and it's and it's for for women right for women to to perform as a group and this was really interesting because as they explained later this group made out of um women they were preparing a play in which they were um going to use this little choreography but then since the revolution started they couldn't do it so they took that little choreography to the street and then it got fire and then it was done by people all over the country and then all over the world and it's and it has a very sort of strong political content because they are accusing um men of actually um being the rapist but not only men but the state with capital letters and the police of being the actual rapist uh not only in the sense of the actual rape but also in the sense of sort of um raping um society as a whole with um with oppression and this was done collectively it's incredibly strong it's incredibly catchy it's incredibly beautiful it's incredibly theatrical and once we saw that we saw the theater of the future this is it this is what we were sort of hoping for um this is here to say theater right um a theater that doesn't happen inside the um our conventional theaters it's for everyone to be done it has a striking political statement and it's done by the people and it's beautiful and it's joyful and it's political and it's um and it's done by women so it was um basically the most hopeful and beautiful beautiful thing that I've seen um coming out of this so I think that's sort of the future it's not maybe not done by me maybe um my role is to go back to my old ways and trying to find a way from there but at least uh I know that uh some people are taken over in the most creative and beautiful way a more interesting way so again that thing is now dormant but I expect it to come back looking back I mean you did the great piece villa about the the villa or the museum of torture you know should how foot format should take it's a wonderful uh discussion on how to think and how to think about things at the different perspective but also then you did never where actually actors were rehearsing check if I died a revolution is on the street but a play like never where it deals with revolution do you could you write that again right now or do you feel something uh is different yeah something is different because uh the inspiration for never was um a problem with the ethics of doing theater something that I've talked about this here before in a country so violent and so um with so much inequality and oppression as Chile it's really difficult to get away with um charging a lot of money and doing a play in sort of beautiful theater every aesthetic sort of preoccupation or concern or maybe um engaging in this um collective act of going to the theater to some sort of cultural enjoyment and it's uh rather shameful or could become rather shameful so I wrote a metaphorical play never in which um uh Tchaikov's widow um Olga Kanipa was basically rehearsing a play while outside the outside the desire was killing people during the 1905 revolution and some peace but so just to just to again to play with this idea of um performing something while outside people are being killed uh and the play was really successful for me as a writer and director because I think I engage the subject and the way that I wanted to but for that to happen for that um idea to sort of work theater has to be happening so when I did this play theater was actually happening people were sort of um going to the theater and feeling the seats of the house right now there's no theater so there's no um um there's no um bourgeois theater getting away with an aesthetic concern and ignoring what's going on the streets so I guess now the equivalent of this completely sort of um bourgeois engaging with sort of an escapist um art or duty is I guess staying at home and watching I don't know television or quality television which I guess it would be a little a little bit unfair because it's not like we have a lot of options other than that but um I guess a play like that um has lost um traction because of the fact that we actually don't have theater now and we won't have for a while how do you spend your day tell us a bit how do you when you get up what do you what do you do now and in as a writer such a brilliant mind and director and you went through the revolution our theaters were closed now it's closed again there's curfew so how do you how do you pass a day well I most of the day is taken care of um of a toddler that's it I take care of the toddler all day and then at night I have two hours for myself in which I basically um check the internet and try to write a little bit and and then my mind completely um goes and then I have time for some email and that's it I'm not watching movies I'm not reading I'm not doing anything other than sort of um reading the news reading what's going on with with the pandemic and trying to catch hopefully use about the possibility of treatment or vaccine and I have tried to catch bits of um the show viewing shows that they are putting up on the website that's that's been my my um my biggest um sort of um moment of pleasure and I am teaching a couple of classes in the university I'm teaching a class in theater directing and also a class um a writing class writing classes I think more tolerable but the situation of teaching over a screen is um it's fine I mean people are willing to make it work but it can last is um I don't know 30 minutes after 30 minutes you start losing your engagement and your concentration so it's not truly productive and I think the same uh and the directing class is just um I don't know I think it's underwhelming because um of course they're practical class you have to be actually engaging with students and directing on stage and making them direct on stage because most mostly it's just in theater and this doesn't film but we're not doing much directing we have tried to direct uh over skype a little bit which feels um current because a lot of people are doing performance even plays on skype and um zoom what do you think about that doing plays and performances on skype and zoom well well I guess people have been doing it here really successfully I guess so they did a couple in which they they um they sold 1000 tickets for one and then 500 tickets for the other one which is unprecedented and they were charging I want to say the five dollars which is a lot of money so um it was successful and people are seeing this as a sort of a fine alternative to not working and some people are even looking into developing this um online play thing as a exploring possibilities for it right maybe it's the sort of a zoom conversation is just um the first stage and maybe they're going to come up with something really interesting I'm not interested in that myself I'd rather do I rather do um radio plays or something like that but um I my criticism is that the people who are um succeeding on this are people who were already well known and really well established so people who are already famous maybe are people who are can sort of invite a lot of ticket sales they can get a lot of ticket sales because they are already famous so in a way the people who were already well positioned in society in theater are getting the most out of this movement and the people who were doing um theater um struggling and not really well known I'm not going to get much um economic reward out of this so um I think it's going to play out I think it's um in my case I can't engage again more than 30 minutes with the screen so I think uh it might get old pretty soon but I'm not going to say bad things about it because I don't want to stop sort of legitimate sort of things that theater artists might be exploring for artistic reasons and economic reasons so when you write in those two hours at what time is it and what are you writing about well I have um I have assignments I'm um I'm writing for film and television so you did the Pablo Neruda screenplay right uh this is your latest film yeah so you write on commissions at the moment yes and I'm and I'm writing a script for myself because I want to direct a film in the near future whenever this comes back if it does and I want to um develop another play with my company because um in my company everyone is going a little bit crazy right now for obvious reasons