So you just want to slap awesome normal patterns to your work. Not a problem. Now remember, everything I showed you in the last video about brush control will apply to this tutorial. So if we add a new paint layer, hold alt and left click to disable everything except for the normals and then click here, you can pick any normal you want. And you'll be able to control it with all the standard brush control tricks. Now one thing to keep in mind though is that your normal design will be applied in the shape of your alpha. Right now it's using the standard brush alpha, which is why the edges are cut off. If you remove it, now you'll be able to apply the complete design. Contrastly, if you have a specific shape that you want the normals to follow, you can set that alpha and the normals will stay within it. Something to also keep in mind is that some normal brushes are procedural and they have built in parameters that you can mess with. For example, bevel brushes allow you to right click and change the size and bevel width with these values over here. And remember, you don't have to draw all this directly onto your 3D model. You can draw it on the 2D texture map view as well. Last quick thing I'll mention is you can also just straight up drag any normal design you see in the library straight to your work. Just say it's for normals and once it's there, you'll be able to drag it specifically where you want. And there's going to be a bunch of new options up here, but we'll talk more about these when we get into the projection tutorial later on. Now, hope that helps and as always, hope you have a fantastic day. Now, see you around.


it's Tammy with Colored Valley Cooks and today we're making an amazing homemade coconut crepe pie. This recipe is in our Volume 2 cookbook.  I'm gonna let my pie crust bake while the coconut is toasting and that way it won't take it quite as long to pre-bake.  So I just usually toast about a half bag. It's so sticky I've got to rinse my hands. That baker's plate coconut is so moist it is so delicious. We're gonna go ahead and slide this in the oven. Now I tell you to bake it until it's golden brown. I don't tell you how long because you have to watch it okay. We're gonna go ahead and slide this in my 350 degree oven and I'm only room for my pie crust on the other side. I got a refrigerated pie crust because I love them. I think they're delicious and they're fun because they're easy to spread out and put in your pie plate and you get to feel like you're really baking. If you make your own pie crust you need to watch my pie crust video that I just posted a few weeks ago and make sure you refrigerate it before you roll it out and put it in your pie plate. So easy. We do it this way. So I'm just gonna use this and I'm gonna prick the crust. I'm gonna prick it around the sides just a little and we're gonna pre-bake this. We're gonna get it in the oven with our coconut. Once our coconut's toasted then we'll leave that pie crust in there turning it up to 375 and get it nice and toasty golden brown. We're gonna start off melting a half stick of butter in our batter bowl in the microwave. And while that's melting I'm gonna separate my eggs. You're gonna be using four eggs and we're gonna be making a meringue so you're gonna need yellows in one and whites in another. I'm gonna put my yellows in here so I can beat them. So we're gonna separate these four eggs. Our butter's melted and our eggs are separated. We're not gonna need these whites for a while so I'm gonna set them up in here but we will need these egg yellows. I'm gonna add the sugar next. We're gonna be adding three quarter cups of sugar and this is a half cup and I'm just gonna add about another half of that. That's three quarters. You don't have to be exactly pie. Matter of fact if you want to reduce it if you're diabetic you can. And of course you can use Splenda to do this pie as well as long as it's the baking kind. Now we are going to beat these eggs, the yellows, into our sugar and butter. You want to always put your sugar in first because your butter might be a little warm and you don't want to scramble your eggs. Now we're gonna use a whole can of evaporated milk that's 12 ounce can. I always shake it really good before you use it and I like to just use these old-fashioned openers and open up my can. When you make your pour spout you want to make a smaller one on the top so that it gets enough air to pour well. We're gonna check this coconut and you're supposed to stir it as it's toasting okay. If you don't then it will get really brown around the edge and then the rest of it won't toast before the other burns. So you really need to take it out of the oven and use something and move this coconut from the edge.  Boy does it add to the flavor of your coconut cream pie. It's so much better than just throwing in your coconut into your pudding mix if you toast it. We're gonna beat this milk in with this sugar mixture. Recipe you really need a cup of water but we're only gonna put in a half because we're gonna use the other half to stir our cornstarch up in so that it gets in there without getting lumpy. So you go ahead and put in the half cup and then you're gonna use really cold water for the cornstarch. So I'm gonna get it out the refrigerator.  Now you can use flour and do the same thing but you got to use twice as much flour and I personally like the cornstarch for coconut cream better because it cooks up clear and it makes a prettier pie to me. So we're just gonna whisk this together. The colder the water the better the cornstarch blends in there. Now I've gotten a couple of messages lately about their pudding being lumpy and they think it's their egg. It's not the egg. It's because you are cooking your pudding too long before you take it out in whisk it well because the cornstarch and especially if you use flour will settle down to the bottom of your bowl and then when you go to mix it up it's lumpy. So follow my directions well make sure you don't cook it all too fast. If you have a recipe make sure that you have the cooking times in the microwave before you whisk. That's all there is to it. So simple. Now the first time I put this in the microwave a microwave it for three minutes. My microwave has an 1,100 wattage. Everybody says different. It takes longer for some people and less for the others. So just use your judgment if you got a really powerful one. Do it on two minutes to start with. If you've got a really slow one do it on four minutes. Just use your judgment. So we're going to microwave that for three minutes get it out whisk it well. Do not forget to do that or you could have some lumpy pudding. The great thing about using the microwave is that it's creamy and smooth and beautiful every time. No scorching, no sanding over the stove. It is an amazing tool for puddings, custards and lemon curd. Okay our coconut is ready and all this is falling into place right on time. It looks really pretty. We'll mix it up in just a second but I'm going to scoop this pie crust over to the center and I'm going to turn my oven up to 375 so I can get it nice and golden brown. And go ahead and stir this up when you get it out because remember your pan is still hot. We can pile it up in a heat if you want to but just try to get the brownest part off the edges. It's all coming into play.  It would take you three times as long to make this pie so try to do it all at the same time and you can do it if you lay everything out. Our three minutes is up. You can see already that it's trying to stick in around the edges a little bit. Get down along that bottom really good and stir it really good and then put it back in there. Two minutes is up. Put it right here and whisk it again along the bottom really well starting to get thicker. Now make sure you cook it until it's thick and don't think it's gonna thicken in a refrigerator because it won't.  I think this crust is ready to get out. I'm gonna go ahead and take it out. Put it on a cooling rack and you want it to be nice and pretty like that because it's not gonna be in the oven for long once you put the meringue on and now I'm gonna turn my oven back down to 350 degrees so that we can do the meringue once we have it mixed up. This is all it needs to cook that long. I'm gonna put about three tablespoons of butter and some vanilla in it then we're gonna add our coconut to it. So let's add a little bit of vanilla about three more tablespoons of butter and whisk it. Now we're gonna add most of our coconut except just enough to decorate the top of the pie. Smells amazing. Now you see how hot this pudding is and right now our pie crust is hot as well. We're gonna put the pudding in the pie crust and go ahead and put it in your pie crust because your pie crust is still hot from the oven as well and so they're about the same temperature and you're going to pour it into the pie crust. We are going to start our meringue and get this in the oven. The oven is set 350 degrees and you're gonna start out with five egg whites. Now we had four from the pie. I'm gonna crack an extra just to make it really pretty on the top of the pie and high. Now you're gonna start out in your mixer with your wire whisks if you have a stand mixer to do meringue. We are gonna be using the egg whites. We're gonna put those in first. Now