I go straight to what we are doing, do remittances improve income inequality? That's the basic question that I and my colleagues in the Federal University in Dufodil, Nigeria, decided to undertake and then to answer based on this data set. It's a triple-trong project that we want to do in Nigeria, Kenya and Senegal, but this is the first part of it. So the basic question is, do remittances improve income inequality? And because of the popular problems that we have regarding remittances and migration, we are going to try our best to solve the problem of endogeneity and also the problem of the fact that the impact of remittances might not be the same throughout the income levels. So in the form of introduction, we are aware about how much remittances and migration have generated a lot of research interest. And this is basically because of the volume of flows coming from the developed countries to the developing countries. A lot of people have described this as another form of counter-cyclical insurance. So the basic question is, does remittances, do remittances affect growth? And questions, these questions have been answered, but there are various channels through which this has happened. It could be through enhancing financial development, and Agawa has done a lot of work in this area. Human capital development, just yesterday, we had a presentation that informed us that remittances are actually increasing human capital investment. Also, it could also be through increasing the level of investment in the receiving countries. LATI did a lot of work in this. And the basic suggestion was that remittances alleviate the credit constraints that firms face. And it's also part of the reasoning that remittances reduces macroeconomic volatility. And Rata 27 was very popular in this by saying that remittances is actually counter-cyclical. So which means basically that when economy is going through downturns, migrants tends to send more than they used to. So my motivation is basically this graph. And how much remittances has moved in Senegal? You see, from 1992 to about 1998, it's basically less than $100 million. And this is just about 0.2% of Senegal. I mean, the regional, South African regional GDP. But starting from 2009, see how phenomenal the growth has become. Obviously, we can't ignore how much this is impacting on the recipient countries. Oh, sorry. So this work that I've been doing in this area has tends to say that remittances improve economic growth. It improves, I mean, it reduces poverty both in terms of its incidents and in terms of its severity. But one question has not been addressed properly. That is how much this is affecting income distribution. That has not, especially in our case study of South African and in Senegal in particular, this has not been answered. And it's possible that remittances might improve, I mean, reduce poverty. But we can't take it for granted that since it reduces poverty, it has also reduced income inequality. Because generally, all the research work has shown that remittances is productive. I beg to differ within the IAEA. It's very productive both in terms of human capital development, both in terms of self-employment and even in labor supply most times. But it might also be affecting inequality. It might also be affecting income distribution. Basically because there is a selection going on. I mean, there are certain groups of income earners that might be more likely to receive these remittances. And there is a big debate about whether it's the lower rank of the income distribution or the top rank of the income distribution. And we'll come to talk about this theory, how they try to predict how this could happen. Based on this, our method should try to solve the problem of endogenizing or selection bias. We try to measure impact of remittances on income inequality using the migration server. The main motivation for the research is that the idea that advanced distributional impact of remittances documented by a section of the literature might be because of the positive selection going on. So I better explain what I mean by positive selection. In this diagram, I try to divide contribution in this area into two. And one is that, I mean, this is a lone voice in this area as long as my search is concerned. Bodger 1987 tried to say that the lower rank of the society are more likely to receive remittances. This could be as a result of altruism. It could also be as a result of opportunity cost. Because these are any less, these lower household families, lower income household families are really any less in their country. So if they migrate, they have nothing, a lot to lose. So that might be what Buhay is saying. But let's think about how the remittances they receive as a result of migration might be affecting their productivity, affecting their welfare. One is that remittances have been shown to increase consumption and investment as well. So in that case, we can be saying that remittances increases the welfare of the poor households who we assume in this segment are more likely to receive remittances. But if this happens, what does it do to inequality? You see that at least because of its impact on investment by the households, we should assume that it's using inequality. Inequality goes down because the lower income households are more likely to receive remittances. And they are also likely to spend it in investments which will increase their future earnings. But what if we go about the dependency theory that once these households receive remittances like what India has said, they tend to reduce their labor supply and then depend on these remittances. So in the long run, it's really a fact that they will become poor. And then what it leads to is more inequality in the society. But then there is a bigger voice on the positive selection. There are a lot of words that try to say that the upper class households are more likely to migrate and they are also more likely to receive remittances. And this is because of the cost of migrating and also other requirements of the host countries that these upper class households are more likely to meet. So if that happens, the top class families are more likely to receive remittances and then they are going to become richer as a result of receiving this and then inequality also goes up. So this is what theory, I mean literature, has had to say, I keep going backwards. So my method, like I said, will try to solve two problems. One is endogeneity and the second is the fact that remittances might not impact uniformly along the income distribution. So what do I do to solve this problem? In the first instance, I have to solve the problem using instruments like other presenters and other research has done. But far more than that, we will try to also capture the fact that remittances might not have uniform impact. So that's why we have to choose instrumental variable quanta regression. And this was suggested by Chokuhubu and Hansen that has been applied for the measurement of wage dispassion by Haddon and Lamaqit. Banget has done this in Kenya, especially with remittance data. But so we chose instruments that we think will be able to generate a random selection into migration and remittances. And the two instruments that we have chosen is the ownership of non-agricultural land which reflects wealth, wealth ownership by the migrant-sending households. And we decided to use non-agricultural land because this does not reflect the productivity of the households at the moment. And also we use the number of migrants within household ethnic network. And the assumption is that the households better build their migration network on their ethnic affiliation. And an ethnic affiliation tends to reduce information costs. The knowledge we got from the keynote address this morning. And so if you reduce the information costs, then the households are using this to reduce the total cost of migrating and also meeting the requirement of the host countries. So one other thing that is very important in our work is the fact that is the fact of what we discussed yesterday with respect to Julie's presentation about remittances being noisy. And it's really very noisy because most of the households do not receive remittances even. But even those who receive remittances, there are wide dispersion in the distribution. So of course you know what this does in empirical estimation, especially in the family of OLS regressions. So we try... I don't know if we can answer. Okay, so we plotted the distribution of remittances. We received the amount of remittances received. But because of the presence of zero values, we could not plot them. So we added one to them and take a log. We take a log of one plus the amount of remittances received. And this is the first plot of the amount of remittances received. And you can see that the normal curve, which is the broken line, was doing a very bad job describing remittances. Partly because of this mass of zeros that you can see here. And also, and then we now discarded the zero values and then plotted the part B. And you can see this becomes a little bit more normally distributed than the former. And so we are model. So this is the basic model we run. And this is the log, the natural log of expenditure per capita of each household. And then we decided by variables, remittances, age and age squared of the household head, education of the household head. Importantly, the remittances variable is a dummy variable of whether a household have access to remittance or not. And again, the education variable is also a dummy which tells us whether the head of household has some education or not. So but we run this with the plantar regression and we used our instrument discussed previously to generate a random variation in remittances. So I better not discuss the data because that's already been discussed. Results. Our results was very conformative to the general result in this line. And we found that the receipt of remittances enhanced household expenditure at all levels of income distribution. In each level, the families that receive remittances spend more than families that do not. But this is not uniform. We found larger values at some point and lower values at the other point. And this is... But first, we apply the standard quanta regression to our model and what we found is basically what we assumed to be the reason why some studies had said that receivable remittances deteriorates income inequality. I mean, it generates more inequality in the society. But that standard quanta regression does not take account of the fact that households who already are any more are also more likely to receive remittances. So we applied the instrumental variable quanta analysis to account for the differential in access to remittances. And our results basically turned opposite of what we had in the standard quanta. And based on the instrumental variable quanta regression, this is what we have. We found that households at the 10th percentile of income distribution spend about 381% compared to other households who do not receive remittances. And this effect goes down as we move up the quanta but also goes up at some point. But most importantly for us is that this difference was largest in the 10th percentile. And then we found that... So this is... We plotted the impact of remittances based on the quanta regression by the quanta. At the 10th percentile, we found about 381% more than those who do not receive remittances. And then in the 25th percentile actually, we found about 207% more than those who do not receive remittances. And this is how it goes. The continuous line is what it would have been if we had applied OLS to the model. And of course you will see that this will not describe what is happening in the regression. So in conclusion, we found that remittances is actually more important for the poor households. But incidentally, these are the households who are most unlikely to migrate. And also, after we accounted for endogeneity, we found a strong equalizing impact of remittances on the distribution of income because the lower households in terms of income distribution are receiving more value from remittances than the rest. So, ordinary needs who are applied to this model would have performed poorly. And then even if we had applied quanta analysis without controlling for endogeneity, we would have continued to predict that remittances was an income distribution. But so in terms of policy recommendation, we have at least some policy recommendation, and basically it can be summarized by saying that we should open access to poor households, especially in developing countries. And there could be two ways to do this. One could be to improve access to finance, access to maybe loans that the households might use to overcome this cost, and then they could use this to supplement their wealth constraints and then be able to migrate as well. But secondly, one of the most important cause that they face is the restrictions from the host countries. In terms sometimes, in terms of education, sometimes in terms of other requirements that only they reach are more likely to access. So we would recommend that such restrictions could be a little bit lower. We know that this might be a very stiff thing to do politically because we can also consider how the poor households come into the developing countries. We compete with wages in the other countries. But there is some point that we should also consider. These facts will go a long way to reduce vulnerability in developing countries. And then this may actually reduce the need for foreign aid. And then when this happens, we can think that open migration might be a policy worth trying. Thank you.


