What's going on guys today I am back with another Destiny 2 news video and today we have news on Destiny 2 beta for the PC. Now news is scarce regarding the beta on PC for not long ago but once you release the weekly update which confirms the PC beta date and exactly what we will be able to play during this beta and yes new things have been added but before we go any further guys if you do enjoy the video leaving a like is much appreciated on my behalf okay so on to the news the PC beta will come live on August 28th later this month a set time on this date hasn't been confirmed as of yet so stay tuned for more info on that. They mentioned that all summer long they have been using a baseline of activities to introduce players to Destiny 2 and test its functionality. The Destiny reveal event E3 and the beta we played on the console each occasion something new has been introduced for us to experience and the beta on PC will be no different. Players will get to experience content which is new so what does the PC get during this beta test so they get what we've already played in the homecoming mission they get the inverse inspired strike they get countdown on midtown which is something we got but they also get to play control on a new map a new map called javelin 4 which I cannot wait to see. The beta on PC will also include evidence of some additional tuning of the player experience. Bungie mentioned that the beta we played on console was months old and changes have already been made also entering feedback from the community on power ammo and our super abilities talking about how they have made changes for the beta these changes will be in effect within the PC beta which is great news for PC players but not so great for us console players who don't have a plan on playing on PC but it will be interesting to watch over the community who do play their games on the dark side. Bungie going to talk about PC exclusive features they state as follows exclusive to their PC build for Destiny 2 will be an issue that might impact the way you capture content or talk to your teammates. We've seen this question a lot since we first talked about the PC. What will Bungie be doing to prevent online cheating in Destiny 2? For obvious reasons we won't explain our full counter cheating strategy in depth but there is one element of how we'll protect the game that might require adjustments on the part of our new friends in the PC gaming community. Some applications that people use when they play games try to add code to the game clients. In the right hands this can enable some nice features to enhance your player experience. In the wrong hands this can be destructive to the world we share in the game. To help ensure that every player will have a fair shot at fun and glory in Destiny 2 on the PC we'll resist attempts from applications to add code to Destiny. Our game needs to be the foremost authority on your fate as a guardian. Several types of programs can be affected on most occasions the impact will be minor. There are two main categories that you'll want to be aware of for the beta, communications applications and capture streaming applications. Both of these applications can be crucial to a community that shares content and experiences. Destiny Player Support has put their heads together with developers working on the PC build to produce an analysis of notable applications that may be impacted by our architecture. You'll also find notes on how you can still use some of them to manage your gameplay experience. And these notes I will link within the video description if you're interested and do want to read through them all. They do mention as well which is actually important that this is only a test. The PC is a platform that they've never shipped Destiny on so there will be evidence of ongoing construction here and there. Even if you played the console beta you'd be a priceless test resource for us. Not only will you have a chance to appreciate the differences, you'll be doing your part to ready us for launch. And guys that is it in terms of new news. Destiny 2 wise from the weekly update from Bungie. I will link it in the video description if you do want to read through all. As always it is a great read. But yes guys let me know what you think about PC players getting a new map called Javelin 4 and also let me know down below in that comment section if you will be playing on PC. I still haven't made my mind up yet. My PC can handle it. It's just wherever I want it on PlayStation, Xbox and PC. I mean grinding Destiny on one console is hard enough. Doing it on three systems is going to be a killer. I hope you guys enjoyed the video. Thanks as always for stopping by and I will see you on that next one.


I'm Marcia Joyner, and we are navigating the journey. And today's journey is not very far from here. I think it's about 50 miles from here to be exact. And it is with my dear, dear friend, Bill Isla. And everybody knows I only talk to dear friends. And so Bill is just, what else can I say? He is now the chair of Hawaiian Homes Land. I hope I got that right. You too. Yes, hello, Marcia. Nice talking to you. For anybody that doesn't know, maybe, yep, I have known Bill for, I don't know how many years, we had a 17 foot boat and we towed it 50 miles out there to the harbor, Boat Harbor in Waianae. And he was the, what was it? Captain, chair, somebody. Harbour master. Harbour master, yeah, that's what it was. And so it's been that long since I met Bill, trying to get the boat in the water. And he was just precious because I didn't know what I was doing, but I'm sure he got a lot of people in there that didn't know what they were doing. So since then, we have been very good friends. And so, but today, we are going to talk about his newest project. And that is a casino on Hawaiian Homes Land. So Bill, you wanna tell us about what you're doing with the casino or why, I guess, is a real question. Sure, well, good morning. Let me just give you a little bit of a background. The Department of Hawaiian Homes Lands is funded by the state legislature. We have some trust lands, trust lands that we lease to commercial operators to make some money for application on the creation of lots, loans, and developing of lands. But it's nowhere near enough. There was a lawsuit filed a couple of years ago. It's called the Nelson lawsuit. In that lawsuit, we prevailed in terms of getting a judge to say that the legislature is supposed to provide sufficient sums to the Department of Hawaiian Homes Lands for purposes, lots, loans, rehabilitation and administrative costs. We have not been successful in getting the correct appropriations or the right amount of appropriations in order to remove the 28,000 folks who are sitting on the weakness. Our estimate of sufficient sums is somewhere between $150 and $200 million a year. For the last, I wanna say six or seven years, we've been receiving about $25 million for what they call capital improvement projects, which is the grading of lots, bringing in infrastructure, acquiring of lands, and then about $18 million for our operating costs, salaries, keeping the lights on, those kinds of things. So there's a vast disparity between the 25 and 18, and then the 150 and to $200 million. So earlier this year, my staff got together and they decided, well, what can we do? We're in an economic downturn. There's a pandemic going on. What can we do to think outside of the box? And the idea of gaming on Hawaiian homelands came up primarily because we looked at other indigenous peoples on the continent and I believe anywhere between 60 and 70 casinos now throughout the United States. Most of them doing very, very well. There are a few that could stand some improvement. And we did some research into things like, well, what kind of social ills could we expect? Got advice from our cousins who indicated that based upon 30 years of keeping data on Indian gaming as it developed across the United States, that you could, if you put money, put resources upfront in enforcement and in let's say treatment programs for gamblers who are addicted for some of the other social ills that are associated with Las Vegas, for example, the sex trafficking, those kinds of things. What would happen in other locales is that you would not see any increase in the level of crime. So we addressed that in the bill right up front by making sure that the receipts from the casino would go to taking care of these social ills. We came across the simplest way is to seek an exemption from the criminal code that prevents gambling from occurring in Hawaii. So we fashioned the bill, Senate bill 1321 in such a narrow way that it would give just an exemption to the department of Hawaiian homelands for one casino to be operated on commercial lands on Oahu. The best minds regarding like how much, how much revenue we could generate from such an enterprise indicated that $30 million a year would be a very super conservative estimate. And this is after, this would be the department share of the taxes on the gaming receipts. We would also receive separately lease rent from whatever entity that came in and built this resort casino operation. So it'd be two pots of money that would come in. There are folks who indicated that, Hawaii is such a post proximity to Asia. There are a lot of Asians who like to gamble that with the tourism and the addition of a casino in Hawaii on Oahu, that number could be much, much higher as high as several hundred million dollars per year. So the 150 to $200 million that we estimate is necessary for sufficient funds would have been met by the casino revenue. And then it would be in perpetuity, so to speak. So that's how the idea came about. We ran into some flak from our beneficiaries because they felt, many of them felt that there should have been more outreach or what they call beneficiary consultation ahead of time. But beneficiary consultation, administrative rules talk about when land dispositions are done, that's when you do the beneficiary consultation. This discussion about gaming actually came about during a commission meeting when we were discussing legislative matters. And normally we don't do beneficiary consultation during or about legislative