you do not have to use five egg whites. If you don't have them or you know it's not that big of a deal that your meringue is not really high to you but I like to make mine really pretty and put in the fifth one. We're gonna be using granulated sugar. I have two different recipes for meringue. One uses granulated sugar. The other one uses powdered sugar. If you use the powdered sugar one remember it's not quite as glossy and pretty after it begs but it does hold up well. We'll be using sugar today granulated. We're gonna beat this at a high speed. The highest you've got takes at least three minutes. You're gonna beat it until stiff peaks form. You can see how pretty the meringue is. We're gonna get it out on our pie. I'm gonna use this large one and you have to make sure you seal the edges really well of your pie. This meringue needs to bake in your oven for at least 20 minutes. So put your oven on 350 degrees and it should not burn at 350 degrees. And let it take its time and cook the egg and don't just broil it. So once you get it around the edges like that and you think you've got a good seal on it, it needs to be sealed. So import it for it to be sealed all the way around. Like right here I've got cracks so I'm gonna make sure and cover those cracks up. Okay you're just gonna take a little bit of your coconut and sprinkle it on the top of the pie. Don't put too much because you want your meringue to brown and look pretty too. We're gonna get this in the oven and we're gonna put it in there at 350 degrees for 20 minutes.  It smells so good. I told you you couldn't burn it and then I got it brown. But I do that every time with coconut. I don't know why. We're gonna let it cool down and then I'm gonna let you guys see how pretty it is when you slice it. Dagnabbit! My meringue weaped. I think it's because there's there's so many different opinions on it y'all. All the egg white and it's because part of the egg whites cook and part of them don't. And if you put your egg whites on really piping hot filling then they start to cook against the pie keeping it from weeping. What happened when I got this out of the oven is there was one little spot right here that was leaking and I just picked it up. I'm gonna show y'all on the table. I guess it has stopped now but it was running so I just poured all the liquid off of it that I could. So you know after you do your pie in a few minutes go in there 10 minutes 12 minutes later and just see if you if you're getting any condensation leaking and tilt it and let it come out of the pie. You can see a couple of drops there. But we're gonna go ahead and cut this thing because I'm sure it's delicious regardless right. And like I said there's so many opinions on it you just don't know who's to follow. You can hear the thunder outside. We're getting a storm right now. We're going to cut this wonderful pie. Now this has not been in the refrigerator. It's still at room temperature. So keep that in mind as well. When I take a piece out I may have to take out two. There we have it. Now if you want to come around here and look you'll see where it weaped. It did not weep in the bottom of the of the dish at all. It's nice and dry down there. It was strictly in between the meringue and the filling.  You can tell it's still a beautiful pie. And the meringue still looks good. It's creamy. Creamy, dreamy, coconut. That toasted coconut makes it taste even better. Mmm best coconut pie ever. So good you don't want to stop eating it. That's how good it is. Thanks for watching Colored Valley Cook. It's where we cook like mama did. Bye y'all love ya.


That's Rick. You can follow us on Instagram, Twitter, Twitter, Facebook, contact us. Take the picture. Follow us through the comments. Subscribe to the like button. Milf Manor. That was one of the things that came up. One of the young guys was unfamiliar with the labia. Manor or Bajor? And when he was embarrassed by it, he said, I just need to know where the hole is to put it in. Yes, ladies and gentlemen. Yes, that's what we're talking about. Yeah. Today, we have a video. This is a shower con beneath the surface. And this is a... It's taken of labia. Yeah, the film companion. So she's the... Yes, I forget her name. Does the interviews, yeah, she'll tell us. But she goes like, I think, where he was born. And this is like a multi-part series. Awesome. This is the first part. Relatively recent, I hope. Like 2016. Okay. So it's been a few years. It's been a few years, pre-COVID. Yeah. But let's just get into it. Sorry, my wife isn't here. I don't know how much over that, so here you go. Sorry, this is the 21st year of our conversations. Wow. Yeah. I first came to see you, April. We have an old book to prove it. But I first came to see you, April 1995 on the set of Round Back. Oh, that long back. That long back? You were wearing a purple suit. Yeah. I still have it. You still have it? Yeah. Cool weather, night writers. That's why I spoke. I'm inspired by my book. What a long journey. I met a bad guy. Yeah. And he got so disturbed the way I played the bad guy. Oh. He said, which bad guy have you seen? It doesn't make a shot under the sun. Yeah. He said, which bad guy have you seen? It doesn't make a shot under the sun. That's right. He got so angry. I'm sorry. I'm new to Mumbai. I don't know the bad guys from Mumbai. It's a cold chain.  So you said things like four or five expressions. People think I'm gimmicky. Balls to them. Which I thought was very funny. Balls to them. This was, of course, pre-DDLJ's release. But my sense is that inherently you're still that guy. You're still charming. Really cocky. Very funny. Relatable. And somehow still larger than life. Is that a correct assessment? Are you still that man? I am. I mean, you know, people don't really change. I mean, to talk about evolving and XYZ. But there are certain beliefs that we live by.  But you talk more like that. But I think what you say on your childhood is who you are. You may garb it in better speech categories.  I just say, yeah, I fall. You just don't polite me enough. To be is to you. I fall. But I think somewhere whether that belief was misplaced, whether that belief was right, whether it was something that comes instinctively from inside. I think that's what you are. Because sometimes you'll see yourself. That's your essence. Yeah, that's what I sense. Like you meet your son and you'll be chatting. And how is he eating now? He's going to be. Yeah, and he'll just say something. And you're like, how can you talk like this? Yeah, all the time. It's not right. It's not, no, no. But you know that he will be that person. Of course, he curbs his way of talking. Of course, he'll understand better. But I think the essence comes out in that period of life. So the body. Bodyguard. Yeah, deep down inside. Probably. Take off my shirt. Got it. Got a six. It's close to that. Yeah. Yeah, definitely bodyguard. I'm going to take your word for that. I was actually. You know, it's appropriate that we're having this conversation in Lisbon while you're creating a love story with Imtiaz Ali and Anushka Sharma. And you've spent half your life playing a man in love. With women who belong to other men. We're just selling Imtiaz and Anushka. Just before the show, the conversation when you were watching wasn't about the scene. I just told them I've made an art and profession out of loving women who are going to get married to someone, who are already married, who are engaged, who have done after them. And then I get them from wherever they are, from any corner, sometimes from charm, sometimes from goodness, sometimes I throw them off the building, but I have a problem. That's accepted. I have to accept it. I have to accept it. It's a problem. It's chronic. Maybe to do something about it. And the only thing I find doing about it is just keep doing it again and again and again maybe one day. And you can take it off me. But, Jhar, has your understanding of love and the portrayal of it in the cinema, has it altered a lot? Or did you find yourself sort of going through the same beats? It will sound a little pompous and all annoying, but I know all facets of it. However strange it may sound, me saying it, when in interviews, I'm very honest. So I'm telling you. It's a shocking thing. You might find a person who knows all the theorems. You may find a person who knows all the plays of Shakespeare. And you find a lot of people who have all the knowledge about films. I am a lot like that. I honestly am. What does that mean? I am beautiful. I'm physically beautiful.  I am love incarnate. I'm charming. I make you glow. I make you sad.  I disgust you.  