you can do so much yoga online before it gets um um not fun anymore so we're putting together a play um which is going to be um a sequel to a play with it before which is called um at the Luna we did a play in which we we are basically trying to um free a friend of us who is in prison right now and this is reality um so we did a play to try to um convince the authority the authorities to give him um but to reason um to basically to start a new sort of um trial or maybe get a sort of um a pardon from the government we have failed so far with the first play with it in collaboration with um how theater in Berlin um it's a well international production called Mataluna which is the last name of this friend of us who is in prison right now and now we're doing a new play about him because we'd really really want to release him he um he has called me a couple of times from prison he's very scared because he is um of course in a sort of very dangerous situation because as we now um prisons have been um completely devastated by this virus so he's very afraid that he's going to get it and also in two years prisoners have been state staging um riots inside prisons to be released and or to have um access to to some sort of um medical care so he's afraid that he's going to get involved in some sort of riot and then he might get the virus as well so he has called me twice in the last um month I guess and um we're doing another play for him in order to release him um this is uh for us as well and we don't know how what form it's going to take maybe we're going to film it and maybe show it online if we need to show it before this um the situation is over so that's that's that's part of the work but that's um that's um um I just tell you just more uh meeting than writing do you feel uh in chile kind of how is the situation you feel isolated are your contacts to latin americans colleagues in other countries or to europe or america do you feel people pay attention to the situation um yes before before um this um I mean during the revolution I got a lot of emails and a lot of attention from other from other people there was a theater festival here a lot of people came to see the protest and to see the theater and I gave a couple of interviews to um international um websites including how around telling about the situation in chile and a lot of friends wrote to just find out what was we're going on there was a lot of concern and I was really pleased by that and I realized how connected we are but now that we all have um coronavirus and we're going to the same situation I realized that there's um there's um a situation in which one doesn't have to explain anything to anyone because this um situation has um unified in such a way unified unified us all in such a way that we don't need to explain to each other anymore what's going on so um I've been talking with friends in Europe and we don't even talk about the virus we go immediately into personal stuff or other stuff because we don't need to to tell each other yeah I've been I've been at home trapped for six days today I'm going to take a walk I don't have food or I've been eating too much I can't watch um tv anymore it's making me sick um you know that kind of conversation it's just taken for granted because we're going through the same so we just go into sort of a more real stuff and also I guess we we try to keep up um a sense of um humor as well because it's it's um basically the only thing we have left so we might as well use it yeah yeah yeah this is uh incredible I hope that one day you will actually get your own theater have your own building and that you can work in a good way that their support for the for the artists I mean you say you work with students you teach in this moment now what do you what do you tell the artists and what do you tell your friends what is advice how to get through this or what to keep in mind well I tell them two things one that um um we already experienced the death of theater in Tilia because after the coup happened in 1973 uh there was a curfew for years and theater was basically killed and for some reason theater survived and then it became a thing mostly through um street performance in the 80s and then it became a big thing in the mid 80s and the and the 90s and theater came back and it did wonderful beautiful things so theater has a way of surviving the most dire sort of um situation so I basically when I talk to people who are in their early 20s or even younger than that that they're going to go through the death of theater and they are going to revive it themselves and they're going to be talking about the revolution and about the coronavirus for 40 years in their theater and it's going to transform it completely and it's going to be born from them because for me there's going to be a before and after this crisis but for them it's going to be the starting point and that fear is going to look completely different it's going to be awe-inspiring and it's going to be beautiful but it's only um only only them are going to be able to to do it so basically I guess I'm terrorizing them with assigning them a lot of responsibility you know basically you are the ones who are going to say the world uh they're going to say theater by by um inventing it again um but I uh I believe it I mean I I know I hope I have a role myself in that sort of rebirth but I think ultimately it's going to be the role of people who um were starting um writing this uh wave and so I if I understood this you cannot read um anything at the moment or but do you or if you do read what do you read do you listen to something is there something that where you connected to which perhaps even you before but now it's kind of a different or something new well this I think um so before I told you about my toddler situation so before this I wasn't I wasn't um um engaged with television at all and I did let my my kid watch um screens at all but since we're trapped now we are in order to save our sanity we're turning on the the the computer and watching um I don't know those videos for kids and I've been engaging with um television for children and it's just the most wonderful thing I thought it was just violence and horrible stuff but it's just beautifully done and and pure joy so I've been enjoying that really this is this is new and that's that's given me um a lot of uh optimism I get and respect for that sort of um uh creation I've been um I've been um following closely um the um US elections primaries and what's going on there which is a spectacle itself it's terrifying so that's um of course I read that the usual we expect the stuff like I don't know Jacobin and but current affairs and sometimes a paper of record but um I keep very engaged with what's going on in the US politically speaking and that gives me a sense of doom but also a sense of sort of um uh reality being actually living in reality and um I am also um also I am listening to um a lot of um um electronic music abstract electronic music from the 60s and 70s I think um there's a a sense of beauty beauty in in that sort of abstraction and also um there's a numbing quality I guess because uh it um is so overwhelming and so strange and so different from everything that is sort of uh has the quality of quieting your mind in in in a way that um no meditation has able to do for me yet so I guess that's my that's my work music and and my meditation music as well so yeah that's my my cultural consumption I guess and and of course no cable no television and no um no broadcast news at all incredible for my for my own science team that you also switch between children television and the ultra violent images from the revolution um you listened I guess Brian Eno and worked like this who said his music is as ignorable as it is interesting and that it balances it out and and it is yeah so Guillermo really you are one of the artists where we do say why we need to hear about it artists who've been on the right side of history right side of progressive justice and on the right side of also what's right and it's also you put your your body into the work as a puzzle lini said we all should be doing throwing our bodies into the lives when you stop doing theater but we're participating in the revolution and and really we all think about you you're part of our big