manner. So that created a sort of backlash, if you will, and we addressed that by actually holding several meetings statewide. They were remote meetings through Zoom and Teams, but that's the best we can do under these conditions. Well, now, where is it located? The bill that was introduced by the legislature, actually. No, I meant if the legislature says okay, physically, where would it be located? That was left open anywhere on Oahu that the department had lands that were zone commercial and that allowed for the department to go out and acquire additional lands or lands in an area where let's say it would be more tolerated, industrial area or some area, not next to a residential area. So that was added to give us more flexibility. Well, in the industrial area, would that be a location? Would that be a sort of location? It would, it would answer the concerns of many of our beneficiaries who didn't want something that big adjacent to a homestead, because it would bring additional traffic and noise. So we would look at other areas, perhaps closer to the airport, other areas that didn't impact residential communities. So all of these, the legislation was written in such a way that it would provide the most flexibility in order to make that determination. Now, how is it, if you are, there are companies I know that build casinos, was that what you would do, that they would have to come in and do all of the building that is necessary? Correct, it was actually a two-prong process. One would be to create a gaming commission that is attached to the Hawaiian Homes Commission, but not directly under its authority, so to speak. And the reason that a gaming commission is so important that we learn from all of our gaming experience, talking to other folks, is that the integrity of the gaming is the most important thing. You want to have a group of people whose job it would be to issue the one license to a gaming company, but there had to be integrity built into that process and transparency so that there would be no question and you would avoid, you would avoid the bad influence of organized crime to get involved. Then the department through the commission would issue a request for a proposal to build such a resort casino establishment. So there was a two-prong process that was attached to this bill. You mentioned the resort, but what about would it be a resort? I mean, not just the casino, but other facilities that's to support the casino.  Similar with the American Indian tribes, they've adopted a very similar model because it's works, it's effective and you do want to sort of capture people, right? Your customers to be there and make it convenient for them to be there. So that would add a hotel to all of it. It would generate in our estimation around 5,000 to 7,000 new jobs. Now, I keep hearing the sound. Wonder what that's about. Anyway, what about, I'm sure that Vegas people will object? Or have you- We sort of sense their presence in and around the legislature, but not openly to me or my staff. That's not how lobbyists work. I would just think that that would be the whole thing with, because that's Hawaii, if it wasn't for Hawaii, they wouldn't be as big as they are. Well, there's lots of Hawaiians and people from Hawaii and Hawaiians that jump on a plane and fly to Las Vegas early in the morning. And in testimony before the Senate committee, it was really interesting that Honolulu Police Department testified that on any given day on Oahu, there are between 70 and 100 game rooms that are already operating on a daily basis on Oahu. And so if you take a conservative, if you take a conservative estimate of, let's say the game rooms clear $5,000 per day, that's very conservative, multiply that by 100. And you see that there's half a million dollars in gambling proceeds that are going to these illegal operations. So you can see that people do game that there is a market for it. We were hoping to establish a legal market for it in which the benefits would go to native Hawaiians of the Hawaiian Homeland Trust. I'm just wondering how you can guarantee where the money goes to the state or just to Hawaiian homes. Actually, so the way that the receipts would be considered, there'd be a 45% tax on the gaming revenue, right? So 55% would stay with the operator, 45% would come to us. Of the 45% that came to us, we would, 80% would be directly deposited into a trust account. 20% would go to the general fund of the 20%, 5% would go to the enforcement and treatment programs. And then the other 15% would go into the general fund, of course, because there are roads and there are utilities that would come into the property that either the county or the state pays for. So we're looking to pay our fair share. There is an interesting question from one of the viewers that they had heard from other folks that you should just give Hawaiians back their lands and not lease it to them. And the Hawaiian Homes Commission Act lays out 99 year leases with a opportunity for a hundred year renewal. So that's the way the program was set up. It's not set up to give Native Hawaiians fee simple land. So I just wanted to answer that question. And of course, there's 28,000 people that are waiting for a lot. And at the current rate of $25 to $30 million a year, we just a ballpark based upon the cost of infrastructure on Oahu, it's gonna take 180 years at that pace to be able to take care of 28,000 people on the wait list, which is why the idea was hatched. Well, so, but do you have to put in, because now in this federal, was this land federal land? And I know that I'm confused. How much of this is still federal and how much of it was given to you at Hawaiian Homes? So the Department of Hawaiian homelands after the overthrow and during the territorial period when the Republic of Hawaii ceded, right? All the kingdom lands, all the government lands to the US federal government. When Congress created the Hawaiian Homes Commission Act, it returned, if you will, 204,000 acres to the corpus of this trust that became the Hawaiian homelands trust for the purposes of rehabilitating native Hawaiians who were 50% or more of the blood and 18 years or older. So what we're talking about now, where Hawaiian Homes, that is, are you federal employee or state employee? How does that work? Okay, so as a condition of statehood, say 1959, right? State of Hawaii agreed as a condition of statehood and it's in the organic act that it would take this federal program called Hawaiian homelands program and it created a state department called the State Department of Hawaiian Homelands. Now, as a requirement of becoming a state, the responsibility for the rehabilitation of native Hawaiians became part of that compact, right? So when everyone voted for our statehood in 1959, they voted to take on this compact and this commitment to native Hawaiians. And unfortunately, over the years, we have not had sufficient funding to accomplish this compact and this commitment. Well, now you're taking airport, for instance, and the harbors, now that's income to the state. Do you get any part of that? We do not. In fact, the Office of Hawaiian Affairs that was created in the Constitutional Convention of 1978 receives a pro-rata share of the receipts from seeded land. So that money goes to the Office of Hawaiian Affairs. Oh, but you don't. We do not. Our lands, we would get a percentage of whatever, sugar land leases and water licenses that were in effect at that time. We would get a 30% of those revenues. But over the years, sugar has gone out, water leases are up for renewal. It's controversial in the legislature right now. So the amount of revenue that used to come in through those sources has declined significantly. Okay. Now you're gonna put people on the land, houses, whatnot. But now who puts in the water and the electricity and all of those things that have to go with the house? Okay. So the Department of Hawaiian Homeland's through appropriations through the legislature, and we normally get about, not the last five or six years, we get about $20 million in capital improvement funds and $5 million in repair and maintenance funds. That's the money that would go to putting in the roads, the sewers, the water, all of the environmental work that would need to be done, any plan and design, and then the actual construction to make the land available, and then the homeowner actually pays for the vertical construction, right? But we don't charge the homeowner for the value of that land. And on Oahu, it averages to be about $150,000 per lot. So 10 lots is 1.5 million, a hundred lots is 150 million. So you can see 25 million doesn't go far. No. Well, now, where are those lands? And they're on every island, right? They are on every island, including Lina'i. We have huge land holdings on the island of Hawaii, Maui, less land holdings on Oahu and Kauai. Well, what about Molokai, the Parker Ranch? I guess it was Parker Ranch. That's sitting there, yeah? So Molokai Ranch was and continues to be one of the largest land owners there. On Molokai, the issue, we have large land parcels there. The issue is water. The development of water and the delivery of water, both for farming and for residential purposes. Okay, well, I was just thinking about that ranch has been for sale for so long. That's Molokai Ranch and it continues to be for sale. And unfortunately, we have a straw, they have a straw and the county has a straw in the same aquifer, which is what is limiting our ability to provide water for future development on Molokai. Well, let's look back over here, speaking of water, Na Na Kuli. Yes. Yes. Now, I saw in the news you were doing something with the cemetery there. What, tell us about that. Okay, so we have a cemetery that's probably been around since the homesteads opened there in the 19, I'm gonna say late 20s, early 30s. The cemetery started out being managed by churches. Each church had an area, and as the churches left management, there were individual families who cared for it. And here we are today where we have records, but they're not complete records of everyone who was buried there. As you know, with the baby boom generation moving through life cycles, we have more and more demands for Waianae