I create longing for you. I create longing for you. Who's that person just yelling in the back? That happened to me. The best thing that could happen to me. So I am genuine. And I believe in love. That I'm not just a man with love or man with love or woman with love or sensuality. I think you know. All kind of love. Okay. I know love very well. So I understand that Techo Prasad when he tells me who did what. I understand in Tejas' way. And he told me once that you know sir I was a little wary he wouldn't tell you about love but I can suddenly know what he means and where he's coming from without wanting to know his back story. All of us have a back story which is kind of exposed in our cinema. Especially light doesn't act us till less. I'm not saying I'll be able to deliver as I know love because of Disney and bound by my life expression. I really, really need to say yeah man can I sense this? Can I feel it? Can I hold myself back? Okay this thing is actually in a love story. I keep doing it actually. As you see Adi would do this scene like this. Karan would do it like this. Because he's that love. He's that love. Tejas would do it like this. I get really intrigued about it. It's fortunate and unfortunate. That if you try something completely in a dark space in a love story I think people will get a little a bit too shocking. Yeah they like it and they should be like that. I mean when you did in Canc when you went into that hotel and you know people couldn't believe it was you with somebody else's wife. Yeah. And just to tell you it was a body double. It was like that. And I see movies everybody's doing it. That's right. That's right. Yeah. I was really taken aback when people reacted to that film. And I think. They didn't want to see an affair. Cynical. Angry. You know. And I remember somebody saying he started to see his face.  You only covered it. I don't remember that. Yeah. And then suddenly I got a feedback. You know. He's been doing all these things. Filming episodes. I saw it on his face. So I was like it's just a movie. And you know that's one place where you have to have extreme amount of feeling of expression. But if I'm going to be curbed sometimes the reactions. Like you know it will be sharp. Will you pay attention to it? Does it bother you? No. I still say what do you say to anyone. But it does make the filmmaker actually think. Right. They become a little well known. I mean I didn't talk to Karan. He was here. Me too. He was like he doesn't do it with you. It's a big backlash. You know. I saw Suhana in a school play and she was really good. And so I tweeted about how she was really good. And you tweeted back to say that it's the same face but she has I have so much to learn from her. She has so much more brevity and grace. Do you think after all these years that you still haven't quite cultivated enough brevity and grace? No. Really? Two things have happened in the world. When I see someone like Suhana I mean obviously there's a bias of whatever people think because she's my daughter. But some young actors Ali I have just finished a book. I just so amazed by the lack of life they have lived but they can still express so much without all the expressions of life or having felt that. My assumption is I think Agnya has it. Suhana has it. There's still more to see. You know you always say you know when you see life and the experiences come on and without having the experience still being able to convey emotions which I would take much longer because so isn't that my experience has given me more expressions and my brevity is gone. You see craft is tangible. It can bind you know there's a method. Art is free flowing. That's how we believe art. Instinctive. Instinctive. The buoyant, the flies. It just comes. It just comes. Yeah, yeah. But craft as you go by starts binding. Good observation. It can absolutely do that. You start thinking of so many things. Yes. Fix it. Make it right. Get the points right. Make it stick like You should learn it all and then forget it. You start asking that too often as an actor. When I see her so far do what she does.  And hopefully before she gets bound the art would have taken place. I mean I've been given that opportunity. I'm not tripping. I think I had that opportunity. But naturally I think the craft coming in takes away and then the nicest way to deal with it is to work with people who are not bound by the craft as yet. Have free flowing art and then imbibe what they do. Take it from there. So I do that. I think Nagya is very good. I think she's really good. Amongst the new people I haven't really seen doing any of her work. But it genuinely makes you happy. It makes me happy. I don't like many actors and violence towards one another. Why? What does happen? It just is. It's always nice. Somebody told me politicians all around the world abuse in public and hug in private. Actors all around the world hug in public and abuse in private. So that is not true. And it would make it's not a bad thing. It's not like I think I have the ease now. I don't have to prove it. I don't have to get it right.  I'm not in repair. I think I just need to know my lines. I need to know my focus points. I need to understand what the scene is going to be. Yeah, know your lines and hit your mark. No I'll just keep on. It's a good idea. It's a good idea. It's a good idea. It's a good idea. It's a good idea. It's a good idea. Nice to meet you. Good apartment number 10. Done. I love it. Is it OK? It's good. It's good. You are not a human being. пол I think Chey is a human being. It's a good question. I don't know what I'd like it. Very nice. Granted she might have made it herself. So, you know I was reading this thing David Fincher said a couple of years ago that I'm not interested in movies that entertain. He said I love movies that star. That's a very nice marriage to George is that I could never swim in the ocean again. You're of course sort of 40 is always been entertainment. But after all these years, do you want to sit and want to do something else? Do you want it to start to educate? See, it's a one can taste it like how David Fincher asked. But I think George was extremely entertaining. Of course. And yeah, you can find it people meaning in your cinema as time goes by. And you can only find it most people have sort of decided what they liked or disliked about it. See, I can't make up my mind. You can't do it before. I don't think so. But I wanted fan to shake you up and entertain you as well. God, if this happens, it is scary. And it isn't interestingly scary. And it can happen actually to me. Not that it has. But it has enough to shake you up. This is really pushing it. Suppose a guy looking like him gets completely taken in and obsessed. And I meet people who love me so much. I keep telling people those look like we want to look like they love you all. It's really not only just complimentary, it's just so honest. When I was young, I thought I would like XYZ.  Yeah. I thought I looked like Mr. Fajan. He did not. The girl said I was like that. She knows why. But I said the mom. You decide that primarily I want to entertain. That is my sort of reason for being here. When you say that, you must be primarily thinking to entertain. I think for 25 years.  I've never thought of a film as an entertaining being. I'm like, let me just do this. This is fun. Like, I think this film that Karan has made here isn't it? If you have any things for Karuna, you don't think you can. He does not. People have a lot of things to say. But I think it's very interesting. I think it's a very nice film to be made. And if I can add to it, by just learning this new experience, because perhaps I don't have the age to do a full film like that anymore, or stage, or start a movie too big perhaps, or whatever the reason is. I just didn't have to offer like that. It's very interesting to be a part of that film. Let's see what it does to the world. I mean, I'd be lying if I said, I would like my cinema to be like that and not be rushing to be successful. I would like that. But when it doesn't happen, it's not the... Okay. Nice. That was the end of the first part awesome. I'm glad there's another part. I like I Like the format and I did too It's more non-formal than a sit-down very much of these and obviously he knows her well Yeah, I'm not comfortable with trust sir answering these questions, but sure. Yeah, he's It's it's a lot of what he's kind of illustrated before You know, he knows what he is and he knows what it's all the insides back Yeah, to sometimes branch out of that. Yeah, because it's fun. Yeah And stuff like that, but it's always so interesting to hear him talk I always love he's a well articulated man. Yeah, very well articulated and he is such every time you listen to him in this interview, especially You recognize There's really no one on earth like Shahrukh Khan in his not just his experiences that he's gone through in his stature Yeah, but his perspective and his approach to movie making and is it is singularly unique So many things he said there that would never be my thoughts, but that doesn't make them right or wrong I just make some different approaches to why you make a movie and what you expect to get out of the movie making process and the fact that Mega stardom in India is just so so so different. It's it's an Acting in India is different very and what audience expect what I it's their mega star true What audience is expect and it's you know, it's wonderful because he clearly has the capacity to recognize Good as we call thespianatic craft what he said is very true about Craft is important, but it can be binding because you've become in your head and You start to think too much about what you're doing rather than just being in the moment the objective of craft and it doesn't make sense But the objective of craft is spontaneous living and You you the only way to be spot. It's like in sports You train on the disciplines, but you can't be thinking about them