global theater community and your work is extremely important and please do do know that chiller has been on the minds for many many reasons enough for every everyone to our audience I hope you will be able to listen in also next week as I said as far as we know we are the only institution theater institution New York and in the US perhaps also New York would produce as a new meaningful content every day and just hearing from Guillermo just why it is important that we that we hear and listen to these to these voices we have also significant artists as Guillermo for next week we have the great remedy company Stefan Daniel and Helgaard will be with us Guilleregis Jr from Haiti um we'll talk about the situation um there Jalila Bacar from Tunisia who's a great leader one of the most successful maybe most significant writers in the Arab world Peter Sellers will also join us and we'll talk about his work and life and how he gives meaning and then we have Oscar Eustace who runs the great public theater where he also did your work and Tony Torn who runs this tiny small theater out of his home his from his father a beautiful space so they both will give us views what's happening in New York City and their take on it so um can really thank you thank you listeners for taking time I know how busy these days are and how much content is out there and everything but I think for artists also like Guillermo it's good to know that people are listening that care and then we have um more questions that uh we'll keep with us again Guillermo thank you for coming uh on our uh uh Seagal talks thanks to a hull round at Emerson College in Boston for hosting us the uh and Vijay and Travis and the Seagal team May and Sanyang and Jackie and Andy who came on so thank you all and I hope to hear from you all soon again in Chile and I hope Guillermo will be back in New York one day I'll come and visit so all my best and really all my best wishes you're still healthy and and continue doing the good work thank you bye bye thank you so much I'm thinking a lot New York City good and everybody they're out there stay


Hi everyone and welcome to Tatum's Tech Talk. We've had a couple of episodes now on gearing and carburetion and we're now going to move on to the third area that can be manipulated in the pits regarding bike setup and that is the ignition timing. The ignition is located underneath this cover we see often the guys removing it. I'll do that now and away it goes and it is like a generator. It actually spins in there that little flywheel spins in there generating power that then is transferred to the spark plug. It will come with the ignition actually put in the optimum position by the engine tuner from the dyno but on track conditions change and often to calm the engine down one way of doing it is actually by changing the ignition timing. It's on three bolts here and there are slots on the generator itself and if you turn it to the right like so and that's plenty you only have to change it by two or three degrees you have retarded the ignition so the engine won't rev quite as much or if you turn it to the left and you actually advance the ignition timing then the engine will be more inclined to rev a little bit more freely. As I say sometimes again the choice and the feedback from the rider coming in from a race to understand exactly which way to go that's the clever bit and if you get that right all of a sudden the setup of the bike is sweet and the bike is purring away out on track. We often see when guys come out onto the track you know they do a little practice start they've got all their crew around them and then they come dashing down to this and they remove that case and they're furiously working away in there and they're under two minutes they're under pressure it really is and the clock's ticking riders nervous he's then got to trust them to move it the right way whether it's advancing or retarding almost like a Formula 1 pit stop isn't it when they really are needing to get the rider on his way around to the tape so it is something that can be changed at the last minute not always a good sign but certainly something that can make the difference between winning and losing so this is the third area we've got gearing we've got carburation and now we've got the ignition timing it is the three areas that can actually change the setup of the bike get the ignition timing absolutely spot on then you'll get the right results out on track very very important


On epic, because there was a bastes competition happening on twitter masuçu represent a different generation but for those who love the life of the party epic entertainment will always be their favorite I agree with you They are both dope they both represent different things it's like I said earlier in the morning kunahamtura kuna black forest cake It depends It depends kwa time you are having it Ya, Fredrik Ayyo wa na sama. Yes, it will. He's talking about the corruption and the new currency. Yes, it will. I trust so. Digipia nicheze, we run this by KFG, the dawn. Society ticheze too sa easy. Millicent guy brown.  I don't know. I think it will kwa kiasi too. Kenya ikona wajanja wengisana.  Trust the change, trust the process. Trevor James II, I really don't think so. Tafadali fafanua hai. He ni Kenya nendeleku sama. Present, present, kamakawa, kamadawa representing Westlands.  And also let me if, show it go fire, don't forget big up DJ Lil Russian. Safika Bisa. MC Bobito, anesa mangoma ya Volcano Bricksale, itchazue. Ita coming up. Yeah. Safika Bisa. Ibra Vinia, anesa ma corruption is an economic activity in Kenya, itchazue ngoma ya na shukuru ba Volcano Bricksale. Eh sasa Volcano me request you. Laina, what do you mean by an economic activity? Eh that, that's um, what do you mean by an economic activity? Anye, tu konamchazo. Asil Vesta Chassia na sama, hi play for me is in Menishika. Menishika, that song. Yeah, that's Menishika, Menishika, Menishika. But that song though, playing it on media. Tutawana kama Tutawazakwe sensor, Tutawana, Tutawana. Chis Steve, anesa ma locked nikiwa kangemi, salamos infikiya feeling jeen. Sasa feeling jeen, onwa itu fifota salimiwa. Ibanadun dum, anesa ma show ikulit, three emojis, zafaya, Sanchezana. Ana watch nikiwa na evash, anicheze Lola ya Nadia. Iko Tehari. Yeah. Safika Bisa. Johnny Akum, anesa ma morning guys show ikulit, nomba kiba o chake Nadia mukami. Ita chazutu sa easy status, itika tika tukondani sana morning Mika. Salimiya DJ, rasyana, anicheze, confidencia, masterpiece. Safi ita come through PIO. Guys, we'll continue sampling some of your answers. Remember the question is, do you think the introduction of the new currency will help to reduce corruption in the country? Let us know. Y2F4 channel, East Circuit on Facebook, Twitter and Instagram. Our first guest goes by the name of Beatrice Umoaja, a special effects makeup artist. Welcome to the East Circuit. Thank you so much. Asa Sanchezana Koku come through. Yeah, we've right time up for help.  There's people who do makeup for movies, music videos, but now you chose special effects. What drew you to special effects? Well, first of all, Nikiazana, me being an orphan, I mean, fanya ni pui like, okay, growing up, you do a lot of things, like kukusavive, you do kuhok, kufanya any type of job just to survive, so kujua talentia is very hard. So, one day, nili kwa ni me relax to home, nipana watch Nigerian movie. So, niko ona moving nili kwa tupo and then party a makeup. Nani kwa saawa nili, nili kwa like what? Yuh makeup ni yumi fanya pui apa. So, niko anza like neza fanya aji, at least such a thing, ikwe top notch. So, niko anza kwa at least kuri search about it. Kujua, jwata Kenya, tukona very good actors, but makeup, nani movi zene, zene zene zene zain da zi win, award zu koi injured. Nuko Kainz Film Festival. Yuh ndi nini fanya, atu a lini ni yuh movie tu se me na furai onyua li produce, so nini fanya wali toss something in me. Oka kupatia modisha kuende kwa djuwa? Oka kupatia motivation niya ku djuwa, at least nini to know more about yu makeup. And how did you get into it? Did you just start with the normal makeup? Is on my lipstick, eyebrows and all that? How many of you have just dived in into special effects? You were true So this is the makeup that I used to wear I used to have a passion for this My