homesteaders and requests for Waianae, which includes Na Na Kuli, homesteaders to be buried there. So what you're alluding to is an effort by the department to use technology to try to identify either graves that are not marked or lands that are between graves that are not marked that could be used for a burial. So it's really to sort of create an inventory of where deceased members or families are and then look at how much land now becomes available for future burials. Well, do you have to be Hawaiian to be buried there? You have to be Native Hawaiian. You have to have grown up in the Na Na Kuli Waianae area on homestead land. On homestead land. Right. So that's a requirement. It is because it's homestead land, so it's supposed to be used for small and Native Hawaiians or they're 25% successors. We're encouraging people. There are a lot of people that are being cremated nowadays, so we're encouraging people to plan ahead for your family. So I hope it's not too morbid, but when we do approve the digging of a new grave, we highly suggest that the first burial go down to 12 feet, and then the second burial is from nine feet. And then above that, you can put a whole number of urns that have to be three feet from the surface. So maximizing the amount of space for the family members of beneficiaries in Na Na Kuli Waianae. But it has to be, you have to be on the coastline there. That's correct. Well, oh my. Bill, they're telling us we're down to the end of the day. Well, can I ask you something? So what has happened in the legislature is the House bill was deferred about three weeks ago. And just this past Thursday, the Senate bill 1321 was deferred in the Hawaiian Affairs Committee. So for all intents and purposes, for this legislative session, it doesn't seem like it's going to proceed any further because we're in a biennium legislature. Of course, the bill is still alive and that committee is deferred. And perhaps during the course of the year between the legislative sessions, we may be able to share more information. Because what we've noticed is that as we share information of how the bill came about, what it does, what it doesn't do, we've seen the opposition go from 80% down to about 50% and the support now come up to about 50%. So once people actually understand what the bill does, how it impacts and benefits native Hawaiians throughout the state, we find that more people turn to support it. And when I say people, I mean beneficiaries. Wonderful. Well, Bill, it's always a pleasure spending time with you and you must come back and visit with us again. Well, I appreciate the invitation and the opportunity to share information because you get good decisions once you get good information. Well, again, thank you. Aloha and we will see you again. You take care. Aloha.


Welcome to 502 Sessions. I'm Brian Kirby. My guest today is Max Acree. Max is a trombonist currently living in Boston, but he has performed, taught, and recorded at the international level. In 2012, he was awarded a Downbeat Undergraduate Soloist Award, and he went on tour in France with the Bill Carruthers Group. In 2014, he received a full scholarship to Berkeley College of Music, and he recorded as soloist on an album with Jerry Burganzi and George Garzone, featuring the music of Nando Michelin. In 2017, he was the main guest artist at the Club de Trombone annual improvisation seminar held in Buenos Aires, where he spent a week presenting his ideas on improvisation in clinic and also performing at various clubs throughout the city. Max is joined today by Zach Auslander on guitar, Sozo Gelavani on bass, and Willis Edmondson on drums. Max Acree. 502 Sessions. I'm here with Max Acree. Acree, right? Yes, sir. Good. All right. So, 502 Sessions with Max Acree. Good to have you here. Thank you for having me. Oh, you're welcome. So, the quartet, do you always work with a quartet? Pretty much. I've used this quartet for the past year or so in this configuration with Zach Sozo and Willis. Okay. And so, your songs are heavily improvisation-based? Yeah. Yeah, you could absolutely say that. They have a lot of framework for the players to really go wild. All right. Actually, I jumped way ahead. Let's start. Let's just back up a little bit. Max Acree? So, where are you from, actually? I'm from Cincinnati, Ohio, originally. My dad was a trombonist in the scene there, a professional jazz trombonist, and he inspired me to take up the horn. Oh, okay. I was going to say how to end up with trombone. So, your dad, that helps quite a bit. And did you go to public school there? I went to a private school for elementary school, a private Catholic school. But then when high school came around, I went to the School for Creative and Performing Arts, which is in downtown Cincinnati. And when you went there, so you didn't go through a public school music program, you took it to the Performing Arts program. So, when you were in the Catholic school, did they do trombone, or was there much music? No. Well, how I wound up with trombone is really funny, actually. My eighth grade year, there was like a requirement. You either had to be in chorus or band, and I was not about to sing. No, we had to do both, I think. So, I talked to my dad about starting something, and he was like, well, I have a trombone you can use. That's no money for us. So, I started on trombone. That was it? Yeah, that was it. I mean, I had also heard my dad play a lot as a kid. He would take out the horn occasionally and play for me, and all was a big inspiration. So, wait, but he was a professional trombonist in a big band, or the jazz music? Yeah, well, my dad played lead on the Tommy Dorsey ghost band in the 80s, and then eventually, he made his living as a trombonist in Cincinnati, playing Broadway shows and big bands and society music type gigs. Okay, so Freelancer. Exactly, yeah. So, then you took it, so you go from elementary school to the performing arts school, which I assume was auditioned in? Yeah, it was still technically part of the Cincinnati public school system, but it did have an audition requirement to get in. And I started trombone in eighth grade. I'd been playing about six months at that point. Oh, no kidding. I guess I had a natural knack for it, and I was able to get in and secure a spot in the first trombone position in symphonic wins. Well, plus, they probably also need trombones. Those are middle horns for the orchestras. I'm assuming that you did a variety of performers, they're not just jazz. Exactly, yeah. And they need horns. It was for symphonic wins, orchestral literature, and then also for jazz. Okay. Playing in the big band. And that was from eighth grade through high school? Yeah, ninth grade through twelfth grade. I went to the school for creative performing arts from 2006 until 2010. It's a big step from high school to college, though. And you didn't make the step immediately, right? Or did you do something before Berkeley? I did. I started my college career at the College Conservatory of Music, which is attached to... So you did go from high school right to music? Yeah, I did. I was a transfer to Berkeley, actually. My long story short, my father passed away of cancer after my freshman year in college. And life circumstances kind of led me to leave the city. But I started my first year as a actual classical trombone performance major at CCM and was doing Philharmonia there and just playing orchestral literature. I've always wanted to play jazz, but my foundation is in classical. I feel like it's really helped me develop a good technique for the horn.  I did. I'm assuming that'd be jazz because Downbeat's a jazz magazine, it was. It was for jazz. While I was at CCM, I was doing the Philharmonia and all of the orchestral stuff, Symphonic Winds. But then I was also in the big band. I was also part of a combo that was directed by Kim Pencil, who's a teacher on faculty there that I really admired a lot. So I was doing a lot of things back then. I would say so. So yeah, because you were doing the classical thing, but also the jazz. Yeah, classical was just my technical major. Oh, okay. Yeah, but anyone can play in the jazz realm if they can improvise and if they can read. Okay. And then so then you got your undergraduate degree. How did you get to tour in France? You did not graduate from Cincinnati. I did not. No, I'm actually just getting my degree this semester from Berkeley and finally finishing up. The tour with Bill Carruthers actually came from my recognition by Downbeat. He was doing this tour, which was commemorating the 70th anniversary of the D-Day landings in Normandy. And at the time, I was a trombonist who I had a degree of repute for being able to do the ballad style very well, sort of like Tommy Dorsey and Irby Green. And he brought me on in particular to really use that style. How long was the tour? I was in France for three weeks at the time. And then that was 2012. How did you end up at Berkeley? Oh, that with Bill, that was in 2014. 2014. Oh, I think I mixed those up then. Okay. So you at that time, you had a full scholarship already to Berkeley. So you did the France tour and then you came back and started Berkeley? Exactly. And are you a trombone major, a performance major, a composition? I'm a performance major at Berkeley. That's when I'm getting my degree in. All right. And that's coming right up.  Yes, sir. So wait, it's 2018. So you did the standard four-year thing? Exactly. Yeah. All right. Now let's talk about the writing. So have you always written or when you got into jazz, did you start with standards like most people? Yeah. I was very traditional in my sort of introduction to jazz, you know, just playing standards, going to jam sessions and everything. It wasn't really until I came to Berkeley, until I developed an interest in composing. A lot of that was through my teacher, Hal Crook, who was one of my biggest inspirations in general. But he really got me sort of in the mindset for that. Specifically in the mindset like start writing your own stuff or you were just inspired by his original compositions, if you understand my questions. No, I understand exactly what you mean. I think it was a degree of both also. He said man, write your own stuff. Yeah. Yeah. He wanted me to really try to get out and, you know, write stuff that was going to supplement my own style in a way that, you know, standards wouldn't. But also another inspiration was Eric Dolphy. I always loved his writing and playing and I wanted to write something that was sort of in that vein but not, you know, completely just a rip-off. Okay. You're taking us back to the 60s here, right? Yeah, absolutely. Yeah, Dolphy died in 64, but way ahead of his time.  