when you do them They have to be second nature and you can't pre-think. I'm gonna run to center field on this pitch You can't do that to the balls hit you have to go with whatever is being given to you but you need to know how to do everything at once and It's very true that if you learn craft it can be a very very binding but that's kind of where his approach to Movie making and what he does is very different. There's so many things he'd be so much so interesting to work with I think he would be a singular experience on like any other movie star or actor because his approach I think there'd be times I agree with him wholeheartedly about an approach and then there'd be times I disagree wholeheartedly. Yeah, but you'd have to trust what he's saying and What he does succeeds? just the Like I said super stardom is completely different whole world than what even like Noa's has obviously Because he's not Noa's audience expect something much different from Noa's right and the audience is expect from Shah Rukh Khan. Absolutely And vice versa Even though I would love, you know Like one day like them to just switch and have different roles and stuff like that But it's just they know what audiences want From him and with when they didn't get that they rejected it like so you was talking about and can't even I haven't seen I know what the story's about obviously, right and we've heard love affair and we've heard I know and Johnny likes that movie. Mm-hmm. I don't know if you would you hate movies with affairs in them It depends on what's being depicted, but yeah, if if if a if a good person is being cheated on I'm not a I don't I think that movie is actually I don't try that There's two sets of relationships that are being cheated on with each other. Mm-hmm. I think that's the thing Hard to watch personally I love affairs Anyways fantastic look forward to the the other parts And let us know what other videos we can react to down below


Let's see. On your handout I have Yates on the subject of magic. This goes back in time from the text we were discussing last time in the teens and twenties to 1901, and I wanted to introduce it to you as some of Yates's reflections on the general question of the occult and of symbolic in his poetry, kind of preparation in his thinking for some of the poems we discussed last time, such as The Second Coming. He says, I believe in the practice and philosophy of what we have agreed to call magic, in what I must call the evocation of spirits, though I do not know what they are. That's important. Remember, Yates, in The Second Coming, there's a beast that's coming. He doesn't know what it is, and here he's saying something similar. He also speaks of his belief in the power of creating magical illusions, in the visions of truth, in the depths of the mind when the eyes are closed. I believe in three doctrines, which he will conveniently put forward for us. One, that the borders of our mind, and he has that in the singular there, are ever-shifting and that many minds can flow into one another, as it were. That's probably an important qualification. And create or reveal a single mind, a single energy, in effect at work in our common imaginations, that the borders of our minds are shifting and that our memories are part of one great mind, because the memory of nature herself, and this is the most important thing, that this great mind and great memory, this kind of unitary repertoire of spirits and memories, can be evoked by symbols. Is this something poetry can activate and draw upon? That spiritus mundi that Yeats refers to in the second coming. Well, this is Yeats talking about that idea here. It is something, as he stresses, that can be evoked by symbols, by poetic symbols, and this he intends to do in his poetry. In fact, Yeats sees his poems as a kind of summoning of spirits, or evocation of spirits, as he refers to it. Last time I talked just briefly about Yeats' interest in automatic writing, a practice that he engaged in with his wife. Well, his poems themselves have an occult dimension of evoking this great mind and the spirits contained therein through symbols. He also stresses that the presence of our minds and of individual identity are ever shifting and unstable. And that, well, behind all these ideas, I think, is a sense of the poet as a figure who channels in his life as well as in his writing channels spirits and presences and voices, certainly. And this is related to Yeats' idea that the poet, and this is something he wrote about in the prose I asked you to read for today, that the poet is more type than man, on 884, late in his life, writing a kind of summary comment on his work for the collected edition being produced by the publisher Scribner's. He writes certain important summary propositions about his work, but about poetry in general. And he says on 884, a poet writes always of his personal life in his finest work out of its tragedies, whatever it may be, remorse, lost love, or mere loneliness. He never speaks directly as to someone at the breakfast table. There is always a fantasmagoria. Dante and Milton had mythologies, Shakespeare, the characters of English history, of traditional romance, and so on. He says the writer is more type than man, more passion than type. He is Lyre, Romeo, Oedipus, Tiresias. He has stepped out of a play, and even the woman he loves is Rosalyn Cleopatra, never the dark lady. Well, he is part of his own fantasmagoria and we adore him because nature has grown intelligible, and by doing so we apprehend a part of our creative power. In the poet and in his work, nature grows intelligible. This is an important idea for Yeats. And it suggests that though life is rooted, or excuse me, that work is always a life transformed, fed through this fantasmagoria that he's discussing, which is important because at once Yeats is insisting on the personal nature of his poetry and of the experience it offers. And yet he's also interestingly a curiously impersonal figure, impersonal poet. On 887 he says, towards the top of the page, he says, talk to me of originality, and I will turn on you with rage. I am a crowd. I am a lonely man. I am nothing. Ancient salt is best packing. The heroes of Shakespeare convey to us through their looks or through their metaphorical patterns of speech, the sudden enlargement of their vision, their ecstasy at the approach of death, and so on. And this is the kind of channeling of emotion that Yeats, himself a kind of actor in his poetry, wishes to convey. On your handout there's another quotation from late in Yeats's life that I wanted to emphasize. He says, and here's that Yeatsian word all again. He says, when I try to put all into a phrase I say, man can embody truth, but he cannot know it. Man can embody truth, but he cannot know it. I must embody it in the completion of my life. The abstract is not life, and everywhere draws out its contradictions. You can refute Hegel, but not the saint, or the song of experience. That's a wonderful claim. You can refute Hegel, but not the saint, or the song of experience. Man can embody truth, but cannot know it. This is an important formulation. I think of it as a kind of reply to that famous question in Leda and the Swan that is, did she put on his knowledge with his power before the indifferent beak could let her drop? The answer that Yeats is giving here is different from saying either yes or no to that question. It's more like saying yes and no, I think. Truth is something to be embodied in Yeats, embodied rather than known, embodied in the sense of lived, not merely understood but experienced, but also I think embodied because it is specifically a thing of the body, it involves an experience of the body as much as or more than the mind. What kind of knowledge, if any, can be had from the shattering experiences of revolution or rape, those models of history that I chose last time? Remember how Yeats represents history as rape in Leda and the Swan? He sees it there as an experience of violence, of sexual violence involving the intercourse of opposites, of God and man, eternity and time, male and female, the will and patterning force of the one thing against the other imposed on it by brute force. What kind of knowledge can be had from that experience? Leda and the Swan seems to say a knowledge of the body, of the necessity of embodiment in the late Yeats and the poems that I'll be discussing today. There's no knowledge apart from the body. This is something to contrast with the early Yeats and its high idealism and its drive to exist in an abstract and ideal world. The late Yeats, this is a poetry written in age and written about age and age seen and experienced as the failure and corruption of the body to which the soul is bound. In Sailing to Byzantium, a kind of transitional poem to later Yeats on 123 in your book, Yeats says, An aged man is but a paltry thing, A tattered coat upon a stick, Unless soul clap its hands and sing, And louder sing, For every tatter in its mortal dress. Poet speaks of his soul there as sick with desire and fastened to a dying animal, that is, the body. And yet, for all of the complaints about the body here in this poem and in other late Yeats, the poet doesn't reject it, doesn't reject that dying animal, doesn't scorn it. Instead, Yeats affirms it, affirms the body