sister, my first born sister She was a panda Actually when I was young, I used to wear it I used to have a panda make up I used to buy it at home But I used to wear it But this is a movie I used to wear it So that's why I used to wear it It was easy You can use that mic It's okay Thank you I used to research more about it Let's say Kwanzaikwara isi Junilianza na viduziko kwa niyomba Kunga ya cha po Kona ah ya ishiki visori So more research, more research Nani kona Niki kifani Onaynda kwa normal photos Like injuries Mutua mume na kaji Na jari Nafanyu aji Na kaji Nani kuna na zi kanyu na nani Nani kwa kiri Sata bifotu na nani Nani zi normal The ladies You don't like such photos You turn away from such photos But kwa wawendu lukon Na zi tafuta saasa Na zi tafuta Kwa na feel Kuna zi kini ni gori Na zi na kufanyu na feel Ata siyesi fanya ni Niki pose I'm sure Facebook na zi ni block You zi gini ni 2 gori But kuna zi gini normal Kama zi nini kwa niki fanya My husband Anu ulizo na watu Facebook Are you okay? Is everything okay? Kilamutu na mwen box So your husband In your practice test dummy In the house You're my mother Nini Kwa wuki katini upachi Idio na mambe bukapa le Niki pachi Idia kwa nini Unesa fanya nini Kali But ideas By the way Ebu kujoka ea Fati fanya That's good It's good to have that support Now in the beginning When you told people That's what you wanted to do Aside from your husband Who is very supportive And we commend you for that Everyone else Lukon na zi ma nini Oku ambe unataka kutengineze Zuma wounds Zika vizuri Nini nili kwa fanya sana Kwa sa wu watu understand Na ungele ni ni Na sa wu kiwone siya foto Idio na baki Indio na fanya Indio na ita makeup Ishi makeup Now what's the trick to good Special effects makeup The trick Same to like You research about Actual bond in a kaji In jarees Kaz Zina kaji In real life So ki jerebu ku fanya At least yuna jerebu ku perfect It's ok Perfect like Ata doktoria ki Aki yuna oku yenda kenyata na yu Yuna kaya ukweli Uya mumia Bumshubu li ke kwanza Bati ni makeup Kwa lazima u study Like a doctor Ya lazima u jwe Like Kamanita Exactly Kwa farts Zina tokes Zina kanda How di farts Kuna farts kwa skif So lazima u fanya research Oe zitu wa muko se meti Na fanya cut Oki katwa na kisu Kuna venye kisu ni zi ingia Oki dogwa na sumare Hia zi ingia tuwa Ape ito ke uku yende iwi Kuna venye sumare na end So ni research too Now we were talking earlier about The current state of special effects in the country Not just the country I think Generally In Africa Oku o meredika na that Nollywood film in Yolukomeo na Nasa iba do Kenya Certain people lolly But some certain films Zini zina win Those are words That you're talking about Na badwa zeredika Na the special effects Nini nini nini nini Niza fanyikenda watu Anze kujkulia More seriously Well I think Kini na sumbuwa Most people Let's just say Ni finance Pesande na sumbuwa Na because For the silicone and all that Yes Oki jarib buku itisha Okit after make up Se me weveni Producer Una taka Make up artist And then Oni eche uni ambi na Taka mugu iku Katika imi angu Kapale Kono wuku Na taka Muvika mawukin dead Kirukai iu Una na So oni keku pay a budget Ya such a thing Una na Shia iu Shia iu Una na But that's why Na tafta Chip things Za kufanya So Inge kwa At least una Jarib buku Accept special effects Make up artist Inge kwa Cozuri ju enge tu boost Inge tu boost Ina way Movi zeto zikiwa Ka live iu Na iku Una tika Katika Una na Nuku eli Ida countries Una tabaki Nju Nuku eli Hakita eu emoosho Na ii yuan Una connect Na e Na taka Unzika Kufanya na movies Una zeta Kukuliza solo imbili Nika trigger Nju Una zitori Aside from abroad? Ya, wana jitole? Ku jitole azein wana kusips? Wana nani kama wana fanyakazi vizuri kwa special effects? Kuna moja nili wana mnaijeria do, na shangam wana kutumika kwa izumu vizingin. I think maybe the finance is too still. But here nili wana at least, dosi jujina yake, nili wana tu kazi yake, nili wana at least wana fanyakazi vizuri. Ali kwa fichat bbc na yendio na kimbiza sasa. Hala sasa? E, nikompe sasa. Me, my favorite movie in terms of special effects, ondoa li yongezapia masigii, ni avata. What about you? What's your favorite movie in terms of special effects? Ulyana, this director, this producer, li jitole? Mostly na eza se na penda the working dead, kwa sababu omitumia. Too much. The series? Yes. So you like those good things? But then we are about to show you some photos, view discretion advice of course. If we may, let's see some of those photos so that you tell me what went into doing each photo. Like this one, this one looks subtle. Aikai like... E yosu sa ni a bruze, that's my son, nili yongezapia ni model kwenyumba. Nili kwa na ia, Like, kine li later, ni ni made some house helps, wana cha pa wa toto. Nili kwa na fiki re, like, neza fanyem toto mikap gani, and then I can hit. Wato to wana cha pangua penge sana, so I thought over bruze and yon do ni lim fanye. Okay. If we can have the next one. I like how subtle it was, it looks like a real bruze. Like, umutame cha pa ba re or something. I will have the next one in a few minutes. Before that. So, okay. This one is crazy. Yon ni model unendelea, iko in the process. Yon nili fanye a cut. Nili kwa na Google to cut zinaka and then I thought of ebu ni fanye model ni on. It looks so real. That's blood. What do you use? Niki anza I started with in a tragedy, food color. Food color? But then again, I kwa na yon thickness, yon blood. So I had to import. So it's very... You import fake blood? Yes. Yon buy, lakini sasa shi danyo, pachi kani apa henge na fake blood, wana semu na tawa kufanyan. So what do you tell the custom people? So, like, okia mbiyatu I am a special effects makeup artist, then atawuliza what is that, then mostly wengi na wa lileti anga na photos. Wengi na manisha. Wana apa na sinio neshengin. Yeah, wengi wa no gopa. Now you're the founder of J1 SVFX. Yes. Uli tokaji from just being interested to actually doing it and now being a founder of J1 and a special effects firm. Well, when I started with my husband model, I keep post the reactions na zilini fanya, nika tagaku jo mo. Yeah, like, what if niventia into this thing? No na. Jo watu wa lu kwa na? Eh, are you ok? Are you ok? Nini na kufanyi kia ume bondu wa wa api. No na. So I thought, na by then kufanyi aii kwa me movies. At least I can add something. Kwa mu vizetu. At least the talk epezu zi ween. Jo, kuna zene zina ween but we have very good actors make up to dena wa angusya sa zingi. Make up to dena wa angusya. But we have very good actors. So kwa ok, adapt to your spice. Toki dogotu. Zita yenda. Fah. Kuna mungi na mwanyu memueka under your wing, unan funza. Like an apprentice. It's just me and my husband. In J1 SVFX. SVFX na special. Ya na fanya visual effects. So pia una taka kuangiza like things like green screen. Sa saye aia ya ako uko. Mimi saniko kwa make up. Pia kifanya like muta ni ambi ena taka bullet wound. Nta fanya wound lakimi. Ya na ta fanya effects. Ya kukuja. Itokeni kama mi chapuame ta saye aiko yopat. Power couple. Yes. Nice, nice, nice. So what's the future for J1? Who do you want to work with also? Mostly most of the film directors of Kenya are going to attack Waknau. Wengi sanasama Kenya and then Tutimarizuna na Kenya. Taka inje to venture into other nene. To see how village neza Saidiana other countries. Yes. Nice, nice. Russian. Umelete silikon. Umelete silikon. Umelete ila takatwa na rashin na make up. Kama kama. Kama mi menda. Jujujuju. Jujujuju. Sijida ni duki nike mpa kachatakapa 10 hours. Also that's how long it takes. That's how long it takes. Long. Like that tawna ni nyoma ona sometimes take 30 minutes. And the producers understand when you tell them such a thing. Because most of the time they are working on a time crunch. Ya, so Kenya siufanya nyu mamapema Mpema, aki sema na takah this type of wound na wamiya So you already know before and like some other time you require Yes, say ma pas kuja ma pema, weyumu nyanafanyu wa takwa puma pema but the time tu na maliza kushuti nani, yei tu na maliza na nengia pati ya ke ibo ibo so ni kuakupi atuna director uspo wamiya ma pema, wuna meski lamdu You know even as a maker parties unadzua I think unadzua thing or two about forgery say this this New Kenyan currency the question was we'll get to the question later on but now how easy would it be