You discovered Eric Dolphy at Berkeley through like a history course or you'd always been interested in that sound. So we should kind of explain that I've had many jazz bands on and some of them write, they're not standards, but they're based on a more standard layout. You've been here now, you're here now, I'm sorry, Daniel Rodham was here. And they're more, you have a lead sheet, but it's pretty open when you get to the improvisation section. So I don't know, maybe you could, don't let me talk about it. I'll let you talk about what the difference is between a standard ABA form and... Yeah, I mean, that's a really interesting question. I think the biggest difference really is just how you negotiate the improvisation and how you negotiate the form. And sometimes the form that we play on the actual melody isn't the form that we play for the solos or the solos might not have no form at all. We'll play a head or a melody that I've composed and then for the solos we're just playing free, which was a setting that I really explored a lot with Howe in his classes at school. But also a big inspiration for this is it was influencing Dolphy too and I know it's influenced Howe as like the 20th century classical music tradition as composed by guys like Schoenberg and Bella Bartok and Stravinsky. A lot of the jazz, what would be considered the jazz avant-garde or modern jazz has been influenced by the Iodidium. So what are you, you've mentioned several artists there or composers as well, so what are you listening to over the last 10 years to... 10 years, man. Well, I shouldn't say 10 years, but not right now, but you're mentioning them as influences, but you've also listened to most of their works or... Not all of their works. I mean, with Bartok, I'm certainly an aficionado. Okay. With Stravinsky, it's more of a thing. I really enjoy the Ride of Spring in Petrusca. That's a great work and I played the Firebird when I was the Firebird Suite. It's part of an opera, but it was a ballet, sorry, ballet, and it was condensed down to like a three movement piece for orchestra to perform and I did that while I was at CCM, which is also a great inspiration. So yeah, those guys, I like Schroenberg, as I mentioned, Pierre Luner, the first A-tonal piece he composed is really amazing. And when you speak about, you play the melody and maybe the free or the improvised section doesn't follow the form of the melody, you may have a... I didn't pay that close attention. I mean, I was listening, believe me, but what I mean is I wasn't going, oh, they did an 18 bar head and now that's, I think that's 20 bar.  So, but what you're saying is maybe the melody was 24 bars, but then when you improvised it got stretched, so the changes would stretch? Exactly, yeah. Well, on the first tune that we played Excalibur, Excalibur, that actually doesn't have a form for the solos at all. So that's free, open. Yeah, it actually opens up with a rubato section. John Coltrane did this sort of on Love Supreme. Like in the very beginning, it's this extended rubato section, then it breaks into time and then it goes to solos. And so, I mean, that was kind of a similar layout to the way that I envisioned Excalibur. I have, you know, kind of a drone while I play this melody and then it breaks into time and then it breaks into swing and then we go into solos. So it's kind of just a tangent after tangent. And let's talk about free improvisation or did you have a different term for it? No, I think that's a great term actually. Open improvisation. So free sounds a little loose to people that don't listen that much, but there's a heavy component of listening involved there. Oh, absolutely. So I'll let you explain it because I'm interviewing you. But so you're all listening. It's not, you're not up here rambling on. So just talk about that from your perspective. My, like I've said before, one of my greatest inspirations is Howe, who I studied, Howe Crook, who I studied with at school. And it was really his system of improvisation that influenced me the most. And the way that he kind of thought about it is that it's an ensemble setting. You know, we're trying to be one unit that serves the music. And in that way, we're always listening to each other. We're trying to do something that complements us as a whole rather than as individuals. And I think, I mean in a nutshell, I think that's the way that I would describe free improvisation at its best.  I'm making that as a statement, but it has to be true. Okay, because it sounds like music. And so, but that's what I meant by, I mean, you're, you can hear individual changes in what Zozo is doing, which will influence you. But if you're soloing up front, he kind of hears what you're doing and can follow you. Yeah, so you might even change key a little bit. And they're following the sound where it takes them. Exactly. Well, in a way, it becomes a superconducting loop. You know, like what one does affects the other affects the other affects the other. All right, great. We will talk more about club de trombone. Did I get that correct? Yep, that's right. We'll talk more about that later, but how it's some more music now. Great. All right, let's bring your band back on. I'm sorry, let's bring your band back on. Max Acree is my guest today on 502 Sessions. Thank you. 502 Sessions, I'm back with Max Acree. And let's talk about club de trombone, annual improvisation seminar of Buenos Aires. That is one long name. It is. It is very easy. So why do they call it club de trombone? Is it all trombones or people use trombones as clubs and they go around raiding in the city or something? What's that all about? It's a group of trombonists that all play professionally in the scene. And Buenos Aires is doing, you know, jazz commercial type stuff. And every year they try to bring in a person to sort of give a lecture style master classes on different topics that they're interested. So they brought me in last year. I'm really lucky because Berkeley has a great connection to Argentina. And one of my dear friends who I met at Berkeley, a drummer named Juan Chiavaza, he sort of hooked me up with this trombonist who was putting it together last year in 2017 named Franco Espendola.   You know, you can talk, you know, master classes over the week and tell us about your your concepts and everything. And just a great time. So how much organization did that take on your part? Or did you? Was it a it was a lot because you don't want to go in there and riff dialogue for an hour at a master class? Exactly. I had a lot of notes, you know, sort of saved on finale of, you know, different things that I had written out and how to approach certain things that I that I took down there to them. We planned this over a year in advance because originally the, you know, the plan was for me to come down in 2016 actually, but we couldn't make it work out that year. So we had to delay it by a year. And yeah, one of the greatest adventures I've ever gone on. Did you take your band down or when you played the clubs, they had a rhythm section for you? Yeah, they had a band for me. I played with a group that's sort of famous in Buenos Aires, the Hernan Merlo group. He plays with his son Fernan Merlo and I can't Merlo. Yeah, Merlo. Their last name is M-E-R-L-O. Oh, okay. And so I played with them when I was going out and doing my club dates. And then when I was doing master classes, it was just me surrounded by like this massive group of like 40 drum bonus. And did they have a student rhythm section for you? No, no, for that, it was just it was more me just presenting, you know, esoteric topics, you know, talking more than playing. I guess I would demonstrate every once in a while to show them what I meant. And when you were playing throughout the city, did you had you set your music in advance or were you going down there as a jazz musician playing standards that are, you know, there's a common knowledge of among jazz musicians in the world over? Yeah, it was sort of half and half. We played we played all of my original compositions that I had at the time.  We are also playing some standards and ballads and everything. So what's next for Max Acree? You've done a lot. It's all downhill from here, guys. So just kidding. It's all over. You know, I'm kind of unsure. I really have a big passion for teaching. And I want to try to continue that in any way that I can. How really inspired me, you know, to be that way. He's one of the most influential people in my life. And, you know, he was just a teacher that I had at Berkeley, but he imparted so much wisdom on to me. And I really want to try to be that mentor type figure for other people. It's one of the greatest aspirations of my life. So do you think private teaching or in a school setting, like ensembles and all of it? I love it all. I love teaching an ensemble, but I also, you know, love teaching private students, even just in trombone, basic trombone technique. It's all great. I love doing all of that. And but you're graduating with a performance degree. So you didn't think that you would go into like public teaching, like a school or anything? You know, that's right. It wasn't my plan originally when I started. That sort of has come on in the last two years or so. So you can always supplement your performance degree with some kind of master's in education. So let's talk about that. So performance degree, you're also competent. You can teach a theory class. You could conducting. And it's not just trombone. No, yeah, there's a principle instrument and you work a lot in improvisation and trombone. But exactly. There's a, I mean, there's a pretty thorough curriculum that we go through at Berkeley that's been, it's been set for like, you know, 30, 40 years at this point.  