in its corrupt state. He, in fact, sings and sings louder for it in this late poetry, sings louder as he puts it, For every tatter in the soul's mortal dress. This is the extraordinary energy of Yeats' late poetry, what he calls the word he has for the energy of this poetry and of this attitude towards life is joy or gaiety, words that recur throughout these poems. Joy, gaiety, or sometimes madness. Joy and gaiety are both states of mind associated with madness in these poems. The body's truth, felt as an experience of joy or of gaiety, is arrived at through a kind of shattering of the body and of the rational mind and its working. Gaiety for Yeats seems to represent some reconstitution of mind and body, some experience of their unity out beyond an experience of tragedy and grief. This is a point of view specifically associated in Yeats' late poetry with old men and with women, particularly but not only old women. He says on 886 back in that general introduction for my work. This is interesting. He's talking here about the kind of style he wishes to create in poetry which involves for him making the language of poetry coincide with that of passionate normal speech. He says, I wanted to write in this version of Frost's Ambition, though conducted differently. I want to write in whatever language comes most naturally when we soliloquize, as I do all day long, upon the events of our own lives or of any life where we live, for the moment. I sometimes compare myself with myself with the mad old slumwomen I hear denouncing and remembering.  I heard one of them say to an imaginary suitor, and you without health are home. If I spoke my thoughts aloud they might be as angry and as wild. So this is a kind of model for the late Yates in poetry, the voice of the angry and wild slumwomen. Well, in order to get at this style in action in Yates' late poems I want to look back a little bit at a poem that looks back on Easter 1916, the poem I discussed last time, as well as Yates' own earlier poetry. And that is the poem called In Memory of Eva Gore Booth and Con Markowitz on page 126. It's a kind of post-script to Easter 1916 written in 1929. Con Markowitz was the only surviving leader of the Easter Rising, condemned to death, but then her sentence was transmute-trans... What is it done? Yeah, thank you, commuted, not transmuted. Well, Con Markowitz is in a sense a figure like Leda. She is someone who has suffered the traumatic events that engenders history. Yates' elegy here recalls her youth and that of her sister, both friends of the younger Yates, Eva Gore Booth. A youth spent in the Sligo Mansion, Lissadelle, where Yates visited in 1894. At that point Yates was 1894, Yates was 29, and the two women were slightly younger. Let me read the beginning of it. The light of evening, Lissadelle, great windows open to the south, two girls in silt kimonos, both beautiful, one a gazelle, but a raving autumn shears blossom from the summer's wreath. The older is condemned to death, pardoned, drags out lonely years conspiring among the ignorant. I know not what the younger dreams, some vague utopia, and she seems, when withered old and skeleton-gaunt, an image of such politics. Many a time I think to seek one or the other out and speak of that old Georgian mansion, mix pictures of the mind, all that table in the talk of youth, two girls in silt kimonos, both beautiful, one a gazelle. Here, female beauty, nineteenth-century manners, and aristocratic culture are all held together, as if expressing each other and associated with each other. Yeats's nostalgic vision of them is charmed and static, interestingly static. See how the verb is withheld in the first sentence of the poem, and then in the closing lines of that first strophe that, well, in order to give us that image, two girls in silt kimonos, both beautiful, one a gazelle which he returns to. It's as if the action itself were being withheld from this charmed world, and time slowed down or even stopped, making a picture, an image, a haiku. But all of this is overthrown, changed utterly by the radical politics that altered Ireland during Yeats's reign, that announced the coming of modernity, and that these two women themselves participated in centrally.  It's as if they might have maintained their beauty had they only refrained from it. You could look at a similar attitude in A Prayer for My Daughter, another important big Yeats poem from a slightly earlier where Yeats says, an intellectual hatred is the worst, so let her think, his daughter, that opinions are accursed. Women shouldn't have them. This is not an attractive side of Yeats, at least for people of our moment in sensibility. There's a kind of, well, masculinism in Yeats, and it's part of what I mentioned last time when I spoke of Yeats's anti-modernism or his reactionary modernism, and it's here too in this poem. But the attitude here, as in Eastern 1916, and Yeats's other great poems, is complicated. For all of Yeats's reactionary moods, even for his indulgence and nostalgia here, he's not a nostalgic poet. This poem, I think, shows us what I mean by that. Look at how the poem changes as it develops, as it moves to this second strophe, and Yeats turns from the frozen image of the past to address those two sisters directly, saying, Dear Shadows, now you know it all, all the folly of a fight with a common wrong or right, the innocent and the evil have no enemy but time. Arise and bid me strike a match, and strike another till time catch. Should the conflagration climb, run till all the sages know, we built the great gazebo, they convicted us of guilt. Bid me strike a match and blow. The poet and the woman together become we in the poem's last sentence. They, the they who convicted us of guilt, well that's hard to identify, who is that? I think it's possible to see that they as the sort of general forces of modernity, of everything at odds with the aristocratic culture Yeats and these women shared inhabited. We, the great gazebo built, I stumbled and put built in the wrong place when I read it. It's a strange line. I am told that it plays on a slang phrase then current to make a gazebo of yourself, meaning to make a spectacle of yourself and a fool of yourself publicly. The footnote to your Norton here suggests that the gazebo is a summer house and by extension, it's quite an extension, the nationalist movement, and then even the whole temporal world. Those are several extensions, aren't they? It's a little hard to know what to do with this gazebo. Does it in fact represent the nationalist movement that culminated, or one form of which culminated in the Easter Rebellion? Does it represent Yeats' own early cultural nationalism and his work represented in The Wind Among the Reeds and other early poems? Well, it's a little hard to say. I tend to see that gazebo or summer house as a version of Lisadel itself, this home that the poem evokes, and that is representative of a nineteenth-century world of art, of pleasure, of rarefied and delicate and ideal beauty, a world very important to Yeats. As Yeats, as his thought develops in the course of this poem, he turns from nostalgia to affirmation and seems to join the sisters in the actions that they chose through some kind of poetic identification. Yeats, who had seemed to stand apart from and against them in the first part of the poem, the women represent for Yeats a kind of self-destructive energy, and it's something he too, I think, is willing to share and enter into. He speaks of the destruction of the world that they shared, of the house that they had and of the one that he mocks as this great gazebo, as something noble and beautiful, perhaps but also fragile and a spectacle and unable to stand up to history. Time is the enemy in the poem. It Yeats joins forces with the women at the end, and in doing so joins forces with the women and sets a match to it, as if time itself were tinder. Yeats imagines a kind of act of arson in this poem. Fire is symbolically important throughout his poetry. In the song of Wandering Angus, I talked about the kind of flickering passion and the fire in the head that sends Angus out on his quest. Fire reappears with increasing frequency in the late poetry. In your RIS packet I gave you the short poem Two Songs from a Play. The first stanza of that interesting poem repeats themes from the Magi in the second coming. You can look at it with those poems in mind where Yeats imagines a new world coming into being ushered in through the blood of the old. This idea leads him to the meditation that's in the second stanza there. Everything that man esteems endures a moment or a day. Love's pleasure drives his love away. The painter's brush assumes his dreams. The herald's cry, the soldier's tread, exhausts his glory and his might. Whatever flames upon the night, man's own resinous heart has fed. Man's heart in Yeats is resinous. It's a sticky filth that flames. The longing heart accumulates desires that become in time a kind of volatile waste which can't be contained. The heart is combustible, like the energy that insists on birth in the Magi or the second coming. And this is our glory, Yeats says. Again, notice how bodily, how material and physical Yeats's images of human energy are. Let's turn back to the anthology and look at the poem Vassilation on 131. This