to you know fake that thing to fake the currency Well I don't know I don't know Onaka unadzua ni bila takiku sema kushuti Ii otena sii jiba tu meni piya ide ya think about it now like the movie niza movie everything to na fanya ni fakes So niza movie Sasa I'll go part as special effects another question of the day is the question of the day is and do you think the introduction of the new currency will help to fight corruption 450 Kama like to say me for example me jana niki o kagare mutuna patiana makangandana kirudisha na change akunamutuna taka or the new currency kwa sababu aniske yo storia pesos na fanya na zayugandas we need this to remove so mi nili pendatru izu currency zaki tambo but ini kenya we don't know we'll see so guys back at home that is the question of the day you can connect with us on Facebook, Twitter and Instagram that's on Y254 channel and the e-psychete do you think the introduction of the new currency will help to fight corruption let us know we were talking with Beatrice Umoja from J1 Svfx what one is okupata api so that they get your services mostly na tumiya Facebook sama sama naia do naza Google 2 J1 Svfx J1 ja ni ya hi J1 sa zingina ni kisema J1 ni ngumumu na nana J1 ama J1 akunikisema J1 okimone shat least nini na naza kupata rice so ni J1 Svfx naza like our page, share anything naza tuliza swali ama kuditu angalezema angalezema hupu liya hupu liya hupu liya simtwa na najapkaroa raka nice nice nice thank you so much for coming through and actually we are going to do you one favor before we conclude the other request maybe you know your model hubby who has him requested a song him requested a song anapenda Cisco San Cisco? from Drew Hill man after my own hatch so play your Cisco anapenda sana sana na I think it on the naza oh na my sisters anapenda sana na my babies my models


two excellent fierce alternatives. Hey, what's up guys? It's Josh here. Today I want to do a little review on two dapper fragrances, fragrances that I did talk about once before in my dapper fragrances review. My favorite version of Abercrombian Fitch Fierce is Dua's Abercrombian Fitch Fierce. And as you guys may know, that fragrance just sells out all the time. You can't keep it in stock. I've checked it out a few times. It seems to be only sold out. That is the best version of Fierce in my opinion. It is very, very pricey. I kind of wanted to show you guys two different alternatives. If you're somebody who wants that classic fierce DNA, wants something with some good high quality, but you don't want to deal with those Dua prices and you don't want to deal with it always being sold out. I have two fragrances that in my opinion, 100% go after that same fierce DNA. And those are Dapper Fragrances Abercrombian Fitch 2002 Extrait. Now the Extreme Extrait, apparently they have more concentration to them. They're a little bit stronger. Parfums to Marley Percival. I can't remember if this was my favorite dapper fragrance. If it wasn't my favorite, it was definitely my second favorite. I really, really, really, really like this stuff guys. I normally write up a little review about these and write up a few talking points, but I'm just going to kind of go off the cuff because I want to recommend these for my fierce audience. People who like fierce because these are very, very high quality. They're different. And I definitely think if you're having trouble finding the Dua or the Dua is a little bit too expensive, you actually may really, really like these. Before I did this review, I would have said I preferred the Parfums to Marley Percival to the Abercrombian Fitch 2002 Extrait. In my opinion, the 2002 Abercrombian Fitch fierce Extrait, I really, really like it. It does smell a little bit closer to fierce than other clones in a certain way. It does have very, very good longevity and projection.  I don't know if it's the Extrait, but it also has this unique, hard to describe, slightly balmy quality to it that initially when I smelled this, I was like, that smells different than Dua's fierce. I do prefer Dua's fierce to this one. I kind of just put this one to the side because Dua's fierce was the king, but due to the price problems and due to the availability, I actually really do like this fragrance. And I had a buddy of mine who also really likes fierce. We both tried out the Abercrombian Fitch 2002 Extrait, and we both tried out the Percival. For him, he really, really liked the 2002 Extrait version, but all the times that I have tried it before, I almost have always preferred the Percival copy to the 2002 Extrait because it's so close to fierce, but it almost has this kind of smooth mandarin orange to the fierce that I really, really do enjoy. Percival should almost be called fierce blue because it smells pretty much like fierce blue, in my opinion. I really, really do enjoy it. Everybody would probably prefer the Parfums de Marley Percival over everything else because it is a little bit cleaner. I have pushed these fragrances, and I do notice a little bit of something different in the fierce, but like I said, it's not that noticeable. And then there also has a couple of qualities to their version of fierce that smells a little bit closer to the original because this is supposed to go after the 2002 original. I actually have not smelled the original version of fierce. I have smelled the 2005 version which apparently has most of the oomph, has most of the classic smell to it, but there was an original 2002 version that I did not smell. So maybe this smells like the 2002 one exactly, but there's just something about this fragrance that smells different, although it has almost all the DNA of fierce. It probably projects way, way more than the current fierce. I can't really say about fierce and tense, but for normal fierce projects way farther and it's just very, very enjoyable. As you can see, I have almost sprayed it all Parfums de Marley Percival. I would say if you're a fan of fierce and you want a more mature style fragrance, a more overall well done style fragrance, I would go with Percival. Even when this fragrance has been really stretched in the heat and things like that, it doesn't really smell bad. Sometimes when you push a fragrance to like a really cold or really warm, it starts to like break down and not smell good. Percival, it just was really, really good the entire time. They both have good longevity and projection. I might have to edge the fierce extracts having a tiny bit more projection than the Percival, but the Percival is also very, very good. The Percival you probably get in the range of two, two and a half hours projection than the fierce, maybe a little bit longer than that. I just feel like this lasts a little bit longer on clothes than Percival, but I forgot to look up the price for these. I'll try to put link the price with these down below in the video so you can see, but I'll almost guarantee you that it's going to be way, way cheaper than do a fierce. And if you're somebody like me who really, really likes that fierce DNA, these are definitely ones to try out for an affordable price that are pretty much going to blow the socks off of most clones. I would say compared to Abercrombie, these have noticeably much stronger smells and much longer longevity and projection and possibly much higher oils than Abercrombie. I would venture to say much, much higher oils. So just a quick video for my fierce audience. I do have fierce night. I am testing it right now, but I have tested these out quite a bit. Really, really enjoyed these great fierce alternatives right here from Dapper Fragrances. Abercrombie and Fish 2002 Extrate and Parfums de Marley Percival. Let me know what your favorite version of fierce is down below. For now, mine is still the Dua's Vintage Fierce. It is so, so good, but it is very, very pricey. You have to buy it in that one ounce bottle. It is going to be $50 to $60. It's something that I'd want a huge jug of because I'd want to spray so much. So having these as an alternative is nice and I wanted to share that with you guys. Thank you guys so much for watching the video. We're on the road of 50,000 subscribers and I couldn't do without any of your guys' help. You guys are the best. I'm having a great day out here. Hopefully I'm having a great day at home. See you all in the next video. Peace.