Bismillahirrahmanirrahim. Mr. Chairman, Excellencies, Ministers, respected delegates, ladies and gentlemen. WTDC 2006 Doha, I was there. WTDC 2010 Hyderabad, I was there. Now WTDC 2014, it is great honor for me to be here also. Is it development or is it revolution? The change we have seen in our lifetime is like science fiction coming true. In the late 60s, I was in secondary school in Gardez, which is located about 100 km from my hometown Urgun. My father used to call me on the phone once every few months. We were not able to hear each other voice. We talked through a third person, Medvia's repeater, since it was a single wire on wooden poles with a return earth path. In the late 1970s, I was doing my higher studies in London. For six years, I had no contact with my parents. As phone connectivity from London to my hometown did not exist. My only way of communication was through letters via the post. And now last week in Kabul, me, my wife, my son, my daughter-in-law, and two kids, age three and seven, were sitting in the living room. I looked and observed that while we talked in watch TV, at the same time we all had, and were using a personal mobile device. Distinguished delegates, what comes to your mind when I mention Afghanistan? Taliban, al-Qaeda, terrorism, suicidal attacks, war. Unfortunately, this is part of everyday life in my country. But despite all this, considerable progress has been made, especially in the area of ICT. WTDC 2002, Istanbul. The Taliban regime was just overthrown in a new era started in Afghanistan. In fact, Afghanistan had no ICTs at that time. Our people traveled to neighboring countries, like Pakistan, just to make a phone call. Just for making a phone call, they had to go to a neighboring country. WTDC 2006, Doha. I was very happy to report that Afghanistan has 1.2 million mobile phone users and over $600 million of investment in the ICT infrastructure. WTDC 2010, Hyderabad. I was very happy to report that Afghanistan has 15 million mobile phones and investments of $1.5 billion. WTDC 2014, Dubai. I am very happy to report that Afghanistan today has over 22 million mobile phone users. There is now no one in Afghanistan without a mobile phone. Services reach over 90 percent of the population. We have five operators providing GSM and 3G broadband services. Investments have reached $2.3 billion. Afghanistan has optical fiber backbone network connecting to all of our neighboring countries. Afghanistan, believe it or not, has 35 TV channels. And digital TV broadcast will start in May of this year. Afghanistan now has a satellite named the Afghan Sat 1, placed in orbital position, ready to provide direct-to-home TV services and bring connectivity to our rural areas. An advanced digital ID system has been developed and ready to issue electronic IDs to all of our citizens. I am on Facebook in direct contact with 2 million Afghan Facebook users. I have found it the most enjoyable part of my life to hear their views, suggestions, criticisms, and maybe some time appreciations. Distinguished delegates, this may be the last WTDC I participate as Afghanistan will have elections on Saturday next week with a new president and a new government. I thank Allah for having given me the strength and courage to serve my people for 10 years as Minister of Communications in IT. And I pray to God that there will soon be peace and stability in my country and that our people live a life without fear and that we continue on our path of progress. On behalf of the Afghan people, I wish to thank the people in governments of the world, the ITU, the United Nations, and all the world organizations and bodies who have supported us in our endeavors to rebuild our beloved country, Afghanistan. Thank you for your attention.


Howdy moz fans we're here today to talk about an Apple search engine There's been rumors circulating for a couple of years now that Apple are building a search engine I'm here to convince you. I think they are building a search engine. I think they already launched it But before we get into what does that look like? Let's start off by talking about the common reasons people say Apple won't be building a search engine The first is that we know that Google pay Apple something in the order of 18 to 20 billion dollars a year To be the default search engine on Apple devices That's a lot of cash But if you consider Apple makes more than a billion dollars a day probably not such a big idea as we think it is but more importantly in 2020 the Department of Justice in the US said that they were going to be suing Google for monopoly practices one of the four bullet points they listed as their reasons was that they Don't want Apple being paid by Google to be the default search engine. They believe that's a monopoly practice They wanted to stop so even if Apple do care about the cash, it might be going away anyway So then it was not necessarily a surprise in 2018 We saw the head of search at Google leave and go to Apple Apple hired the head of search That's a very suspicious thing to do if you're not building a search engine We also saw at the same time they started listing job listings for hundreds and hundreds of search engineers which all adds up to building something search related and so Room is circulating. Oh Apple are gonna build a search engine It flew under the radar a little bit, but Apple already launched a web search engine in Ios 14 We're on Ios 16 now Ios 14 launched September 2020 Apple made a change where if you do a search in the Ios default search screen The series suggested websites used to be powered by Google's web index Ios 14 changed it to Apple's own web index They already got a web index and they've got a page on their website Well, they tell us about that web index on that page to describe how their Apple bot works They've got a web crawler that for last three years or so can already render JavaScript something that took Google 20 years or so Before they had that so they've got a mature crawler on that page. They also outline their Search ranking factors the top five search ranking factors they have and it's things like links web page design characteristics, which sounds like core web vitals and page rank And so the search ranking factors look very similar to Google They've got a crawler very similar to Google on their page They talk about how if you've got no Apple bot specific rules in your robots.txt file They'll follow Google bot rules so you can see the direction of travel They're trying to crawl the web in a similar shape to Google But I think that's a distraction I think there are several things that they could do differently if they wanted to build a bigger search engine And we're gonna talk about the three differences I think they could have that would allow them to build a search engine in a very novel way that would compete with Google in a way That we haven't necessarily fully understood So let's talk about that. So the first thing is federated search Consider how you do a search on Google you type in Madrid and it goes and it looks in Google's one giant database that database has a web index and knowledge index and all of that stuff But it's essentially looking in Google's own singular database with Apple is tempting to think okay Well, they've got a much smaller web index than Google they're gonna just go and look in that But what I actually think is they'll use a federated search approach Federated search is when you delegate a search to multiple different providers and then aggregate the results in Apple's case I think they could delegate the search to all the apps on your device And basically you do a search for Madrid and rather than just looking in the web index It might say well this Madrid search the intent might be to book a hotel So I'm gonna look in the hotels.com app the intent might be to book a flight So I'm gonna look in a sky scanner with the Lufthansa app might be learn a language duo lingo It might be get a travel guide So you look at the learning planet app point being that they would ask all of these devices and then blend the results from multiple different sources together But how would they know what apps on your device can cater to what intense in 2020 they rolled out a change To the operating system that allowed apps being installed on your device to register a list of intents that they can cater to Which is very interesting and it seems like 2020 is a year where they started launching a lot of these things and Setting up for this potential search engine And so you get a search that went to their web index But also searched through the apps on your device blended those results together as further evidence that they Will blend these results I manage to reverse engineer the API they use for their web index and when you do searches You get searched one list of results. You don't get web results and knowledge results. You get one big list of results Sorted by relevancy and it might be news web web maps Whatever point being it shows apples thinking they're concerned more of relevancy than where the results came from and they're happy to Blend them together. Okay, so they've got this federated search approach So let's talk about how these searches can also have custom UIs So when they rolled out the Change to allow an app to cater to specific intents that app can also tell the phone Oh, when you're catering to this specific intent, here's a snippet of user interface You can use outside of the app to cater to that in the best possible way as an example If you ask Siri to split a check it understands that the calculator app on your phone can cater to that intent But it doesn't send you to the calculator app instead It shows a little custom UI snippet right there in the search results where it shows you how to split that check And so apps being stored on your phone can say I can deal this sort of intent And this is the best way to present that result to users and it goes one step further At the same time they also launched app clips App clips are what apple described as small parts of an app What's important about app clips is that they get streamed to your device So you can scan a qr code or click a link and it'll go straight into the app clip There's no need to install a full application on your device App clips are designed to do one small part of what a full app would do But basically frictionless in loading them up So an example might be imagine you arrive in a city You've not been there before you're running late and so you do a search for scooter and Rather than just searching the apps on your device because apple have got this database of app clips And I've got almost two and a half million apps in their app store. They could also serve that intent So you search for scooter apple say yes, here's an app clip that can help you with that You press the button you go straight into the app.  