is a meditation that comes in several parts. As Yeats's work develops, he creates a kind of poem that comes in parts, that is, we might think of as a kind of sequence poem in which with increasing daring, Yeats explores contending viewpoints, seeking some kind of synthesis. That's what's going on here. That's a similar kind of structure in other late Yeats poems. This is at first thought to call this poem What Is Joy? It takes up his lifelong quest to reconcile extremities, opposites, in his thought, in his experience, and to achieve some kind of unity of being. What is the goal of Wandering Angus? Between extremities, man runs his course, a brand or flaming breath comes to destroy all those antinomies of day and night, the body calls it death, the heart remorse. But if these be right, what is joy? Here in the first part of the poem, Yeats talks about death and remorse as the end of all debate. The last word. We're all going to die and we're all going to regret what we did. But this understanding of the end of things is only the cancellation of all those antinomies in a kind of failure to reconcile them, and it doesn't satisfy Yeats. He's asking, in effect, how can we be joyful in the face of death and in the face of certain remorse? Or how is it that somehow we are? He wants to explain this. He wants to find a way to not so much redeem as affirm time and age and understand them, not simply as a cause of despair or as a cause of defeat. The poem then tries out different answers, answers that alternately explore transcendental and secular solutions, and the poem vacillates, as it were, between them. In section three below, Yeats says, get all the gold and silver that you can, provide, provide. But just as in frost, this strategy isn't going to work, so therefore we must take up, he suggests, an ascetic path engaging only, as he says, in those works that are fit for such men as come proud and open-eyed and laughing to the tomb. In section four then, on the next page, blessing is not, on the other hand, something to work for. Rather, it's a potential fire that flashes up momentarily within us. My fiftieth year had come and gone, when I first read this poem, that seemed a really long way in my future, as perhaps it does to you. My fiftieth year had come and gone. I sat a solitary man in a crowded London shop, an open book and empty cup on the marble tabletop. While on the shop and street I gazed, my body of a sudden blazed, in twenty minutes, more or less, it seemed so great, my happiness, that I was blessed with it. It's a serendipitous and moving momentary experience, Yeats describes, and notice that it's the body that blazes, soul and body or soul and heart. These are our antinomies that the poem is exploring. Yeats insists that the heart is an organ of the body and located in it. This is important. In the sixth section down below he speaks of man's blood-sodden heart. It's another turn on that image of man's resinous heart. In section seven, soul and heart argue. The vacillation and debate becomes quickest here as one point of view gets one line and the other, the rhyming next line. Well, they're not in couplets but you'll hear the rhymes when they come. Seek out reality, leave things that seem, that's what the soul instructs us. The heart responds, what, be a singer born and lack a theme? Isaiah's coal, what more can man desire?  Look on that fire, salvation walks within. What theme had Homer but original sin? It's a wonderfully compressed argument in which the soul and the heart make competing claims for Christianity and classical and literary wisdom. Yeats counterposes Isaiah's prophetic coal to the blazing body of section four, where fire is spontaneous, imminent, something that arises from the body. There then follows in that last section a kind of comic conclusion where the poet chooses to side with Homer and implicitly with poetry against the theologian Von Hügel, who's a kind of comic figure at the end there. Vacillation, the poem was written following a series of poems called the Crazy Jane Poems, written as a kind of summary of them, a kind of resolution of the debates that go on in them. You have just one of them in your anthology, but it is one of the greatest. It is back on 130. In the Crazy Jane Poems, the bishop, who is Crazy Jane's antagonist, the part of Von Hügel, the position of the church authority, and Jane speaks for Yeats and for poetry, for Homer too, I suppose. Crazy Jane is one of Yeats's masks or roles.  She speaks from the point of view of a cracked or shattered in the tradition of a Shakespearean fool. She speaks what Yeats calls, in his general title for this group of poems, Words for Music, perhaps. The poem's connection to music signifies the difference in point of view in these poems from reasoned speech. It also seems to relate these poems to folk forms and to the wisdom of the folk. Jane speaks in praise of love, in praise of satisfaction. She speaks of the necessary unity of body and soul, which for her entails a defense of the body, defending as she does its knowledge and its goodness. And as a character she is sour, she's rank, ill-tempered, pungent in all senses. Well, let's look at this debate. I met the bishop on the road and much said he and I, those breasts are flat and fallen now, those veins must soon be dry. This is the bishop speaking to her of her body. I live in a heavenly mansion, not in some foul sty, to which Jane replies, fair and foul are near of kin, and fair needs foul, I cried. My friends are gone, but that's the truth, nor grave, nor bed denied, learned in bodily lowliness, and in the heart's pride. And she continues, a woman can be proud and stiff when on love intent, but love has pitched his mansion in the place of excrement, for nothing can be soul or whole that has not been rent. The points of view, again, are those of the sacred and profane, the soul and the body, the promise of a heavenly mansion and the reality of a life sti. The bishop claims one side of the bait, Jane claims the other, but unlike the bishop she doesn't want to reject the other, and this is important. Speaking for the body, she speaks for the potential unity of body and soul. In answer to the promise of the bishop's heavenly mansion in another life, she claims another sort of house, what she calls love's mansion, which is noble itself and which is to be lived here on earth. Love has pitched his mansion in the place of excrement. This is an outrageous claim. What does it mean? Look at the claim it's paired with, for nothing can be soul or whole that has not been rent. Why is it necessary to rend something, to make it soul or whole? Is it necessary? Only that which is broken, Jane claims, is unified. That which appears whole is not. Yates seems to be insisting to Jane on the necessity of shattering experience to achieve unity of being, which Yates imagines, again, as the union of opposites. Again, think of the rape of Leda. This is the type of the violent union that Yates imagines, in which the divine enters the human and the human finds access to the divine through the beastial, and the beastial is identified in Yates with the heart and with the irrational and with the uncontrollable. Yates' late poems speak from the point of view of Jane, more often than not, and yet powerfully we do see him vacillating from different points of view. We have really no time left to explore them, but I want to just point you to two important late poems that seem to represent different attitudes in late Yates that contrast the kinds of claim that can be made for art. One of them is the moving valedictory to his work that is called the Circus Animal's Desertion, where the poet imagines, his imagination is having arisen on ladders, if you will, out of what he calls the foul rag and bone shop of the heart, and in conclusion he imagines giving up that terrific drive towards imagination and idealization and a return to the rag and bone shop of the heart. That's an image of art ultimately leading out of art to a kind of state of de-sublimation. Contrast this poem to Lapis Lazuli, a beautiful and moving late poem on 135 that is full of echoes from that general introduction to his work that I quoted from earlier. Here, Yates presents us with an image of art in the form of a Lapis Lazuli Chinese carving, and he describes the figures on that carving who are in some sense representatives of an attitude, again, beyond tragedy, beyond the kinds of social and political apocalypse that Yates faced in his career, and that he describes also in his poem. And Yates concludes, well, with an image of the artwork that I'll read for you, that is fascinating in itself, but is also, as I suggest, an image of Yates' late ideal for what art should be like. He says, every discoloration of the stone, this is on page 136, every accidental crack, or dent, seems a water course or an avalanche, or lofty slope where it still snows, though doubtless plum or cherry branch sweetens the little halfway house those Chinaman climb towards. And I delight to imagine them in their at their altitude, looking at the world from within the perspective of art, there on the mountain and the sky, on all the tragic scene they stare.  And there is finally, again, an affirmation of this joy and gaiety here seen as a property of the artwork itself.