Just last year after the good golly Miss Molly Singer and legend Little Richard passed away, his secluded estate in Lynchburg, Tennessee came up for sale at only $350,000. At the time of the rock and roll icon's death, it was reported that he split his time between this home as well as a penthouse suite at the Hilton and downtown Nashville for some years. Today we'll check out where Little Richard called home including his rural Tennessee property, another former Spanish style home in Los Angeles and more. In these videos, we don't reveal any addresses and even though I've done a house tour of my own place, please do not show up at any private residences because it's not safe for anyone. Richard Wayne Peniman, better known as Little Richard, was a musician, singer and songwriter and most definitely an influential figure in music for his entire life. Nicknamed the innovator, the originator and the architect of rock and roll, his most famous works began in the mid-1950s. Little Richard is well known for his charisma and showmanship and his dynamic music, which included frenzied piano playing, raspy shouted vocals and more. Either way, this all laid the foundation for the rock and roll genre. With his instant hit songs like Tooty Fruity to Long Tall Sally and multiple others, Little Richard's songs will be around for decades to come. He was an influence to numerous artists across genres from rock to hip hop and also helped shape rhythm and blues for generations. Little Richard was honored by many and received many awards and accolades throughout his life, including being inducted to the Rock and Roll Hall of Fame and much more. Unfortunately, he lost his battle with bone cancer and passed away last year, but his legacy will live on.  The piano-pounding entertainer was rarely seen in public without his glam and full wig, but when he was retreating at home, his main residence was his property in Lynchburg, Tennessee. He reportedly acquired this home back in the mid-2000s. He also formerly lived in a Spanish revival style abode in the Los Angeles Lafayette Square neighborhood, which sold for $1.8 million a couple of years ago.  Be sure to hit that subscribe button to ring that bell. We post a new video daily. Today, we're looking at where the late icon Little Richard once called home, including his Tennessee estate he lived at at the time of his death and more. If you liked this video, we've also done house tours on other music legends such as Ray Charles and Prince, which we'll link to at the end. As always, don't forget to follow me on Instagram to chat. And now let's get into this video. First, let's take a quick look at Little Richard's childhood home located in Macon, Georgia. This small shotgun style home is where he lived on and off throughout his youth as one of 12 children. The house was preserved when the neighborhood expanded the freeway and they moved the house to its current location just a mile away. These days, Little Richard's childhood home has been turned into a community resource center as well as a tribute to the late musician. The quaint home spans 730 square feet according to paperwork and was located in the Pleasant Hill neighborhood and Little Richard lived here until his 2D fruity hit came out in 1955. The house was moved in 2017 to the current location, which coincided with his 85th birthday. They used the Little Richard house as a resource center offering services like technology training, job preparation and much more. He said about the house's restoration, I thank y'all for loving me through the years and I still love y'all. Thank you for everything you've ever done for my old house. That old house has a lot of 2D fruity all-roody. In 2019, one of Little Richard's former homes came up for sale and ended up being sold for $1.8 million. This estate was located in the Los Angeles neighborhood of Lafayette Square and Little Richard lived here back in the 1950s, if you can believe it. Lafayette Square is a historic, semi-gated neighborhood in the central area of LA. This home was built in 1923 in a Spanish revival style and Little Richard purchased a place for himself and his mother Liva Mae Stewart. While he lived here, the two-level home was an open house for entertainers of sorts with Little Richard hosting his famous friends. Artists like James Brown, Jackie Williams, Edda James and the coasters were among the friends visiting the home and Little Richard would always share his dinners with guests. There's about 3,300 square feet of space here with four beds and three bathrooms which were all fixed up and restored. The listing materials describe the home as the 2D Fury House and walking in, there's a formal entryway opening to the large living spaces. Of course, there's a grand living room, grand enough for Little Richard to once entertain in, boasting original hardwood floors and its house fireplace. Elsewhere, there's a cozy sunlit dinner family room with garden views which is located right off of the living room area. The kitchen has a period vibe and the design. There's also a cute nook to eat at with stained glass windows. The home features a dining room and a balcony overlooking the yard. Not to mention, this LA property is also where Richard married Ernestine Campbell in a 1959 ceremony so the place has some Hollywood history. At the end of 2020, Little Richard's main residence where he was still living at the time of his death came up for sale at the low low price of $349,000. The place was in need of some updates in TLC which is why it wasn't priced higher and it was also located in a quiet and rural area. The home is located in Lynchburg, Tennessee which is a quaint little town full of southern charm. It's in the south central part of the state and has a population of just over 6,000. Not to mention, it's the home of Jack Daniels Whiskey. It's about 75 miles outside of Nashville but when the entertainer wanted to stay in the city it's said he also had a part-time penthouse suite at the Hilton downtown which he lived at. Little Richard's home was secluded and private, spending just over 6,000 square feet of space with 6 beds, 4 full baths and 2 half baths in total. The brick residence sat on nearly 14 acres of land full of thick woods and on a hill and it was actually 2 self-contained homes under a single roof. Apparently each of the residences had 3 beds in 2.5 baths and while each had its own entrance they shared the same entrance foyer. Once inside Little Richard's former home you'll see the place is quite dated and interiors of one of the units had mostly gray and talc colored walls. The other one though was extra colorful and vibrant like the flamboyant showman himself. One of the kitchens had rich wood cabinets and black appliances likely needed an upgrade but both kitchens at the property were still spacious and functional. In photos we can see a carpeted living room or den with fireplace and large window which was quite neutral. Another room also had a fireplace this time fit into a corner next to a winding staircase and here there were French doors out to a deck with views of the woods. Not to mention the walls in this room were painted a bright baby blue clashing with the emerald green carpets. And the colored rooms don't stop there either. Another space paired pea green and scarlet red walls, another featured a plum accent wall and one of the larger bedrooms in Little Richard's estate was painted in an Easter style pale lavender color. There was a bright formal dining room with wall of windows and sparkling chandelier overhead and entertaining areas had a mix of hardwood and carpeted floors. Plus where there was even what looked like a bonus room with a skylight that could be used as an office space or even a mini home gym. As mentioned, the bright side home featured the brighter color palette than the other with bright blues, flashy pinks, purples and even splashes of fuchsia in various rooms. Despite Little Richard's home showing its age with the design, the 2-in-1 layout of the residence is definitely a selling point just like the gorgeous land that surrounds the place. The property has plenty of secluded woods and space to relax and enjoy nature undisturbed. Alright so now we've taken a look at some of Little Richard's former homes including the rural Tennessee residence he was living in before he passed away last year and a Spanish revival home in LA he occupied in the 1950s. After checking out his homes, what did you guys think? While the Tennessee property was dated and needed some serious work, the layout of the home was pretty cool and I for one think it had a ton of potential. Some modern upgrades and new paint colors in the place would be quite the impressive mansion. The grounds of the home and wooded property alone were a selling point, just think of the nature. But I would definitely have to add a pool though. Be sure to tell me what you liked or didn't like about Little Richard's homes down in the comments. If you haven't go subscribe to my personal channel because I would love to get to know all of you better, we'll link you my latest video for you to check out. Thanks for tuning in, don't forget to follow me on Instagram and I will see you all in the next video. Bye!