You didn't go to any website. You didn't install an app Everything happened right inside the search results. So google had been moving to this mobile first paradigm But it's still web first with apple There's potential for a mobile native experience and this is something that google could only dream of What is also true is that this federated search approach would allow apple to completely bypass Google's strengths google's strength are the fact that they got this huge web index And they've been building that for 25 years or whatever with a federated search Approach apple could cater to many of the same intents without needing to replicate Google's web index and their rankings and all of that magic So if you're going to build a search engine, you probably also want to be able to personalize results How apple going to do that especially considering that they've positioned themselves as the sort of privacy-centric tech company So first thing quickly consider the difference between google photos and apple photos on google photos They will do machine learning of all of your photos on their servers in the cloud Allowing you to say oh show me my photos of animals for example You can also do show me my photos of animals with apple photos But all the machine learning happens on your device and it shows the two different paradigms So when you do a search google will serve you some personalized search results Based on your history or whatever it might be But it's all happening in the cloud. What I think apple will do is serve your list of potential results from their web index And then user a and user b would see a different subset of those chosen by their phone Using the machine learning on the device which understands your preferences your history what apps you've got installed etc Final thing is that in terms of personalization apple have a potential advantage here too Because with the federated search approach apple can do what I call fully authenticated personalization If you do a recipe search for a schnitzel recipe on google you'll get some personalized results But it'll be from the web index if you do schnitzel recipe search on your device This federated search approach will allow apple to look into your private databases If you've got the recipe keeper app, it'll see. Oh, yes, you've got a schnitzel recipe in the app I'm going to pull that out. It might see that your mum sent you a message On facebook about best way to make schnitzels so pull that out This is stuff that google can't do google can't look behind the curtain into your private databases Over the last few years, I think apple have been playing a slow game laying the pieces to move towards this mobile native sort of experience So when I first started talking about this research in mid 2022 at the search love Philadelphia conference I predicted that apple would move the search field onto the ios home screen in order to try to change user behavior And pushed them towards doing this mobile native sort of search rather than having users go into a web browser to do a search And then a couple of weeks later apple announced they were doing exactly that and that rolled out in ios 16 september 22 Apple made it so that the search field is right there on your home screen now Trying to push people towards doing this sort of search What that means for us as seos is yet to be seen whether they move in this sort of direction But all the pieces seem to line up if you've got an app. This is definitely something that you should be thinking about Otherwise we should all be thinking about what this means for us over the next couple of years as apple tried to shift the user behavior What that means is still to be seen. Thank you so much


The study investigated the effect of allopollosaccharide, AP, on ultraviolet B, UVB, injured nerve cells using BALB, C-female mice and NFG-activated PC-12 cells as models, finding that AP improved cell viability, proliferation, and inhibited apoptosis through the KEEP-1-NIF-2-HAR signal pathway. This article was authored by Lingling Yuan, Xingwu Duan, Ruanqian Zhong, and others.


The Craft Foods Company makers of Parquet margarine presents Willard Waterman as the great Yildus Leaves. Yildus Leaves is brought to you transcribed by the Craft Foods Company. Did you know that more women serve crafts, Parquet margarine last year than any other brand? That's a fact. And here's why. Parquet is the margarine that looks wonderful, tastes wonderful, and spreads smoothly even when ice cold. This year the Craft Folks want to make even more friends for Parquet. I'll tell you later how you can order glamorous powers model 60 gauge nylon stockings at less than half price every time you buy craft delicious Parquet margarine. Barbershop are burning brightly tonight and passengers by can hear the not too melodious strains of familiar songs as sung by the great Yildus Leaves and his cronies the Jolly Boy. We'll be harder than so. There's Judge Hooker to lend dignity, Barber Floyd Munson who lends the room, Chief of Police Gates in preserved law and order, and our friendly neighborhood druggist, Mr. Peavey. The Chief's got a voice as clear as a bell, a dive in bell. Now Floyd. I'm in good voice tonight, myself. Don't you think so, Peavey? Let's not stand nagging. Well, fellas, why don't we get on with the meeting? Somebody may have some business to take up. Yeah, let's get the dull stuff over with. Somebody call us to order. Well, who's president? Peavey's president. Oh, yeah? Oh, yeah. Oh, my goodness. What an organization. Well, the meeting's called to order. Who has some business? Not I. Not me. Me neither. Good. Let's sing another song. Peavey, you didn't ask me. All right. Any business, Mr. Yildus Leaves? No. I just wanted to be asked. Well, I want to play some. I got to keep my fingers warm. For the next number, I'll take off my gloves. Why don't we sing another song? You know, something with a good bass. There is a tower in the town, in the town. Peavey, we don't sing that one well. I do. Look, fellas, let's stick to something safe.  I don't agree. I think we'd rather well with sweet 16. You're great. Give us an introduction, Floyd. OK. Missing's on. OK, let's go. Don't be naive, chief. The commission must have a date. On Jolly Boy's night, Yildus? Well, I did promise to pick up Irene at school at 9.30. She had a teacher's meeting. Commissioner, you're breaking up one of the best meetings we've had. I'm sorry, chief. That's why I didn't mention it earlier. I didn't want to dampen your spirits. Oh, don't worry. We'll live. Oh, my, and... Well, when I go, it breaks up the singing. Because you don't have anyone who can sing lead. Who can't sing lead? Judge, if you're going to sing lead, do me a favor. Oh? Don't start until I get at least two blocks away. Killed it? Good night, fellas. I heard him stirring around up there. I didn't know.  A Jolly Boy's meeting and a date with Miss Henshaw. A doubleheader. Uncle likes to sing so well. I'm surprised he'd leave the meeting to go out with a girl. A lot of thrushes like to go out with rands, Lee Boy. Mr. Gil, please. I'll fix your breakfast while you look at the paper. Oh, thank you, Bertie. Well, what's in the news this morning, my boy? I don't have time to look at the paper. Yeah, it doesn't seem to be much going on. See, here's a picture of the Jolly Boy. Yeah? You got your picture in the paper? Well, not mine. But all the other members are in the picture. Oh, kid. You got less out, huh? Quiet, Leroy. I want to see what's going on here. Yeah, just copy, Mr. Gil, please. Give it to him quick. He needs it. Right. This was taken after I left the meeting last night. It says roving reporter catches nightingales roosting over barbershop. Oh, it's too bad you didn't get your picture in the paper, Mr. Gil, please. Yeah, see, Aunt, that's what you get for going with girls. Oh. Let me see what else the article says. This group of business and professional men keep barbershop singing alive. Mad, mad. Don't they all look natural? Personally, I don't think it's good of any of them. Look, it didn't even mention my name. Merned up, honk. Of course not, Leroy. But if they were going to have their picture taken, they could have suggested that I stay. Did you suggest taking them on your date? Certainly not. Yeah, I know. They probably got sore because I left and practically broke up the meeting. The judge doesn't look very sore. Look at him smile for the camera. Yeah, grinning like an old crocodile. Oh, Mr. Gil, please. You shouldn't say that about your friend. They're no friends of mine.  Who's jolly?  Well, I just want to let them know I've seen it. And I dare any of them to bring it up. Hey, come here. Oop, there's Floyd. He's got the paper in his hand. You know, I'll pretend I don't hear anything. Hey, come here. Loud barber. Floyd. Come on in the shop. I want you to see a prominent VIP. Well, I haven't much time, Floyd. Oh, I guess you've seen the morning paper. What makes you think I've seen the morning paper? You got a chip on your shoulder big enough to shingle the city hall. I don't know where you get that idea. The most jolly boys got our picture in the paper. That's the worst picture I ever saw. I thought you hadn't seen the paper.  Yes. Floyd, why wasn't I told about this?  Oh? Yeah, it seems this reporter was passing, heard us singing and got curious. He come upstairs, took a look, snapped our picture. Oh, so that's how it happened. Yeah, look, look at our names here in big type. There's some left to right. Yeah, I know. Floyd, you have a real juvenile attitude about this whole thing. What do you mean? Yeah, I suppose you'll have that picture framed and hung over your mirror. How'd you know? This is the silliest thing I ever heard of.  