So you study jazz harmony or commercial harmony, whatever you want to call it.  I think that that's what I did in school too. I think it was much easier in retrospect to learn the jazz stuff and then go back and do the figured base. Exactly. Yeah. Because then the figured base, oh, it's like a chord progression. Exactly. You know, I think it just happens to be whatever you start with is the easiest. Oh, maybe. And for me, you know, my dad was a jazz musician so that was the type of harmony or at least the terminology that I was exposed to first. So going through tonal harmony was a bit of a chore, at least in being able to label things in the correct way.  Yeah, yeah, I remember taking my test and you think you got it perfect and then, oh, you moved to parallel fifths. All those rules. Exactly, yeah. It's pretty tight. But that's one of the, I think, my theory teacher at the time, I think he said, you know, get your figured base down because it's one of the things that'll be on the graduate, to get into graduate school. They'll ask you about that. And sure enough, you know, and even if you don't, isn't perfect, at least you've got the confidence.  I think there's a lot of figured base in classical theory, but I could be wrong on that. There is up until like the late Romantic era and then when you get into the 20th century, you have guys that are pretty much rapidly starting to throw that out. But what I meant was when you're in school, the theory classes are kind of... Exactly, yeah. For me, the hardest part was always remembering the seventh chord inversions, you know, like six, four, four, three, four, two. Yeah, six, yeah, yeah, yeah. I can't... Oh, that stuff. I remember the numbers, but I can't quite recall the details. So, all right. Max Acree is here on 502 Sessions. Thank you very much. Thank you. How about one more song? Yeah, let's do it. All right, gentlemen. Thank you for being here today. Thanks for having us. You're welcome, you're welcome. Max Acree has been my guest today and his quartet with Zach Oslender on guitar, Soso Gilavani on bass, and Willis Edmondson on drums. 502 Sessions is all about live original music. So, if you're a musician and you have a lot of original material and you have a lot of original music and you have a lot of original material and you have a lot of original music and you have original material and you'd like to be on the show, don't hesitate to reach out to me. I'm at 502 Sessions at gmail.com. It doesn't have to be a quartet. You could be a solo, could be a quartet, could be a duo. I've had even an orchestra in here before. So, don't hesitate to reach out. I check out all links and I respond to all emails. Thank you very much, gentlemen. Thank you. You're welcome.


Hello everyone, welcome to the Narc Survivor YouTube channel. In this one I'm going to be talking about how the narcissist died a long time ago. Please give this video a thumbs up down below as it will help the YouTube algorithm to get this message out there. The narcissist is not there. Their physical body is there but they are not. Their disorder is characterised by an absence. An absence of self. An absence of distinguishing features. And all that's left is a mirage. A ghost of what once existed. But does not exist anymore. Because their true self died a long time ago. It's not there anymore. All that exists is a system of coping and defence mechanisms which makes up their false self. And there is nothing beneath or outside of that. That is all that exists. Which is why when you're having a conversation with them they're never really listening. It's like they're not giving you their full attention. As though they're distracted. They're not really there. Even though they may be there physically. Narcissism is characterised by an absence. So even when they're responding to you. It's like they're not really present. Because they're like an artificial intelligence. And they have two modes of operation. Where they're either in their fantasy world because they're bored or disinterested. Or they're responding to their inner critic. Which they may then project onto you. Through the use of criticism, frustration or disapproval. Both modes of operation are a response to trauma. And it's because reality is not how they want it to be. They're not happy. They're dissatisfied. And while they may blame you for that. The truth is that they can't be satisfied. And nothing will ever be enough for them. Because they're disconnected from themselves. They abandoned their true selves a long time ago. And our happiness and satisfaction comes from within. It doesn't come from the external world. So no matter what you do for them. It's never going to be enough to fill that void. And they can't go within to replenish themselves. Because there's just nothing there. There's nothing inside of them. Which is why they have no thoughts or feelings that are independent of their fantasy world or inner critic. That's all that there is. There's no room for anything else. There's no room for other people's identities, personalities, thoughts, feelings, opinions or beliefs. They have no boundaries so they're all encompassing and controlling. They believe that everything belongs to them. And that everyone thinks and feels the same way as they do. But at times they may also be responding to their inner critic. Or they're insecure and defensive and they're expecting or demanding for you to do something for them. To make them feel better about themselves. Because they can't deal with their own self-talk of them but not being good enough. But this voice never really goes away.  Because their way of thinking is that if they're not enough then they need to take something from you. But no matter what or how much they obtain they never feel complete. Because they have a void that can never be filled. But because they're envious of other people. They also assume that other people are envious of them. They always assume that other people are thinking something towards them. Whether they assume that someone is attracted to them or that someone feels threatened. They're always making these assumptions of other people's thoughts and opinions. Because it supports their narrative of them being powerful, important, desirable or attractive. And they often become very paranoid and hyper-vigilant. Where they feel like they have to watch out for other people. Because they always have this inner voice. They're always judging other people. Even though they may not actually know anything about them. Remember to hit that thumbs up button down below. As it does help our community. You may not have ever done or said anything that was directed towards a narcissist. And yet that narcissist will make false assumptions about you.  Because they're very insecure so they have to believe that they've got people all figured out. So that they can feel like they're in control. Which is what caused them to develop a very skewed perception of reality. Where they may have completely misread your intentions and motives. Because they're often just projecting their own insecurities onto other people. Because they never own to accept them themselves. They abandon themselves a long time ago and this is why they're so paranoid. And they view everyone as a threat. Which is why when you're having a conversation with them. They won't even listen to you. They will tune out what you're saying. They will seem distracted and unresponsive. Because they're too preoccupied with this voice inside their heads. And it's telling them everything they think they need to know about you. And it's actually just based on past traumas. And it has nothing to do with you.  Which is why you just can't reach them. Because they can't accept your separate existence. They have to view you as an extension of themselves because everything has to be about them. Which is why they really don't care about what you have to say. They can ignore you. They can give you the silent treatment. They can ghost you. Because they really don't care. It doesn't matter to them. It doesn't affect them. They don't care about your feelings. They don't care about what you're doing. It's not important to them. What's important to a narcissist is their feelings and perspective. They're not concerned about anything else. Because all they care about is what they want. Their lack or deficiency of something. And what they decide to possess or do. And anything else is irrelevant. It's of no concern. Which is why everything is one sided. It's all about them. And it is never about you. Unless they can get something out of it. Which means that even then it's still not about you. Because it is a struggle for them to even direct their attention towards you. It's like something they have to suffer. Something difficult and unpleasant they have to tolerate or put up with. Something they have to undergo or live through. It's never a positive or uplifting experience for them. It's just too demanding for them to focus on anything but themselves. So even if they're in a situation with you where they may have to do that. It's going to feel like they're not even there. They may be physically present. But their mind is somewhere else. They're either entertaining their fantasy world or they're in a critic. But they're never being entertained by you directly. They don't even see you. You're just a physical representation of something that they've created in their heads. Which they've then imposed upon you whether you know it or not. And it could be something positive or something negative. But either way it has nothing to do with who you actually are. Who you are is not a concern to them. Because they're too preoccupied with these thoughts in their heads to even pay any attention to you or to even know that you're there. Which is why even if you try to bring something to their attention it is very difficult for them to concentrate. It's too dense. It's like a weight they're having to bear. To where at times they may seem unintelligent, ignorant, foolish or slow. Because they're always thinking of how they're going to respond or they're over-analyzing your reactions. While they're seeing a dialogue is going on inside their heads. Which is