Hey y'all, it is Chris and Tammy with Collard Valley Cooks. This is our simple Italian meat balls out of our first cookbook and it's a pasta sauce. It's actually Chris's favorite pasta sauce. Okay, it's really simple and easy, but you do use some fresh ingredients, okay? So we're gonna be using a whole onion and this onion I've already sliced that way. So we'll use half of this onion and the pasta sauce and half of the onion in the meatballs. So you're gonna wanna slice it pretty thin, you know, because it's going in the meatballs and then we'll chop it a little bit extra and that should be plenty for both, okay? So it says to use half of onion in both. These are really good meatballs and while we're frying up the meatballs, we're gonna make the pasta sauce. It'll all come together pretty quick. I'm in the mood for something Italian, something different. We've been eating, well, we had chicken and dumplings. We've had, you know, just some more, more low stuff and I'm ready for something spicy. Well, these aren't real spicy, but you know what I mean? With a little flavor. I know what I don't have, I don't have my meat out. All right, so we're gonna put this onion in here. All right, half of it. All right, we got some fresh basil and some fresh parsley and I've already washed it and so I'm just gonna kinda twist it up a little bit, take off the stems and we're just gonna chop this up. This is gonna go in our meatballs too. Lord mercy. Now if you don't have fresh, you can always use dried.  It's basil and Italian parsley. We're gonna throw that in here. We're gonna chop up three roma tomatoes. Oh no, that's for the pasta sauce, ain't it? Okay, whoops, whoops. All right, we're gonna put in, let's see, Italian seasoning about a tablespoon. All right, I'm about to make some noise. We're gonna put in an egg, just a little bit of dale. Now if you don't have dale seasoning, use what you got.  This is low sodium, so regular dale has a lot of salt in it. It's corn, which one you're using. Sorry about that. Good old dale sauce, all right.  And I use these instead of breadcrumbs just because they got a good flavor. Now if you wanna use breadcrumbs, go right ahead. Let's see, where's my meat at, darling? What about my sausage? Oh, here it is. Sorry, y'all. We didn't wanna get this out because you don't wanna get beef out before you mix up meatballs because if it gets room temperature, it gets real mushy, okay? Today we're using swaggerties, Italian sausage, and I'm gonna use half a pound of this and a half a pound of ground beef. And now this ground beef is actually ground sirloin or tuck or something like that. Don't have a lot of fat in it. And let's see, this is ground beef. It says 7% fat. I would say it's quite lean, quite lean. So we're gonna use half of it, almost half of this. So if you're using breadcrumbs, it ain't a whole cup of breadcrumbs. It's a cup of croutons crushed. So it's probably more like a half cup of breadcrumbs if you're wanting to know how to substitute that ingredient in here. And I'm gonna reach behind me while I'm mixing these and I'm gonna turn my heat up on my wok because we're gonna throw these in the wok and these are gonna cook while we make our pasta sauce in our pasta. So just give them a good mixing. And then we're gonna roll them out. Now you can make a little or an inch, however big you wanna make them. Some of my onions are a little bit big for them or we'll pretend they're not. And if they just fall out, they fall out, okay? They're gonna be good. I'm just gonna lay them right back in the bowl. Y'all tell us what you're making tonight for supper. Y'all tell us where you're from tonight and what you're doing because it's gonna take me a minute to roll these meatballs, all right? So if you've never seen us cook, this is teamie with Collard Valley Cooks. I started Collard Valley Cooks back in 2017. When Chris was still working and then the kids were still in school.  So I started it just because I was afraid that if something happened to me and my cancer came back, my kids wouldn't know how to cook because they really wouldn't interested in anything I did in the kitchen at that age, especially. And they watched a lot of YouTube, really they did. And I didn't even really know what YouTube was in 2017. And I thought, you know what, I'm just gonna get on here and start making some videos. So that my kids will learn how to cook. And then it caught on and people enjoyed it. And so I just continued it. And then it's grown over the years. We've got four cookbooks and we're very blessed and God has been good. And I am still trucking. I've never had, so far, I will be 13 years out from when they found my breast cancer. And I did have a double mastectomy back in 2010. So it's been a while. So it's a good thing.   Now my grandmother on my daddy's side had breast cancer when she was 67 and had her breasts removed. And when she was 69 had her breasts removed. So she had both of them removed and lived to be 90 years old. So I'm hoping I get to live to 90. Like Granny did, I had a different kind than she did.  So anyway, now this is pretty hot. We're gonna start smoking.  Since our beef was really lean and that sausage is very lean. Typically, you know, it don't have a lot of grease either. So we'll be adding a little grease to these. And now we're gonna make our pasta sauce but I gotta get all this hamburger off my hands. We are a team. Chris takes the whole thing off. What'd you do that for? I feel like I need to really hurt it. Oh, the browner they get the better, I think. Now this is a wok and a wok gets really hot. We turn this down a little bit. So for the sauce, we are going to open a can, 28 ounce can of crushed tomatoes. And I think what I'm gonna do, I don't tell you to do this, but I think I'm gonna put a little bit of oil in there and just saute these onion real quick. Let me grab a scraper. I don't really want onion all over the floor. So this is just a really simple pasta sauce. And it is super delicious. It's Chris's favorite way for me to make pasta sauce. It's really fresh tasting because you don't cook it a long time. And while those are simmering, we will stir these a little bit. So when you're doing meatballs, that you can put these in the air fryer if you've got an air fryer, and that way they get done all the way around quicker, instead of having to turn them and watch them and stuff if you want to. Can't submit to flip them all. All right, I'm gonna put a little bit of a steam on them and help them get done in the inside. Now what we're gonna do is chop up a few tomatoes. I've got some Roma tomato and we're gonna chop some up and throw them in the pasta sauce with the tomatoes. I gotta decide how I wanna cut them. Now it's quiet. All right, so, and this just adds just a little bit of a freshness to it, a taste. We're gonna put some fresh garlic in it too. And this is really good, delicious. Now I put a lid on those. Once they start getting brown, you'll be able to move them around a lot easier without having to worry about them falling apart. And so you're gonna be able to stir on these here. And I'm just gonna put the lid back on them. And that just helps them get done in the inside.  They're gonna have some flavor. All right, we're gonna throw our tomatoes in here. It's a bit hot. Pot's hot. Hot pot. Don't y'all like excitement? All right, I think that's it.  Okay, so we're just gonna add a little salt and pepper to it. And I got it right here. Oh, I never turned the light on, Daddy O. Did you notice? You should've told me. Oh, no. All right, we're gonna put some pepper in here and salt and just a little bit of sugar, pepper, salt, a little bit of sugar. Okay, and let's throw our tomatoes in there. And then once this starts simmering good, we can start our pasta. Drop the tomato. Don't that look good? Yummy. Yummy, yummy. Now we're gonna get our garlic ready and that's the last thing we have to get ready. And then we're gonna be able to drop our pasta.  Do you know what? Garlic is something that not a lot of animals like, but we sure like it, don't we? If you're just coming on, we're making Italian meatballs. I'm getting them good and brown, too. You turn them down. Boy, that wok gets hotter than you think it does. It really does. Now I'm gonna use a garlic press and I'm gonna press the garlic into the pasta sauce. And I always take the toughest parts off. You don't have to with a garlic press, but I like to. That's just how I am. So we're gonna put these in there and press those through. And there's the fresh garlic going in. Yummy. That's cooked long enough, but I'm gonna tell you Benchris love the fresh taste of tomatoes, don't we, baby? Love them. And you should know as much stuff as we put in those meatballs. They're gonna be good. I'll try to get one that's not so brown. Of course, y'all might like it because they're brown. I sure like them brown. And there you have it. Spaghetti and meatballs. Quick, it's called simple Italian meatballs because I know some people put a lot more than I do in their meatballs, but I'm gonna tell you, these are just really, really good, okay? So give them a real close-up view of it and then I'm gonna take a bite. Yum, yum, yum. Which side? Your own? Yep. Alrighty. Let's get us a bite, y'all. So we're gonna slice into the meatball. See, it's good and done. And it's good and hot. I don't wanna get burnt, so I'm gonna be careful. I'll roll this up a little bit of, ah, pasta? Let me get half of it. Chris always says, you get the biggest bites. I'm like, well, I'm doing my best. I want some sauce. I can't get everything on it at one time, y'all. Hey, I'm not a real good with my noodles. Come on now. I did my best. Chris is looking at me like I've lost my mind. No, absolutely not.  Not like what you just did. No. My kids love spaghetti. Okay. I'm still a kid at heart. Yeah. Anyway, it's really good, y'all. Delicious, fresh-tasting, that fresh garlic in there, all those herbs, I mean, it's really good. Really, really delicious. I hope y'all give it a try. Throw in the Italian seasoning. Croutons in there helps it too. I mean, it's got a lot of flavor. It's punched, punched with flavor. So I don't know why I call them simple when I wrote the recipe, but I did. They're not that simple, but they're delicious. All right, mm-mm-mm, that's a good meatball. And we're using our Swaggerty's Italian Sausage, which makes them even better. All right, we'll see you next time on Colored Valley Cook, where we cook. Like Mama did, let me show you this. What'd you do with my, I had a viewer send me this in the mail today, where we cook like Mama did. Bye, y'all love ya.