Why, Commissioner, I didn't know this was really bothering you. It isn't, Floyd.   Floyd! And he's heard just a half-sad of his way to run an organization. That's all. And his PB's fault. He's president. He shouldn't have let them take pictures without all the members being present. You know, just step in and see what he has to say for himself. Hello, PB. Hello, Mr. Jonas. What can I do for you? Don't act innocent, PB. Okay. You could have gotten in touch with me last night for the picture. You knew where I was. No, Mr. Jonas, leave it. I didn't think you'd appreciate a call last night. Why not? When something important like this comes up. Mr. Jonas, leave it. If you'd been sitting on the couch holding hands with your girl and I called on the phone and said, drop what you're doing and rush down here. PB, I wasn't holding hands. No, not your fault, PB. Yes, yes. It isn't that I care about having my picture taken with the rest of you. But it's a heck of a way to run a railroad. We didn't ask for this picture. Oh, yes.  Well, I guess he just couldn't resist. At the time I was singing, there is a towering in the garden. Let's forget about the darn picture. I don't want to hear any more about it. Hello, fella. Hello, Chief. Hello, Chief. PB, isn't this a peachy picture? I think so. What a vain policeman. Why, this morning I was talking to the jail photographers. Jail photographers. And he says if we get the negative, he'll print up some pictures suitable for framing. You don't say. Yes. He says he's tired of photographing fellas with numbers on them anyway. Ha, ha, ha. Well, I've been thinking, Chief, as president of the club, I might send a picture to the society for the preservation of barbershop quartet singing in America. That's a good idea. Are you going to send them that picture? Why not, Mr. Gilmick Lee? Well, if you want to send them a picture without the lead singer, go ahead. Yeah, yeah. Oh, for commotion. Well, look at it this way. A quartet consists of four men. If you were in the picture, you'd make five. Yeah, it's part of the whole quartet. Oh. So now I spoil things for the Jolly Boys. I didn't say that. Well, you said there could only be four in a quartet, and that leaves me out. And since you're president, P.D., I assume you reflect the feelings of the club.  No, I'm not sore. I don't have to be in your picture. I don't even have to be in your club. You mean you're getting out? Well, yes. This is the way you're going to run things. I resign. Oh. Now, Chief, stop begging me to stay. He didn't beg me to stay. He just said, oh. Well, P.D., what do you say? No, I feel a state. That doesn't I resign. Nate Gildesley will be back in just a minute. There's a new trend in nylon stockings that millions of women are discovering. They're finding that 60 gauge nylons are a better buy than 51 gauge because they're more snag-resistant and longer-wearing. That's the reason Parquet Margarine has changed the remarkable offer being made on Power's Model Nylons. 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Tomorrow, be sure to buy the delicious margarine made by Kraft Parquet Margarine. When Mr. Gilslee blew up and resigned from the Jolly Boyd Club, he moped around home a couple of days waiting for somebody to call him and talk him into reconsidering. Of course, he tried not to let on that it bothered him, but Birdie can read him like a book. Birdie? Yes, Mr. Gilslee? Did anyone phone me while I was out in the back yard? No, sir, none of your friends called. I wasn't expecting a call from them. Besides, I don't have any friends. You've got a sense. They just ain't talking to you. Hi. Hello, Leroy. Hey, my boy. You haven't taken any phone calls from me and forgotten to tell me, have you? No. Who's going to call you? I think he wants Johnny Boyd to call. Birdie, I've said I don't want to talk to them. Yes, sir. He wants somebody he don't want to talk to to call him so he can tell him he don't want to talk to him, which he won't, because he does want to talk to him. Birdie thinks I have regrets about resigning from the Jolly Boys. You don't, huh? Not one. What would you say if one of them came to the house? Well, I just pretend I wasn't home. You want me to tell that to the judge? Okay. Here he comes up to walk. Good old horse is coming to see me. Hold on. You said... I don't have anything against Judd and Tucker. It's just the Jolly Boys in general. Never mind, Birdie. Leroy. Yeah? You better go to the door. Okay. And tell him you're not home? No, no. We can't be rude to the judge. You go to the door and tell the judge if he insists on seeing me. I'm in my study. What a carrot. Oh, my goodness. Thank you. I was hoping I'd find him home. Oh, yeah. He's in his study. Thank you, Leroy.  Hello, Gilday. Oh, it's you, Judge. I didn't expect to see you. Sit down and tell me what's on your mind. I came over to borrow your magnifying glass. Is that all you came for? What do you think? Well, why do you need a magnifying glass? Since you foolishly resigned from the Jolly Boys, I think I should examine your head. Now, Judge, I just don't want to belong to an organization that isn't properly run. I have nothing against P.D. personally, but he's not presidential timber. You didn't even remember he was president. Well, we seldom elect officers. They cost very much for them to do. One thing a president should do is hold the organization together. Yes, but you... You didn't have to accept my resignation, Horace. Gilday, the real reason I came over is to ask you to reconsider. Well... If you're so unhappy with the present officers, I'll propose that we hold an election immediately. No, Judge, I don't want to offend P.D. He doesn't care. In fact, he told me the other day that he had a good notion to resign himself. Of course, I'd rather come back than see the club fall to pieces. That's the spirit. I'm a man who feels his responsibility is keenly, you know. The club has meant a great deal to all of us, Gilday. I know how to fill the void in my own empty life. What greater joy does life hold than the camaraderie of men joining together in good fellowship and lifting their voices in song? Judge, don't cry. I'll come back. In case of my going back to them, Leroy, they came to me. In fact, just to get me back in, they're going to have an election of officers. Yeah. Judge didn't come right out and say so. But I could see he feels the need of a strong hand at the helm. Yours? I'll admit, when I was president, I kept things humming. Yeah, maybe that's why they didn't be elected. No, that wasn't it. The presidency sort of rotates. Went from me to Judge Hooker, to me, to Pee-Dee, and now it's my turn again.  Well, like any campaigner, I'll do what I can to get elected. Birdie! Yes, sir? There's quite a possibility I'll be nominated for the presidency of the Jolly Boys. Well, I thought you was out. Well, they want me in again. That's nice. Of course, if I go back, I'm going to see if the club is operated differently. Yes, sir. Birdie, would you mind preparing a little midnight snack for the boys' election night? No, sir. Is this your way of stuffing the ballot box, please? Excuse me? Well, Birdie, that's not the idea. I'm only doing this to prove that I bear no mallets. Yes. You might have ham and cheese sandwiches, and fix a lot of deviled eggs. Yes. You're not stuffing the ballot box, you're just stuffing the Jolly Boys. He doesn't want to be president, so I shouldn't I serve again. And if I do decide to run for some political office this fall, it won't hurt to have it on the record. The city water commissioner, president of the club, prominent in the PTA. Yeah, I'll go in and patch fences with Birdie. Hello, Birdie. Hello, Mr. Gildersleeve. Yeah, I suppose you know Judge Hooker came by and persuaded me to withdraw my resignation from the club. Well, I'm glad you reconsidered, Mr. Gildersleeve. Well, I'm glad you're glad. I guess you also know there's going to be an election of officers. It's me. You know, that brings up a point. As long as you're not interested in being president, I thought I'd run. Well, it's about your turn anyway, isn't it?  Oh, Phoebe. Well, you're joshing, Mr. Gildersleeve. I'll vote for you. Oh, fine. But what about the others? Hey, what do you mean the others? Well, when you blew up in my face, my chief thought you were a little online. Hmm, they feel that way. They can swing the election. And that's what I'm saying. Well, all we have to do is show there's no ill will between us. Well, certainly not on my part, Mr. Gildersleeve.  He cared to buy a box of cigars around before election. Well, I'm already furnishing the dinner. You know, I mean... My, my. Phoebe, I'll admit I wouldn't mind being president again. Well, I can't say no. I'm voting for you. Thanks, Phoebe. Now, I have an idea. If I nominate you and you nominate me, that'll prove to Floyd and the chief that we buried the hatchet. No, Mr. Gildersleeve. The minute we open the meeting, I'll nominate you. No, no. Let me nominate you first. That'll prove to everyone that I hold no grudge. Yeah. And then when we cast our secret ballots, they'll know I'm voting for you. Well, now I wouldn't say that. Keeping Gildersleeve. I thought he'd be the first one here. Maybe he threw us over for a girl again. Now, Floyd, just because we're all happily married men... Oh, now, don't speak for all of us, chief. What's this, Phoebe? The judge isn't married, but he's happy. Yeah, I'm footloose and fancy-free. Hey, here's the commiss. Hello, fellas. Hello, commissioner. Well, now that we're all here, let's have a song. The gentlemen, please. Before we start the singing, why don't we get the election out of the way? That's a good idea. Now, wait a minute. Wait a minute. Before the election, let's have a cigar, fellas. Hey, he bought a whole box. Yep. I bought them from my good friend, Phoebe. Cigarchi? You know I don't smoke, commissioner. But I'll take a couple to the jail from a trustee. You help yourself.  