making it difficult for them to concentrate. Because they can never put your thoughts, feelings, wants, needs or desires before their own. They're too preoccupied with thinking of their own advantage. So they just want you to hurry up with whatever you're saying or doing. So that they can get to what they want to say or do. Because their words, actions and desires are more important. They're self-interested. They're motivated by their own personal interest or advantage without regard for you. Because they can't see other people as they're equal. In their mind they're superior to you. Which is why everyone has to revolve around them. And they always need to be the centre of attention. And if they're not they will do whatever it takes to get people to pay attention to them. They will perform a narrative as if it were a play. They will behave badly. They will yell, shout and scream. Because if they're not the centre of attention they feel like they don't even exist. Their false self can't exist without constant acknowledgement and validation. And that is their narcissistic supply. Which is why even when they're out in public they're always scanning the environment and calculating in their heads where they would need to walk, stand or sit so that they can elicit as much attention as possible. Because that's always their goal. Or they may just gather around a respected or powerful person so that they can use that person to their maximum advantage and control or coerce them in the way that they wanted to go. Because all they're ever thinking about is how they can be the centre of attention. They have no true self. They died a long time ago. But their false self cannot exist without constant acknowledgement and validation. So they're completely self-absorbed and they lack empathy for other people. They just haven't got the mental bandwidth to even consider you as a separate person with your own feelings and needs. If it is not all about them then they have no interest. So they're not going to engage in a conversation about you because all they care about is themselves. Your feelings and needs mean nothing to them unless they can use them to their advantage to gain influence and control over you. So even then it's still all about them and if it's not about them it doesn't matter. Thank you for watching and if you found this video helpful please give it a thumbs up down below. Share your thoughts in the comment section and hit the subscribe button to receive the notifications. If you would like to support the channel you can donate at payborder.me.com You can book a one-on-one with me on my website itisnarksurvivor.co.uk Thank you for watching and I'll talk to you soon.


So, we will continue our discussion on market structure. So, if you remember in the last class, we were talking about the different kind of market structure and how the classification is being done in order to understand the different kind of market. One is the substitution the ease of entry and second is again the what is the nature of competition. So, there are three parameters on that basis generally the markets are divided into different form and from that if we remember the classification, we start with perfect competition. Then you come to monopoly. So, perfect competition and monopoly to extreme form of market structure and in between this monopolistic and oligopoly market structure comes. So, we will start our discussion with the detail on particular market structure and today we will talk about the market that is talks about the perfect competition. Its name suggests this is perfect competition, but we will check that whether it really there is a perfect competition or there is any kind of competition between this firm in this typical type of the market structure. So, today our focus of our session will be on features of perfect competition, what are the characteristics or features of perfect competition. Then we will see how the demand and revenue of a firm under perfect competitive market structure. Then we will talk about the short term equilibrium, the price output determination, whether in the short term the firm is getting loss, the firm is incurring profit or the firm is just getting the normal profit. Then we will talk about the market supply and specific firm supply analysis keeping the cost function or the cost analysis in the background. So, to start with perfect competition if you look at this is the most basic form of the market structure. It is theoretical and hypothetical, but this is the most ideal form of the market. So, may be this is the very basic form of market structure, it sounds theoretical, it looks hypothetical, but this is the most ideal form of the market. And why it is ideal may be when we look at the characteristic when we look at the feature, it should support the supplier and both to the buyers and the consumer and that is why it called as the ideal form of the market, but when it comes to the implementation and applicability of the such type of market structure there is a difficulty and that is why if you look at there is no much relevance, like close relevance of this perfect competitive market structure in the real life except in few cases. The term perfect competition refers to the set of condition prevailing in the market. So, perfect competition market structure on the set of condition that prevails in the market and this that basically how the buyers and how the sellers behave in the market. So, as the name suggests and as we discussed also before couple of minute that perfect competition if you look at the name suggest that it is a perfectly competitive market and all the all the firms they compete with each other, but contrary to that there is a there is a fact that in case of perfect competitive market structure there is complete absence of rivalry among the individual firms. So, it is not perfect competition it is about rather the absence of the rivalry or absence of the competition among the individual firm. So, in economic theory it has a meaning that is diametrically opposite to the everyday use of this term. So, when you talk about perfect competition in really if you look at in reality this there should be the competition should be perfect, but if you look at there is complete absence of competition in the market. So, when it takes this case into the economic theory the meaning of the perfect competition is a diametrically opposite to the everyday use in this everyday use of this term. So, in practice businessmen use the word competition as the synonym is for the rivalry. So, competition and rivalry use as a synonym in practice and businessmen generally use this word, but when it comes to the theory of market when you have talked about the theory of the market structure perfect competition implies no rivalry among the firm. There is complete absence of competition among the firms and there is no rivalry no competition in this kind of the market structure. So, the name if you look at that call tells perfect competition, but in the reality the characteristic of the perfect competitive market says that there is absence of there is absence of competition, there is no competition at all in this form of the market. Now we will talk about the characteristic of a perfect competitive market what are the characteristic of a perfect competitive market. The first on the foremost characteristic of a perfect competitive market is there are large number of buyers and sellers in the market. There are many firms who are producing the product in the market, there are many sellers, many consumers to buy the product. So, there are large number of buyers for the product and there is also large number of sellers of the product. So, in the background there are also large number of producer of the product because that leads to the again to the large number of sellers of the product. So, either you call it large number of consumer or producer, you can call it large number are buyers and sellers in the market. The second characteristic of perfect competition says that it is a homogeneous product. It is homogeneous, the meaning of homogeneous is that uniform product, all the firm they produce uniform products, uniform products in case of a perfect competitive market. So, the products are not different from each other on the basis of the price, on the basis of the quality or on the basis of the may be any type of product differentiation. So, homogeneous product is it should be uniform product, but when you take this to the real world application, whether number of firms they can produce the same kind of product or may be the homogeneous product, may be the answer is somehow close to know because the technology used by the firm is different, may be sometimes the raw material used by the firm is different. The skilled people involved in producing the product they are also different, may be the skill is same, but the individual is different. So, some amount of the difference is there between the one firms product to the other firm products, but as a whole it is a similar kind of product or it is a uniform kind of product and rather than uniform or homogeneous we can call it that the similar product that is produced by all the firms in the market. But as theory say this is one of the characteristic of the perfect competitive market firm that it is a homogeneous product. Then the third characteristic talks about perfect mobility of factor of production, it means there is no restriction on the factor of production. Suppose you take the case of labor, the labor they may the laborer may be one working in one firm they can move to the other firm, they can move to the third firm and if possible they can again come back to the previous firm. So, there is perfect mobility of factor of production and mainly here we talk about the labor input and they move from one firm to another firm to do the same kind of job or may be different kind of job, but the end result is again same all the firms they are producing homogeneous product or all the firms they are producing the uniform or so called the similar product. Then the fourth characteristic is there is free entry and free exit in the market. All the firms there is no entry fee if you