You've probably heard that everyone is paid what they're worth. Don't buy it. According to this mythology, workers at the bottom are unskilled, and don't deserve more than what they currently earn. Minimum wage workers at McDonald's are paid what they are worth in the so-called free market. If they were worth more, they would earn more. By the same logic, the CEO of McDonald's is worth his multi-million dollar compensation package. The notion that people are paid what they're worth is by now so deeply ingrained in the public consciousness that many who earn very little assume it's their own fault that they don't earn more, that they simply lack the skills they need to be paid more. But there's no such thing as unskilled workers, only underpaid workers. Their productivity, that is the value of what they produce, has been growing for decades. The problem is that their wages haven't kept pace with their productivity. The paid what-you're-worth mythology also lures the unsuspecting into thinking nothing can be done to change what people are paid. It's simply the way the market works. Meanwhile, according to this same view, CEOs who rake in tens of millions and Wall Street traders who rake in hundreds of millions are simply being paid what they are worth, because that's what the market has dictated. Rubbish! The paid what-you're-worth fairy tale ignores power. And this regards policies that have made inequality skyrocket, like the demise of antitrust enforcement, which has given big corporations the power to set prices, make record profits, and reward the CEO's unprecedented compensation. This fairy tale also ignores the attacks on labor unions that have reduced union membership from over a third of all private sector workers in the 1950s to just 6% today. All of this resulting in a massive shift in power and wealth from workers to owners. Those at the top justify their staggering wealth and their worth three ways. The first is trickle-down economics. They claim that their wealth trickles down to everyone else as they invest it and create jobs. Just wait for it. But as we know, wealth at the top has soared for decades and nothing has trickled down. The second is the free market. They talk about market forces beyond their control. But remember, markets are created by rules. These rules don't exist in nature. They're human creations. The political power of the wealthy has let them change the rules for their own benefit, busting unions, monopolizing industries, and reaping big tax cuts. The third is the idea that they're superior human beings. Now sure, they may be talented, but this doesn't justify the staggering amount of wealth they're now taking home. Nor does it justify the amount of wealth they will pass down to their heirs. The biggest intergenerational transfer of wealth in history will occur over the next 25 years as the richest one and a half percent of Americans hand down some 36 trillion dollars to their children and grandchildren. This doesn't make those heirs superior. It makes them lucky. The reality is there is no justification for today's extraordinary concentration of wealth at the very top. Or for how little people are paid at the bottom. The paid what you're worth myth has proven to be a cruelly effective way to put the blame on workers for not getting ahead, while giving the rich and powerful cover to rig the game for their own benefit. It's distorting our politics, rigging our markets, and granting unprecedented power to a handful of people who want millions of Americans struggle to get by. Don't fall for it.


Architecture over the last couple of decades has really become a commodity and it's been perceived to be a commodity that's produced by highly skilled and talented artists rather than being produced by those individuals who are serving a broader public need. So a lot of what has happened in the rise of the Starchitects over the last two or three decades has really been a kind of privileging of people who are making large-scale sculptures in our environments without fully considering how people will be using those places, how the art will be seen in those places, how work will be enhanced in those places, or how people can really enjoy themselves in terms of recreation safely in those places. To a large extent I think it would have to be argued that much of what we've celebrated in architecture over the last 20, 30, 40 years has been a kind of self-indulgence on the part of architects who have often been dismissive of their clients and their clients' real needs and who have often looked at buildings that they've developed that have leaked or have not worked effectively or have not provided the kinds of environmental security that they ought to have provided. And we've made stars of those individuals I think to the detriment of the public at large. I think the good news about that is that in many of our architecture schools at this moment you're finding that students themselves are asking for a more socially conscious and a more environmentally conscious kind of architecture, a kind of architecture that really serves human needs. Architecture has always been a fairly small and privileged profession. There are only about a hundred thousand licensed architects in the entire United States and the vast majority of them come from a very limited demographic. Fewer than a quarter of all of the licensed architects in the United States are women. Fewer than six percent are people of color and that includes African Americans, Latinos, and Asians. Together represent six or seven percent of all of the architects in the United States. That demographic has tended to reward itself for the work that it does for itself and for a particular kind of client so that while there are about a hundred and fifteen architecture schools in the United States all of the awards seem to go to people who graduated from only a small handful, maybe a half a dozen, primarily from the northeast and the northern west coast. The magazines that celebrate architects tend to focus on a small handful of architects, often it's not architects who aren't even American but architects who come from abroad who do a particular narrow kind of work for wealthy clients. Over the last 30, 40, 50 years in the United States in particular there's been a lot of wealth and that wealth has often gone into supporting a kind of design that has a lot more to do with style than with substance. So we look at a lot of things that have been designed over the last few years and we see that they may look great or they may look interesting but in fact they don't always fit, they don't always work as well as they ought to. We've designed cars that use too much fuel, we've designed electrical instruments and tools that presumably make life easier but in fact consume excessive amounts of energy. We've designed cities where it's difficult for people to walk around, we've designed buildings that consume 40% of all of the energy in the United States and so we're finally catching up with the fact that we have been very consumer oriented in a way that has privileged style over substance and has tended to focus more on the desires and needs of particular individuals than on the larger set of societal needs that design can help to address and so we are at a point of crisis. We see that on a daily basis. A lot of the things that have been designed over the last 15, 20 or 20 years have failed us. They're using too much energy or they're breaking down excessively and they're not really meeting the kinds of needs that we would have anticipated they would have met. So the big challenge that many of us who are involved with design school space right now is to recalibrate the way we think about design to bring a new set of values into the design process that focus more on real human needs and a little bit less on style. It really is a great privilege for those of us who are now involved in architectural and environmental education to be able to work with the students who are in school and coming out of school. There's been a large focus on the extent to which today's students have a set of technical skills that enable them to work faster and smarter and using more information and using different kinds of materials and methods that weren't available even a decade ago and that's been wonderful but what's really been great is that students are now while they're in school and when they come out of school much more committed to social service to social justice the issues of service to those who have traditionally been underserved that has been the case really for the last 15 or 20 years. For many years everyone wanted to be like Frank Gary. They wanted to create great sculptures in the landscape. Whether those sculptures worked or not was largely irrelevant. The ability to use aerospace engineering to come up with forms that hadn't been built before was considered to be a primary task of someone coming out of school. That's over. That's over. At this point students are coming out and they're thinking about work that they can do in Biloxi. They're thinking about work that they can do along the Gulf Coast. They're thinking about the needs of people in refugee camps. They're working with individuals around the world who need shelter and who need ways of living that are affordable and supportable and sustainable. The students themselves have been pushing through design schools to force faculty to think differently about the way faculty see the environment, use the environment and create objects that serve not just the aesthetic interests of the architect but also the long-term sustainability needs of clients.