Reach right in, chief. All right. Floyd? They ain't loaded, are they? Only with good will. Yeah, I'll put the box here in the panel where everybody can help himself. You know it's good to have you and your cigars back in the club commission. Yeah, thanks, Floyd. I'll have food up here for everybody in a few minutes. Yeah? It's on me. Nothing like a little snack after we vote. My, my. I'm happy to see there's no more rancor or hard feelings among the Jolly Boys. Why, of course not, Judge. Hey, listen. Somebody's coming upstairs. Yeah, that's Bertie with the food. Good evening, gentlemen. Well, hello, Bertie. Just spread it out there on the table buffet-style, Bertie. Yes, sir. Have you been elected yet, Mr. Bertie? Shh, Bertie. Okay, okay. I spread it out like you said. Mmm! Something smells good. Yeah. What do you got there, Bertie? Oh, we got some ham, cheese, potato salad, and devil eggs. Devil eggs, oh boy. Commissioner, this is a real treat. You did a noble thing providing this bread. Well, you'll have to thank Bertie, Chief. By George, everything's going great. I'm as good as elected. Yeah, which my drugstore sandwiches look like Bertie. Oh, Mr. Peeve. Well, I know everybody's hungry, so why don't we get things underway? It's a good idea. I'm stopped. Peeve, why don't you call the meeting to order? You're still President. Very well. Are there any nominations for President? Well, I'd like to be the first to make a nomination. You would, Gelder? You bet. I'd like to nominate for President of the Jolly Boys, my good friend Richard Q. Peeve. Hey, he's nominating the Peeve. Isn't that nice? Killed it. That's a splendid gesture. Well, do I hear a second? Come on, fellas. There are other nominations to be made. Well, Commissioner, if you want the Peeve to be President again, I move we make it unanimous and neat. But... Hi. Hi. I'm afraid it's carried. Great. Let's see. Oh, my goodness. How did that happen? We'll be back in 30 seconds. Tomorrow's the day to begin building your wardrobe of glamorous nylon stockings at less than half price. Just pick up Kraft's delicious Parquet Margarine when you're shopping. You'll find full instructions in every package for ordering a pair of Power's Model 60-gauge nylons for only 75 cents. Millions of women are cutting their hosiery budgets more than half. This easy way. You can order a new pair of flattering, long-wearing nylons every time you buy Parquet Margarine. Good morning, leader. Congratulations. I guess you're president of the Jolly Boys this morning. No. Now, they re-elected Mr. Peeve. What? Presidency isn't the only important office, my boy. Oh, I get it. You're vice president. No. No? No. No? You're well not that, either. Gosh, York, what else is there? I'm in charge of refreshments. Work production. The show is written by John Elliott and Andy White and his parents' cryers. Included in the cast are Walter Tetley, Earl Ross, Arthur Q. Bryan, Lillian Randolph, Ken Christie, Jack Meakin, and Dick Legrand. Musical compositions by Jack Meakin. This is John Easton saying goodnight for the Craft Foods Company, makers of the famous line of craft quality food products. Be sure to listen in next week and every week for the further adventures of the Great Gilders League. Delicious cold cuts for luncheon or supper make a welcome change of pace from the hot meals you've been serving. Easy to fix, too, but here's a tip. Be sure there's delicious craft prepared mustard on the table, because when you add a little mustard, you add a lot of tang. There are two kinds of craft mustard, mild craft mustard so smooth and delicately spiced, and craft mustard with snappy horserudish added to give it extra zip. Keep both kinds on hand for different tastes. Next time, get craft prepared mustard. President of the United States for the past 26 years, celebrates rededication of the principle of human brotherhood as expressed in the Declaration of Independence and the Golden Rule. This year, 10,000 communities are participating in the brotherhood events. Help make brotherhood a living art. Believe it. Live it. Support it.


Awesome.  Cool. Great. Great. All right. Hear this? I can hear you. Can you hear me? Yeah we can hear you. And I wonder if the cave frits I know that they are troubleshooting something right now but they uh are they able to put their video on? Let's do this. Um how are you? That was incredible. That was incredible. We see you now. You see me. Okay great. Great. Great. Great. Great. Cool. Um before we begin why don't we introduce the two of you uh just so that we know because we saw one of you uh but why don't we introduce both of you right now? Well uh I'm Joshua William Gelb. I'm Katie Rosmoglachlin. And we're theater in quarantine. Amazing. Amazing. Cool. This is our in studio audience. Yeah awesome. So for those who are watching on the uh on uh the internet we have uh Josh and Katie Rose up in a light lab at University of Maryland. We're also seeing a bunch of people seated in another theater which is in the cave frits theater just downstairs from the light lab. We also have an audience in the light lab that that was just shown uh watching in person. So we have a lot of different vantage points and then we have people who are just watching online. Um I would love for you maybe just to begin by explaining uh what it is that we just saw uh that even the the people in the light lab saw um so that we can kind of understand exactly what the what the setup is there. Sorry I'm fixing the lighting. Perfect. You know a little less shine. So for the past week uh we have been in the light lab here uh with a replica of a full-size replica of the closet from my apartment. Uh and we've been working a lot with some new tools in tech that we've never played with before. Yeah. Uh maybe just a little tiny backstory about theater in quarantine is so much of the digital work that we do on our YouTube channel is fully automated. We use a program called Zagora and QLab and basically we time everything out to the millisecond and feed the entire program into my ear so I'm able to synchronize with all of the video and audio. Uh we were really excited to play with a different version of of automation uh by working with uh we're working with a connect and motion tracking uh in order to get the computer reading my movement and responding to what I'm doing as opposed to vice versa. So uh basically you know I've been the computer's puppet for about two years now and uh this is the first time that uh we're trying to actually be seen partners together. Amazing and it's really quickly is this is this the first time you have performed in front of people as well? Yeah. Yeah. Yeah. It's in fact actually the first time that Josh and I have ever made a piece in the same room. Usually I'm on zoom in my apartment in Harlem. Awesome. Could you talk a little bit about that experience I wonder? Both from a collaborative and from an audience standpoint. Yeah it's been really I mean we're able to work I think maybe much faster being in the same room. That's true. Um which is really exciting and also I can help in a way that I can't usually it's like Josh go do that thing versus me being able to actually just like do that thing in that moment. Um yeah and it's been really crazy to think about the frame not just being the closet but being this room that we're in and being in this space all week has allowed us to like see things and constantly move things around and think about what this audience over here is experiencing. For the past two years we've been making work solely on solely digital work and all remotely. But of course now things are reopening. We're talking a lot more about hybridity and we're working towards you know this is our first step in in our evolution of what theater and quarantine can be in a hybrid form. And so it was also really exciting to get a bunch of cameras in here and also allow that to be part of the piece itself. So even the people who are watching digitally get a sense of what it's like to be in the room. Yeah I'm I'm curious about that hybridity. This is my last question that I really want to open it up to those in the light lab or those in the Kayfritz theater for questions. But I would be curious you know your impulse to make work digitally at the beginning of the pandemic there was an impulse there and I'm curious you know you were working in you weren't working as a digital solo artist prior to that or or yeah right. And so I'm just curious like what that impulse was like and then what are you bringing back to the table now that you're going back into the craft of hybrid and in-person theater making you know what are those skill sets and impulses that that started two years ago and now are being brought back into the fold of live theater in-person theater. That's such a good question. Well you know we speak a lot about like the origins of theater and quarantine obviously they were linked to the pandemic and they're shut down of the theaters in New York and very much came from a you know the fact that that I live alone and there's a lot of loneliness and confinement involved. So that's the that's the spark right that's why we started making digital work it was a window into into collaboration and community. And also Josh you know in like the first week of the pandemic we were all like doing home projects or whatever we did to like try to fill our time especially those of us who work in the theater who all of a sudden like spent more time in their apartment than they probably have years. And Josh was cleaning his apartment and was cleaning out a closet and realized that it was the same aspect ratio as his phone and that's how that all got started. And so so like that's the spark right that being said you know again things are opening we're getting back to in-person work. What we've discovered over the past two years goes way beyond those initial impulses to like what it means to make work as an artist in the 21st century to be engaging with platforms and mediums that you know perhaps otherwise we hadn't really been considering before. And so that's what now that we've done that now that we've really like opened up this whole new aspect of our practice it's exciting to find ways that we continue engaging with the digital in a theatrical practice that also includes in-person. Gotcha yeah very cool awesome. Is there any questions from the cave fritz? Are we capable of asking questions at the cave fritz? Now I know there was some like issues is there anyone in cave fritz that would be interested in any questions from a remote, thank you sis, from a remote standpoint. Hi. Hi. Yeah. You're down all here at this age. This