NBA MVP Sleeper pick. I don't want to hear no Yolkich. Who you got? Our guy, Indiana guy, Tyrese Halliburton. If it's a sleeper, it's gotta be Halliburton. Paul George. Gotta go, Tyrese Halliburton. What's take the hally? We take the hally love. LeBron? 21-22 seasons? Why not pull one more in? I mean, I don't think Wemby's gonna win it this year, but what about Halliburton? You know, he's doing real good, so I want to see him do it as a number tonight.


Okay, we're back, this is Dave Vellante with Jeff Kelley. We're live at the splunk.conf 2013, this is the second year for the Cube. The Cube is a live mobile studio. We go out to the events, we extract the signal from the noise. We bring you the best guests that are attending these events. Demetrius Lazarecos is here, he's otherwise known as Laz. He is an IT security strategist, he's a thought leader in the area of security and big data. He's a former CISO at Sears Online, Laz, welcome to the Cube. Thank you, it's great to be here. Yeah, so tell us a little bit about your career. You very recently left Sears Online, you're kind of out in your own now doing the consultant thing. So tell us about your background and your areas of expertise. Yeah, I grew up on the computer, my first computer was when I was 12, I was recruited by the Air Force at a very young age. What was that computer? It was VIC-20, then I had 64 and then TRS-80, et cetera, got a thumbs up out there, thank you. And then the military gave me actually proper computers to work on, well not proper, but you know. It's a real one. Yeah, it graduated to a bigger platform. Okay, so take us through the rest of your career. Sure, absolutely, post Air Force I spent a lot of time working in the private sector and then with some of the agencies around the areas of privacy and security. And you know, one of the things that I learned when I stepped out of the Air Force was that a lot of companies really didn't take security seriously back then, and what I mean by that is it was more of a checklist or something they had to do as part of a regulation. And I think when it really started to get pretty serious was when however you want to look at it is when PCI really became powerful. And that was the Payment Card Industry standard. When they put teeth into the, you know, the fines and you know, you could actually quantify what it was going to cost you to not be compliant. I think that was a time where people started to really take security seriously. And that was around 2000. And you know, at that time I had a couple consulting companies and as I was starting to build platforms on security for both quantifying and producing loss exposure formulas, I think one of the challenges that I was faced with was, well, the government and financial institutions really understand this. Who else understands it? And at that time retailers really started to take off. So companies like Orbitz really understood it, Travelport, e-bookers, Hotel Club, and those were some of my clients back then. And as, you know, and as I started to grow in my career, you know, I received a phone call from Sears. They asked me to come and build a security platform and a program from the ground up, which I did. It was, I grew up outside Chicago, so it was, you know, I welcomed the opportunity to go back there and build something from the ground up. They gave me a lot of latitude to look at emerging technologies and also look at what we needed to do to make sure the platform was going to extend and grow and keep continuing to feed the big data. So I'm listening to you describe this, Lars, and I'm feeling like there's a series of concentric circles. You said the PCI, you know, standard was sort of the catalyst within narrow industries, government and well, government has always been sort of security conscious, but the financial services industry has started to expand out there, HIPAA with health care. And it's still, I still feel like the circles are growing now with the NSA and Prism, you know, people think, oh, wow, I'm concerned about, oh, you're saying the NSA actually can get my data if they ask Amazon for it and work day or anybody else? Sure. I can't comment on that one, but thanks for asking. Yeah, well, so what you may be able to comment on is people, because of the media now, are much more aware of the way in which their data is exposed. Yeah, absolutely. And they're starting to ask questions that they weren't just six, nine months ago. Absolutely. And I think part of the challenge is, right, so, you know, going back and look into those circles, right, started with the government, then it made its way, you know, to the financial institutions, you know, with GLBA and some of the FDIC guidelines that were there, and then, you know, PCI and then PII data protection, EU. So as we started to see it expand, it just became more powerful.  And if so, where are my assets? How are they collecting, storing and processing that information? A lot of companies don't do that. So, Les, tell us a little bit about your perspective on how you've seen some of the security threats grow and change over the last 10, 20 years, and how companies are responding to them. We heard Prescott Winters in the keynote earlier talk a little bit about, you know, the idea of keeping everybody out of your network now is pretty much, really not doable, and people are getting in, and now you've got to kind of understand based on data patterns of what people are doing once they're there. Absolutely. So a couple things on that. I said through Prescott's discussion, and one of the challenges that he pointed out was organizations want to go out. They want to communicate with the cloud. They want to communicate more with third parties. I think there's a way to do that, but you need to understand behavioral patterns. You need to understand session intelligence. So, you know, there are tools that are out there that will help you quantify, you know, the good or bad traffic on a website and figure out what to do about monitoring that behavior piece of it.  Companies like Silvertail are out there. They have a wonderful tool that you can look at session behavior for, and that's one aspect of it. You also need to complement it with other threats that are going on. So when I talk about behavior analytics, that really gets to the problem of internet-based traffic for internet-facing web applications. The other challenges I think organizations are faced with is the traditional security tools are being bypassed by cyber criminals and malicious activity.  And when I talk about big data, it's a marketing term. It's what the industry is using. It really goes above and beyond just the behavior analytics. It's tying together all the pieces and parts of the application, the infrastructure, the mobile devices, third-party people touching the network, and then looking at it and being able to determine what is good or bad behavior and sending up alerts based off of that, so operation center personnel can make better decisions about what to do with that type of behavior. So it sounds like you almost have to approach this like a CSI situation. You've got to take the different data points and put them together to kind of create a profile of activity, and then determine what is good behavior, what is bad behavior, or suspect behavior. Absolutely, and that's a great approach, and I think you touched on it just a second ago. It was what does the evolution look like over the 10 or 15 years, and I think, you know, I touched on it a little bit with the behavior analytics, but I also think it's important to understand that the criminals are actually organized now better. They're communicating the same way businesses do, online, text, tweets, chat, et cetera, and I think as they are progressing in their ways of attacking businesses, we as security professionals have to do the same thing. We have to keep moving forward in evolving. We know they are, we have to do the same thing. So one of the big changes that we've talked about in terms of the way in which the bad guys have evolved is, you know, even five, seven years ago, it used to be when they, you know, when they got in, they would do jumping jacks and, you know, say, hey, we're launching a virus, yay, look at us, look at us, and it's completely changed.  