look at there is no entry fee there is no restriction in entering to the market. Anyone has the capability to produce and sell they will be there in the market from the supply side. Anybody who has the capability to buy they will be there in the market as the buyers. So, from the demand side if someone has the capability to buy the product they generally they are in the market there is free entry from them and similarly from the supply side also any producer or seller if they are ready to supply or they can ready to sell or they are ready to produce they should be there in the market because they have the capability to sell in the market. This is about the free entry. Similarly, when it comes to free exit there is no if you look at this it is not any trapping or anything that stops the seller or the buyer to leave the market. If the sellers they feel that they are not getting profit in the market or then or they are operating in the market they are selling their product in the market and if they are not getting profit out of it they will prefer to get the market and there is no restriction in exiting the market. Similarly, for the buyer till the time they feel that the product is worth for them and they are getting it in a good market price generally they operate in the market or they sell from the they generally buy it from the market. But once they feel that the product is not worth buying or they do not require that product anymore they can always they can always come out of the market or they can always exit out of this market. So, if you look at there is no restriction in entering the market or there is no restriction also from the also from coming out of this market. The fifth characteristic is perfect knowledge and what is this perfect knowledge we can reframe this as that that all the buyers and sellers they have perfect information about them or they have full information about the product about the price and about the sellers from whom they are buying the product. Similarly, from the sellers from the seller point of view also they have full information about the price and they have full information about the product. So, the one of the maybe important characteristic of perfect competitive market is that the buyers and sellers they have the full information about the price of the product about the product and in general what is the market condition or what is the market how the market is doing or as a whole how the what is the seller perspective or what is the buyers perspective both the seller and buyers they have information about them. Then there is absence of collusion and artificial restriction means if you look at since all the firms they are producing the same product and there is absence of competition somehow it may lead to the fact that they will collude and they will charge a higher price which is which is not again a good sign for the market to grow because that way they will try to take charge a higher price and the buyer will be at the other end and if all the firms they are producing the same product they the collusion power is also more strong over here. So, there is still in case of characteristic market even if all the firms they are producing the product one of the characteristic of the perfect competitive market is that they will not get into the collusion or there is no form of any artificial restraint or maybe there is no form of restraint no form of control from the authority or any kind of organization in the market that is always the market forces the supply forces and demand forces they decides the they decides the course of action regarding the price regarding the product. The last characteristic which talks about the how the market functions whether there is a intervention from the government whether the authority gets into this or maybe whether who is the who controls the demand forces and who controls the supply forces. The fact is that in case of perfect competitive market structure there is no government intervention at all it is the demand forces it is the supply forces they decides the price they decides the quantity. So, if you remember in one of our discussion when we are talking about the equilibrium that supply and demand forces if the when the demand is equal to supply generally that is the case where we get the equilibrium and whenever there is a mismatch between the supply and demand generally the buyers and the seller they among themselves they again comes back to a situation which is again equilibrium and how they comes back to a situation when again equilibrium either they control the demand forces or they control the supply forces. So, in generally there is no intervention from government rather the buyers and seller among themselves they decides the price they decides the output or maybe the supply forces rather than saying buyers and seller the supply forces and demand forces they decides what should be the price what should be the output and there is no form of intervention it is like the invisible hand principle as we talk about in case of a different kind of economy. So, in case of perfect competitive market structure it is a invisible hand principle that the market forces decides everything what should be the price what should be the product and what should be the market condition. So, if you look at when you analyze or when you look at all the characteristic perfect competition is an uncommon phenomenon in real business world. However, the actual market that approximate to the condition of perfect competitive model include to share market, securities and bond markets, local vegetable markets and agricultural product market to name few. So, it looks very uncommon when you talk about the characteristic that there is free entry free exit or homogeneous product, but somehow if you down the line if you can take out some of the restriction if you can generalize some a bit if you look then in that case the actual market some of the actual market that their feature or their characteristic close there is a resemblance with the perfect competitive market structure. So, in this case if you look the local vegetable market or the agricultural product market their product is not different from one another not much different. Suppose it is rice or a typical vegetable they just produce that vegetable maybe someone is of a good quality, someone is of a bad quality, someone is small, someone is large, but in general it is a similar kind of product. So, we will talk more about the application of the perfect competition the real one in the later part of the session where we will see that whether any typical market fits to within the proper competitive market, but in general these are the markets like agricultural product market, local vegetable markets, share market, bond and security market they are somehow close to the they have some feature which is similarity with the perfect competitive market structure. And if you look at even if it is uncommon still some form of market still they adopt it and they call it is a proper competitive form of a market. So, as we know this is an uncommon phenomena looks like from the characteristic as a whole this market form is an uncommon phenomenon, but as a whole when you talk about a perfect competitive model that has been a popular model used in economic theory due to analytical value as it provides the starting point and analytical framework for the pricing theory. So, if you look at maybe from the characteristic point of view it is like very uncommon, but when it comes about the model that gets used in the popular competitive market structure that is most popular model and sometimes this serve as a base to the many of the other models and it is due to its analytical value as it provides the starting point and analytical framework for the pricing theory. So, then we will talk about that how what is the demand and what is the revenue of a competitive firm or as a industry as a whole or what should be the value of total revenue, how total revenue is calculated, what is the demand that will check for the typically competitive firm. So, we will take the revenue part first and total revenue for a firm is selling price times the quantity of goods sold. So, total revenue is price multiplied by the quantity, if price is 10 rupees and quantity sold that is 100 units total revenue will be 1000 units because P is 10 and Q is 100. So, total revenue is in the very simple merits nothing but the nothing but the nothing but the total revenue or the total output what they total revenue they get by selling the quantity that is produced by them or that is getting sold by them. Average revenue tell us how much revenue or firm receive for the typical unit sold. So, basically this is the average revenue that is revenue per unit of the output and average revenue is the total revenue divided by the quantity sold that is total revenue divided by Q. Then the revenue of the competitive firm in perfect competition average revenue is equal to the price of the goods that is PQ by Q which comes to P and marginal revenue is the change in the total revenue from an additional unit sold and for a competitive firm the marginal revenue equals the price of the goods. So, if you look at in case of perfect competitive market structure the price is equal to the average revenue which is also equal to the marginal revenue. There is no difference between the average revenue, marginal revenue and price that we will check later again when we will take a numerical firm, but for the timing the understanding is in case of perfect competitive market structure the price is equal to average revenue which is equal to the marginal revenue. So, this is the typical example that how we get the total revenue average revenue and marginal revenue Q is the quantity the number of unit sold P is the price and total revenue is nothing but the price multiplied by quantity average revenue is that is total revenue divided by Q because this is the per unit revenue and marginal revenue is the change in the total revenue with respect to change in the Q. So, if you take that why this P is equal to average P is equal to average revenue which is equal to marginal revenue. Suppose total revenue is