is the best. We can't hear you anymore. It is on mute I believe. There we go. Hi. Thank you Louise. Hi. I just want to see for um hi I'm a human under here. I just wanted to say thank you so much to Theatron Quarantine, Josh Galb, and Katie Rose McLaughlin and thank you to the amazing Maya Brinn folks Jared Misaci and Kendra Poitier and Dr. Van Nuyan and Andrew Cisna and also the amazing Brinn GAs Mina Kauhara and Louise Garcia I believe for all of your wonderful work this week. But my question is really like a dorky technique question about vocabulary. So you know when actors are learning to train or when singers are learning to sing we frequently learn basic atudes, training atudes like to help the body develop a certain technical vocabulary that will that will use for larger expressive pieces and I'm wondering if you could talk to us. I felt like we were seeing an atude today like a little study and I'm wondering if you could tell us about the vocabulary that you were working to develop this week. Yeah we should I mean we should talk about that we should just show it if we can. If we can. I'm always nervous about moving the screen. Oh there we go perfect. Yeah well you know atude is not the wrong not the wrong word in fact atudes and studies are words that we use when we talk about developing our tools for working digitally but such as framing but so we started with atudes in mask work and movement and built out you know what it is that's so special about digital you know what it can do that ultimately we can't or is you know cost prohibitive prohibitive in person for instance playing with gravity for instance multiplicity for instance looping these are all things that became part of our language that we never yeah that we've never been able to play with before so that's exactly what we do is we create studies we ran a program called Closetworks that was our short form program mostly dance related pieces that was kind of our playground to develop technical tools that then we would utilize in what we call our long form pieces now mind you long form for us is 30 minutes or less so that's that's our process um this one in particular you wanted to talk about the connect yeah you should talk about the connect well okay um i mean i can jump in and if you want to show yeah so talk about the queuing gosh queuing oh so um so effectively yeah great uh can you hear me we can so just before you begin josh just so that people understand what they're looking at this is the software isadora that katie rose is zooming in on uh and and then go back to yeah right there and that's uh showing what the connect is seeing which are those uh that's josh waving right now right great cool just so people can understand there you go yeah uh so as i was saying earlier this one was an atude in exploring motion capture and what it means for the computer to be reading me and listening to me as opposed to me listening to the computer so you can see that the computer is capturing a frame of my body and uh basically we were uh taking triggers off of where my body falls in the closet uh on various coordinates here by x and y axis and so uh in doing that we were able for like the first time to do an entire piece uh with complete variability and flexibility uh as to how long i would play with the moment uh and that's really exciting uh because we've been so tied down to come back to the uh to the camera because we've been so tied to uh generally our qlab files uh which would conduct all of the video processing done in isadora according to uh very strict time codes gotcha and so i just want to make sure i understand what you just said so when you're standing there there are cues on standby and they will not be cued until your body a specific body part reaches for a specific zone within your closet and when you do that it then cues something new so when we saw your closet tip over that wasn't someone at a keyboard pressing go because they saw you that was the camera picking up your tracking yeah when you hit that and so you could have waited 30 minutes before doing that and it wouldn't have gone until you did that correct correct cool awesome i was actually knocking that closet over and it and it was quite it was fun i mean we really had to play with it because it was quite fussy it worked sometimes didn't work sometimes we did change the numbers like right before the show because it was one of the sides wasn't flipping ever and it worked and it worked this is the first time that consistently it's ever completely worked so amazing amazing do we have more questions yeah uh someone in kay fritz is uh i can't quite see who that is but why don't you come on up and introduce yourself so we all uh know who you are yeah that was fascinating and now with your explanation i have a slightly annoying question to ask talking about yeah we can hear you yep so i was um surprised by the explanation behind the scenes because i assumed when i was watching this that it was pre-edited and i love that it's not but i was also wondering about your decision not to expose that mechanism because what i was thinking before is that you know you showed us like the cameras surrounding the surrounding these so i felt that you were also showing us like how this was made but then you hit one crucial part of that mechanism which is like the isadora software and the Kinect so i understand that you're exploring these but i was wondering whether because i would have loved to see that in action as well like the same way that you show the cameras around and the lightning that like this demo that you did that if that were part of the performance itself and even like these problems that you had about like things not working i actually find that really interesting so i was wondering if that's also how you're thinking about that process thank you noted for future as we continue working on this piece josh actually built a beautiful patch that is able to in our live performances show isadora um and all of the beautiful programming which we can totally we should totally build into that we're actually do you want to just describe why we can't do it and why we couldn't do it this time oh that's true well you know we we showed a bunch of backstage uh shots of course uh but with certain limitations of of uh of camera inputs and things like that and and where our computers all are and which computer can handle which uh which software uh we unfortunately had to pull back from doing that uh that being said of course yeah we would love to love to show the seams more i guess katie rose and i are both surprised frankly that it didn't fall apart programming wise um i'm shocked uh but it's also there's a funny other side to that which i find interesting uh and that we've yet to solve and are continually trying to solve which is no matter how much we put a camera on isadora unless we explain it as we're doing right now uh there's still a sort of stubborn resistance to believing that what we're doing is live yeah uh and so we're constantly striving for uh some way to convey that uh and yeah yeah and even when we do a lot of lecture demonstrations and even then when we spend time talking about what we're doing and we show the seams of it and then we'll like run a sequence they'll be like okay but when you edit your video they're like no no no no um yeah so we're constantly striving to figure out how to let people know yeah awesome um mary ellis you have a question yeah and there's some questions here too oh great we'll go no mary ellis go for it also just like that dance that you just did up to the camera yes okay sweet um i love the program you did with connect i actually did a show similarly in 2021 where like my body melted it was tracking and it was over zoom and i'm just following up on the last question this idea of uh the lack of um understanding of technological processes and how that influences the experience of the viewer not unlike maybe the light shows at the turn of the 20th century where people didn't understand what was happening um so couldn't quite process that it was live or or or even this idea of liveness and it's just like what is happening um but i i feel like uh i would love to hear more on your idea of how we sort of use technology really advanced technology um almost blindly uh sort of moving through it and then so in some ways we see a program like this and can't quite understand uh all the details and and processes that go on to actually make it live so i'd love to hear your thoughts on that because that's something that i'm struggling with as a performer in live theater with technology we're struggling too uh you know that's uh that i think in some ways is the impulse towards hybridity um because in particular you know we were making uh years worth of progressively more and more polished digital work uh and really hiding the seams sometimes intentionally so sometimes we like to misdirect and play magician uh in fact i'd say a lot of what we were showing you today in terms of playing with rewinding and things like that is doing exactly that we were uh misdirecting what was and wasn't live and recorded uh that being said uh that's part of this impulse to to bring an audience into the space here uh because we can start to show like you didn't have any but you knew exactly what was live and what wasn't and uh and so finding uh ways to have different perspectives on the work trying to find more ways and doing you know we didn't do it in this instance but like picture it we do uh often a picture in picture where we'll show the closet unedited unadulterated uh so you always know what's happening in the closet uh but yeah and part of it is actually developing new tools and new technologies to do that which is kind of funny well and also um i think the problem that we had we were spending so much time building these uh these sort of cohesive productions uh that yes masked the uh the sort of live or technical uh but uh scenes of it uh but the problem was it took us until a couple months ago where we could finally get a computer that could handle the ability to start layering other elements and other perspectives and other inputs and uh now we're able to do that but for a long time we were lucky just to to do what we were doing because ultimately the real way that