There's marketplaces, they're trading, you know, identities and the like, and so it seems like the industry, we've talked about this a lot on theCUBE, really needs to and has shifted some of its emphasis from, you know, the perimeter, keeping the bad guys out to, you know, I think I saw a stat recently that the, after an intrusion, on average, it's something like 415 days before the intrusion is even detected, on average. So better technology and processes that need to identify the fact that there's been a breach. So I wonder if you could, first of all, is that a legitimate trend? I mean, is that a legitimate observation? And what is the industry doing? Is it doing enough? What can be done? Well, so there's a handful of things that can be done. First one is that statistic is high. It appears to be high, but it's actually been published. So over 400 days to figure out if you've actually had a breach or a compromise. So usually that means that somebody's been inside the network or on the computing systems for over eight months. Now you're saying that's a high, in reality you're saying the number's lower than that? No, no, no, that is an accurate number. It isn't accepted. The number may actually be low. That's when people, think about the organizations that come forward. Exactly, yeah. So there are organizations out there that don't know they've had a breach or compromise that are in that window right now of 400 days and they haven't published the stat. So I'm going to say that stat is actually probably higher than that 400 that you've been hearing. You know, the second thing is, security has to be driven from the board of directors and that the C level down. It is critical for organizations to realize that they are a target. So when you talk to an organization, typically when you talk to the C level or the board of directors, they may make a statement and I've experienced this myself. When I talk to board level executives or C levels, typically the response is, well, I'm not a target. Why would I be a target? And when I work with organizations I typically peel it back and say, okay, well, are you a publicly traded company? Okay, well, you have sensitive financials, product roadmaps, you have trade secrets, intellectual property that you're trying to protect. How much is that worth if somebody from overseas took that from you? What if somebody had your roadmap or the intellectual property that you're protecting? Is that a billion dollars, 10 billion dollars? What's that worth? And executives need to understand not only their target, but they have to understand the risk. And we're watching the evolution of this. Security professionals are starting to move towards a risk-based approach in security. We need to be better at it as professionals in the security aspect, but I think educating the board level, senior level and taking a risk-based approach will have to happen and it's got to happen quickly. So conceptually the business case seems pretty straightforward. It's the probability of some kind of breach and it's the severity of that breach. And I would think the probability is almost a certainty these days. Well, unless you have a computer that's turned off on a network, off a network and in a closet, you're not prone to that. You don't use social media. Right, you don't use social media, Twitter, LinkedIn, et cetera. Yes, then you're protected. However, the entire world, as we were just talking about this a moment ago, the entire world is going to the path of this open environment, this open network. How do we communicate? How do we collaborate and share information? We do it online. And the challenge is is we're doing this as a business. The cyber criminals and the hack-divists are also doing this as a business. As we mobilize, they mobilize. And unfortunately, sometimes the business doesn't align to what the best practice should be for information security. But it would seem the hard part of that equation is to figure out, okay, I know that within the next 10 years I'm going to have a breach, maybe probably multiple breaches, but it must be hard for executives to determine the severity of that breach in terms of determining, okay, how much should we actually invest in security? What are your thoughts on that? Can you help them? Do you have a framework to help them understand that? Or what's the best practice there? Yeah, absolutely. Some of the time that's put into this is the research above and beyond what a traditional executive may have to do. So when I say the research that has to be put into it, I typically coach executives to reach out to Forester, Gartner, and talk to the analysts there. And Forester and Gartner are actually moving in the direction where it's not just a hard number, not a percentage of IT, they're actually looking at information security as a risk-based approach. There's other organizations like CXOware who take a risk-based approach and then can quantify those losses for executives. Excellent. So let's talk a little bit about the vendor landscape. So how has that changed in your time? So we're seeing, obviously now we're here at Splunk.com and they're known for analytics around machine data, not specifically a security play, but obviously it's a big part of their businesses, is applying their technology to security use cases. Are you seeing a merging or a coming together of some of the traditional security vendors and some of these newer, big data analytics players? What's the landscape look out there?  Yeah, absolutely. Well, and I'm just going to be very transparent with you on this. Splunk has a wonderful tool and it's open and what I mean by that is it can take data feeds from any system or device and that's critical today because it's going to help companies extend on their big data strategy. Specifically for security, you know, those numbers are growing and increasing the events, the threats and the potential data that you want to put in there. As far as the vendors that are out there, we're seeing a lot more vendors in the mobile space. We're seeing a lot more vendors that are trying to do big data analysis. You know, the tools that are out there, I mentioned Silver Tail earlier, there was an acquisition there by RSA and now they've got a great portfolio that ties into the intelligence behind the scenes and how do you manage that? That data could actually feed into Splunk as well to feed it for data. So we're starting to see vendors come up with cool and innovative tools, mobile, analysis, big data, but we're also seeing the acquisition of some of those companies. So it's going to be an exciting, it's going to be an exciting next three years. And how is the role of a security professional evolving? Do you need more data analytics skills now but then perhaps in the past? How is that evolving and are security pros keeping up with this changing world? Okay, great question. So I think if you look back, and I'm just going to talk historically, network and OS security is kind of where people thought of traditional security professionals, but now it's extended. So as the spectrum grows, now we're taking in mobile, social, big data. There are areas and disciplines that you could actually build a career on right now. So it's really challenging for the security professional to keep in touch with all of the different types of threats. So that's why I lean on the risk-based approach and the threat landscape and tying those two together. As if I were going to coach somebody right now that wants to grow in the Infosec arena, pick a place, learn several areas, but then collaborate with other security practitioners to see what's happening in their environment at the same time. I think it's critical that we collaborate. I think it's critical that we mentor the younger security professionals as they're coming up. And I think it's just going to be something that we have to be cognizant of in the next three to five years. All right, Laz, we got a run, but one last question is you're in front of a board. You're talking to the C-level executives. What's the one action item that you would advise they take immediately? The one action item is to perform a risk assessment on all of their IT assets right now. Put a budget in place, hire a company to go in there and coach them and train them on why this is important and what they need to do. Don't spend money on firewalls. Don't spend money on hardware. Don't spend money on software.  Now, how do people get in touch with you? If they want help, of course, you're not plugged into the internet. You don't know social media, you know. Yeah, you know what? I'm going to give you my contact information. Smoke signal, maybe? Smoke signal, yeah. All right, contact at D-Valante on Twitter and I'll put you in touch with Laz. How's that? Sounds good. All right, great. Thanks very much for coming on theCUBE, Laz. It was great to have you. Thank you. All right, keep it right there, everybody. We'll be right back with our next guest. theCUBE, we're live from splunk.conf.conf in Las Vegas.