equal to PQ then average revenue is total revenue by Q. So, this is PQ by Q and this comes as P and similarly marginal revenue is DTR that is by DQ then this is D PQ with respect to Q and again if you simplify this then this is DQ DQ which is equal to P. So, price is equal to the average revenue which is equal to the marginal revenue in case of the preferred competitive market structure. So, in order to determine just how much each firm wants to sell or how much each firm is willing to offer at prevailing market price we can analyze using the concept of cost. So, how much the firm is willing to sell or how much the each firm want to sell that can be decided on the basis of the cost function or that can be decided on the basis of the prevailing price. So, we will analyze that by using the concept of the cost. Then the market demand curve for the whole industry and if you remember in the previous class like when we are talking about that how much they want to sell or how much that depends always depends on the profit of the whatever the profit they are getting. So, what is the profit over here? The profit is the difference between the total revenue and total cost. So, if you remember the point at which the profit is maximum that is the point the firm generally wants to operate because they want to sell that much amount of output where they get the maximum profit. Then we will talk about the demand for the competitive rise taker that is for the individual firm and for the market demand as a whole. So, the market demand curve if you look at the market demand curve this is the sum total of the demand from the all the firms and it is generally a standard downward sloping demand curve because we know that the demand curve is downward sloping. So, market demand curve is always downward sloping this is the summation of the individual demand curve from the all the firms. The downward sloping curve gives a the price and quantity combination that is available to buyers such that the individual buyers able to get the maximum amount of output at the existing price. And the demand curve of the individual firm is horizontal straight line showing that the firm can sell infinite volume of output at the same price. So, in case of a competitive price taker the demand curve for the firm is the demand curve for the firm is straight line that is horizontal and parallel to the x axis that is horizontal axis. And what is the significance of that the significance for that is that whatever amount the firm wants to sell they can sell at the same price. There is no restriction on the amount what they are going to sell because price has to be constant at that point any firms any amount they would like to sell they can sell it that typical market as a typical market and typical price. Now, what is market supply market supply is upward sloping giving various combination of price and output shows the maximum output any firm is willing to produce and supply at each specified price. Market supply curve is the horizontal summation of the individual supply curve. So, this is the demand for the competitive price taking firm in the market panel talks about the market industry as a whole panel to talks about the demand curve facing the price taker. So, supply is upward sloping demand is downward sloping the point at which demand and supply intersect each other that is the equilibrium point and corresponding to that we get the equilibrium quantity that is q 0 and equilibrium price is p 0. Panel B is the demand curve facing generally facing a price taker or for an individual firm and as we know that the price is equal to marginal revenue and also average revenue here. The demand curve is just a straight line the price comes from because individual firm not in a position to influence the price that is the reason the generally all the firms they are the price taker firm because not a single buyer or not a single seller they generally influence the price. So, whatever the price set by the market that is generally accepted by all the firms. So, none of the seller they fix up their price rather they accept whatever the price fixed by the market supply and market demand and they accept that as the market price. So, here we get from the market supply and market demand curve we got the price and if you look at the demand curve for the and at that price the firm can sell any amount. So, that is the reason the price is fixed and the quantity is changing the quantity is just moving from one point to another point and the here that is d is equal to m r.


Okay, so I'm up here today not to motivate you to evangelize but to convince you to evangelize. So some of you may be asking yourself, why is evangelism so important? Well, let me ask you this. If you knew 9-11 was going to happen before it did, would you have told anyone? And that's exactly why we evangelize. We evangelize because we know that if we don't share the good news, something terrible is going to happen to people. We evangelize because we know that if we don't share the gospel, the chances are that they're going to end up going to hell.    And that's a lot more people that died every day than people that died on 9-11. That's how we know our job isn't done. That's how we know that we need to evangelize. In Matthew 24,14 it says, And this gospel of the kingdom will be preached in the whole world at the testimony to all nations, and then the end will come. We need to preach the gospel to more people, and we have to be as bold as lions. We have to be bold and not afraid if people are going to persecute us. Because if people persecute us, that's okay, because we know that we're right, and we know that eventually they're going to regret not listening to us. And even if people persecute us, we can't give up. We can't stop until the amount of people that die every day and don't know the gospel is zero. We can't stop until we see thousands saved locally and millions saved globally. Our vision isn't going to accomplish itself, amen.


Future of content marketing would be largely driven by AI in a big way. In 2022 you already saw those cases out there, predominantly on synthetic AI. And everyone keeps talking about Shah Rukh Khan's Manchester Cadbury ad campaign, which was about creating a synthetic AI edition of Shah Rukh Khan and then giving power to retailers to create their own Shah Rukh Khan ad and disseminate it. But there's a lot of R&D which has gone on to building this tech stack. So I mostly believe that anything that's new, you've got to get into the game and create your own experiment with yourself. So I created my own synthetic AI avatar two years back when the lead time to create a clone of you took us about 10 hours of content which you have to read and then you create your clone. Once I did that, I started sending it to a lot of my clients and a lot of my leadership and then I told them, okay, the guy I go and you were talking to is my clone and it's not me. So I've excited a lot of these guys, whether it's clients or leadership and that got a lot of these people driven and we cleared the legal burden and then we get put into implementation and as we speak, we have got so many clones of celebrities which are what created, which are driving hyper-personalized conversation. So I mostly believe that this entire space of AI and generative AI now which is going to be big in times to come in terms of how content is going to get rendered and not just on text but all three formats of content marketing. This entire space of emerging tech and creative tech as we keep calling, it has got immense power. All it needs is the right approach, the right thinking and there we go. We can actually create magical stuff. It's very powerful. All we need to do is just channelize our energies to craft a problem solver which is what this use case which I just gave you. So I'm working towards that right now. You would see a lot of similar use cases in times to come. We are working towards core utility use cases which are going to be a problem solver for marketers, also for consumers. What I'm really excited about is metahuman in the use cases. Imagine now I have my own metahuman. He runs all the workshops. So I get all the mundane boring stuff. He can do it for me, right? It's my metahuman. It has the content. It has the mundane stuff which I need to keep repeating it to 500 clients, right? He can do the job for me. Wow, that's so cool. See, I'm creating one for our leadership. There's a newsletter. So E4M must be releasing newsletter and all the top work which you've done in that one. How about creating a metahuman of Navali? And whoever comes on to E4M, Navali's metahuman is talking about all what E4M has done this month or all what's coming up next month, right? Yeah, that sounds good. So all those kind of use cases would evolve in times to come and more people adopt to this, more you would see the change. So there are metahumans and there are digital humans. Content could play a role in either case. Digital humans actually do not exist. Metahumans are created from our own scans. So that's a differentiator. So more and more brands as we were talking in our talks as well today will create their own AI mascots who would move into these virtual worlds and drive conversations and will advocate for the brands. Now look at the, there are these millions and tens and millions of people who are going to platforms like Roblox, right? Our kids go there, they play, they spend a lot of time. They are not on television by any means. So if you were to reach out to them, you cannot be stickering the Roblox environment. You cannot be running like banner ads out there. They're going to hate it. So you're going to create brand mascots like what we did with Wendy's. It's a character or an avatar which we created. She moved into various virtual worlds and she was engaging with audiences out there, right? So the future of advertising is going to be more storytelling, more immersive and not very pushy and stickered kind of an environment, right? We were trying to push our messaging out. It's going to be a blend of both in some form. But yeah, I think it will be like a paradise for creative folks to come create a lot of renditions out there.