people can tell our shows are live is when it fails that's true when josh's computer freezes something goes wrong um and we have to start the show again and so people can see it happening again like all of those moments are incredibly frustrating for us oh yeah and the one true moment where our audiences are like oh this is well they'll say oh this is theater then and that that really drives me up a wall and uh really quickly because we're getting some feedback from uh those in caper it's right now i'm hearing it fine but i uh when anyone speaks just lean into the microphone uh on your ends uh josh and kitty rose okay great cool uh yeah question from the light lab when you were done i turned to them i was like i feel like we just saw a magic trick because we on the one hand or we saw how it's done and we saw on the one hand on screen the finished product of what the audience is supposed to see or what your audience is to this point has been supposed to see and on this side we had the privilege of sort of watching the effort and the work and the crossing back and forth and the side and the push and the fact that the the closet doesn't fall over but josh is selling it enough physically that it looks like it falls over et cetera et cetera and so i'm wondering for these iterations for you one what are you hoping to explore in that simul simultaneously in those two perspectives and two do you have like feelings about showing your magic tricks a little bit i mean really is there some anxiety about like taking us behind the camera and so on uh i mean just to respond to the magic question uh because we we've talked to and and worked with a couple uh magicians who who expressed that anxiety on our behalf and uh and i don't think we do we don't see ourselves as magicians uh but we of course are using a lot we're not precious about it exactly uh so in some respect it's it's more fun to share what's going on i think one of the biggest problems that that we've come up against because we love the ability the simultaneity of seeing a full uh uncut version of of how we're doing it uh side by side with what we're doing is really exciting uh and we've yet to like within a 1920 by 1080 frame been able to figure out exactly how to do that in a way that doesn't take away from one side of it like i think in an ideal space you'd be able to an audience member would be able remotely to toggle between two views and then you could really choose to like watch the whole thing in one space and or watch it watch it in another um in the way that like you live were able to sort of control your own eye uh and say actually i'd rather just watch the monitor or i'd rather watch the behind the scenes and there's also between between 2d and 3d which is just the best thing and being able to see also the three different cameras and knowing which one was on which one you're walking by is like an immersive theater it's an innumerable yeah it's true well and that's that's one of the big things that i that i've been really interested in is like the real time josh and the effort it takes for him to do the physical feats that he's doing um and the like the noises and the grunts and the fact that he's not actually tipping a closet over um which feels really exciting to share that energy with an in-person audience as well as like an online audience who can still see and appreciate it um but it feels really exciting to start sharing that energy more questions well i think we have time for one one more question uh i don't know if there's i i can't see them in the light lab if there was one more there um yeah anyone else i got one oh hi so can you guys talk a bit about the process of coming into a space where you're having where you are experimenting with new technology and how you balance uh doing something that is brand new while also knowing that you have a product that you have to create uh i i feel like shon is asking that in a sort of leading way because shon was present for a lot of it uh and thank you shon and thank you shon i mean shon was sort of invaluable in terms of helping us understand how to uh how to work with this programming uh so uh among many others um gosh i mean well i think at the core we are always open and excited about experimentation so we are oh like we play and we play every day so that's something that we're that we're very used to and we love to make sort of like basically iterative iterative work so we'll try we'll make something and then be like oh but if next time we could do this the next time we could do this so so whether or not we can master the tools is sort of besides the point because we're so excited to play and see if it works and this is actually the first time that we've been able to work with something that uh didn't work and we kept going yeah we kept trying it yeah um like the the connect wasn't always doing what we wanted to do but we were able to build that into a piece that didn't ultimately break it yeah which is really exciting it's also i guess worth mentioning that that in our practice uh we do work fast um you know our our schedule originally had us creating work in a two to three week uh uh cycle uh so one week on a study is kind of par for the course for us yeah uh i mean yeah there's obviously pressure to put something together and the programming is not um doesn't you know come easy uh but we're also working off of a lot of as you said iteratively like certain sections were sort of like programs that i kind of had half built that we were able to sort of fill out for this time and then that middle section which was just a lot of the like bouncing back and forth uh that stuff was was really what we had built up from scratch and you know does it have an arc necessarily you know i don't know we don't know we started answering asking that question today today so you know in that respect uh you know we basically gave ourselves and we're excited to give ourselves that whole middle sequence to have complete variability i could have rocked that closet any which way and uh i had total control over what was going on there and that's what we were interested in exploring uh in not setting it in not uh forcing ourselves to do a perfect piece that we that we're used to uh so that was that was what we were playing with and that's uh in that way what you saw was a sort of um an amalgamation of of half studies from months ago uh beautiful choreography from this morning and absolute improvisation with a computer program uh that was uh impressively uh cooperative and it must be noted that that that the support from uh from everyone at the school has also made it possible that we could do this much in one week absolutely awesome i think we have i think one more question from k for its uh kaitlin's if you want to hop on okay if you um had a theater in quarantine school for hybrid performance and you um had lots of students to teach what would be the courses or skill sets that students would need to know like theater 101 theater 201 like what you don't need course numbers we don't even like course numbers but i would love to hear like what are the what are the skill sets that new artists need to have to to do what you're doing can i say the first one yeah go for the first one the skill set is like uh being comfortable with failure first and foremost yeah in every way shape and form um the technology will fail you'll forget what you're doing um and being okay with that and building on it um and turning it into something that's exciting for you and makes you want to dig deeper um that would be like the the i feel like core thing yeah and then there's a lot of other things yeah i mean then then it's just an hour and a half a day of uh walking around in an imaginary uh revolving uh closet uh and shifting gravitational fields and uh uh that sort of physical theater work i mean in some respect uh it's it's all about uh balancing and the tension between uh extreme analog physicality and uh and the totally digital and how you can utilize both techniques to enhance one another uh and speak to one another as opposed to just you know uh well anyway uh that's that's i think essential uh and and i guess that would be semester one there we go and is adora yeah is adora fit failure is adora and walking on the ceiling yeah yeah yeah and that physical practice i think would have that would be like a daily physical practice yeah because ultimately when we make pieces we rehearse every day um which means that josh has a like very rigorous uh physical practice yeah amazing that's a great question and i think we should all be asking that every day too it's a good practice of like what do we need to stay flexible technological and also deeply human you know and i think what theater and quarantine does best is all three of those uh at a really amazing balance of uh really cathartic work so i just wanted to thank you uh for everyone who's watching right now uh they are back tomorrow one p.m i believe it is am i am i correct i i will turn off if uh if i go check my my document but we hope that everyone's back uh for those who are watching the stream online those in the cave fritz and those in light lab i want to thank you all for being here um i also uh katlyn said them all best but everyone involved in uh the symposium uh the mya bren institute for new performance the performance studies faculty uh our gas on the bren uh committee it's amazing watching everything come to life this week has been awesome to uh it's a thrill to support the two of you and to watch this type of work uh in just made in just a week is is really inspiring for everyone at university of marron so thank you all for being here uh and keep uh keep pro failing keep going out there and messing around so awesome thank you all for being here uh they are up in the light lab you can go walk upstairs right now if you have any more questions keep the conversation going and uh thank you all take care


I came here in September and everything was new London is a big city so I was looking for someone to help me and I look at the my emails and I saw this mentoring program I was like yeah why not maybe someone can help me in finding a job or like in developing my skills. So for the CV at all because I had a CV already but it was kind of a mess up so I decided to ask her for help and then the cover letter and then some tips on how to reply to the questions of the interviews mainly. I made a confidence because at the beginning I was very scared about doing interviews about what this job finding so I think she's she really helped me in like okay don't worry about if anything if something goes wrong if something is not as you want like don't worry just keep going. So my mentor did the same course of mine so I'm doing events management so she helped me not just as my in my professional career but she gave me advices and suggestions also on how to do assignments how to succeed in my academic career. Just ask any questions that came that comes up to your mind there is no stupid questions or something so if you have died if you have any anything like just has to do your mentor and your mentor will be happy to help. Boost of confidence motivation happy, happiness, happiness. Because I wanted to help a I thought it was going to be an undergraduate but actually I'm with a master's student who I got him with but I wanted to help a student to progress and improve their employability because I'm a HCR advisor so I work with recruitment and sort of career progression day-to-day so I wanted to help. For me I'm new to psychology and I want to enter the counseling career so having someone to talk to and having so I was really helpful to help me enter the counseling. Really rewarding which is what I've really found nice to hear in the ceremony was the two-way process of actually it wasn't just about what you were getting it was about also what I got out of it so it was really rewarding and fulfilling to help. So for me instead of studying in psychology I also get this counseling course which is that I have gotten me to get in there and I'm sort of see it's really helped like during the process how I get through this counseling course process and how do we also like deal with some sort of CV or how to see how to be how to enter the counseling career and how to get some volunteering experience and all this sort of stuff so yeah I learned a lot of things from that. We discuss lots of different things in our session so yeah employability sort of interview skills how to get you into that experience that you want yeah loads of stuff and well-being as well so we tapped into sort of the social sort of side. Probably say rewarding, fulfilling and enjoyable. For me it's amazing and also I'm gonna say rewarding and interesting. So basically the first time I saw it was it was an employability office Instagram profile I really really liked it and also one of our professors really advised it so I was like why not and I tried it and it was the best experience from my studies. We had a call with my mentor every week and at first we were discussing my CV and my cover letter which helped me to realize that I'm not as bad as I was thinking about myself so he brought my confidence a lot so he basically helped me through his LinkedIn and he helped me on advice on my CV and whenever I had any questions on how to act on job interviews he was really really helpful and he gave me an examples on what question I can ask in the end of the interviews and how can I behave in the best ways so the employers will like me more. Maybe asking more questions because sometimes mentors don't know what exactly we are looking for so if we are looking for specifically finding a job just asking questions about like how can I find the best job how can I improve my CV etc etc. Full and self-improving. Decided to join the career mentoring program to connect with people from the industry because I'd like to create meaningful connections and expand my network as well and I found the program really valuable. I was at a stage in my career where I wanted to improve my own leadership skills I wanted to give something back I wanted to you know encourage up-and-coming talent but just to learn some more myself as well because it is a new skill for me as well you know. Thanks to the program I was able to to learn more about myself as a person and as a professional Laura has helped me a lot with my CV with my LinkedIn as well and we had interesting discussions and different topics. She also touched upon the the financial services industry which was really helpful as well because I was able to expand my horizons and learn about different industries and markets so it was really useful. I think I found it really refreshing actually to work with somebody who's coming into the industry who has so much passion for the industry and who's really enjoying getting to know it and coming into it and reminding me of all the things that I do like about my job and you've reminded me to network because that's actually something you're great at that I am not so we've learned from each other. Don't limit yourself with talking only about the CV for example or LinkedIn I try to learn more about the person who is your mentor and about the industry your mentor is working in as well and what are the future for example like opportunities or limitations. I think just go for it and just get stuck in and go with the flow because it can be quite an anxiety-inducing thing I suppose for us as well because you think am I ready do I know enough for by being in this industry long enough what can I share but so much comes out out of it that is valuable on both sides so go for it. What's a insightful, transpirable and fun? Let's say refreshing, educational and re-invigorating. This is my second year with the Kerimencing team so in my first year I was paired up with an industry professional from Southern the Banking and then she showed me the way about how can I progress my life in UK and career for an investment banker job so that really had an impact inside me so plus the support and guidance I received from the Kerimencing team back then was really good so it was really really immensely grateful for them and that was the first reason and secondly I'm doing my placement with the Improbability Service so I had a couple of questions in my mind that I want to ask to a professional about what you do actually within a career and within a company so the reason is like twofold the first one is before I got a job and second one when a job is going on as a placement so yeah so talking about my second mentoring experience we mostly shared about our experiences inside a job so like how do you perform well how do you impress your team how can you be more collaborative how can you improve your communication skills making sure that the team has you whenever they need you if I'm going to talk about my first mentoring experience that was mostly about how to get a placement or a graduate role so it was in two different ways that I utilized in mentoring experience but in overall it really helped me to connect with a lot of industry professionals and then yeah I had a chance to deliver a speech for the second career mentoring program this year so if I sum up my mentoring experience from the last year and the current year I can say that it totally depends on your requirements so if you're someone who is trying to know more about how you can excel in your current role or if you're facing some sort of challenges within your career in your career and if you're looking for some answers then try to connect with an industry professional either inside your own industry or somebody from outside in the industry in my perspective for me my mentor was outside my working industry so she gave me a different insight and different perspective that was quite unique to me which really helped in my placement with the employability surveys secondly please embrace your mentor-mend relationship if you're not able to find a proper job or a graduate role throughout the end of your mentoring program still you'll have the chance to know what skills does it take for you to learn in that role so it's always two-fold and the third thing that I would say is to be more active and engage in the mentoring conversations so you can always ask questions because a mentor might have something that you won't be expecting something that can be surprising so coping from my own speech I would say it's transformative, enlightening and empowering so that's what my mentoring journey so far now in the last two years.


Hello Freedom Family. This is George again. Now I am in Los Angeles. What you see behind me are palm trees and the different sights that you would see if you were visiting LA. Yesterday's video, click that eye up there to watch it because it made me miss my flight. That video we talked about how LinkedIn was purchased by Microsoft for 26 billion dollars and while I was uploading that video my plane was flying away because I lost track of time. So I hope you watch that video and tell me down there in the comments below what you think of it. Today I want to talk about the YouTube MCN business and what it takes to get accepted as a YouTube network. Many of you have told us that you still want to be an MCN. You don't want to be just a service provider. You want to partner channels. You want to offer services like Freedom and in order to apply you need to do a few things. One you need to explain to YouTube why you need the roll-up tool and it can't be just to aggregate payments. To give you an example how Freedom started was we created the Play Now system. What we call Play Now Now. Back then we called it NETV and we were working with 7,000 YouTube channels who signed up to create an account on the NETV dashboard to get Play Now links to promote games. So we pitched to YouTube that we have 7,000 creators that we're already working with not as an MCN but as a service provider to offer additional revenue through Play Now links and that was part of our pitch. We also had contracts with some music labels as well as some music managers and artists so we were providing unique content to YouTube. We were saying hey YouTube we have all this digital audio that we want to fingerprint and help monetize for all of these partners and in addition to the NETV Play Now system that was the pitch that we made that got us our MCN. So when you are preparing your pitch and please do and then send it to us and we will forward it to the right people at YouTube we will route it for you. Make sure you include those two points why you need the roll-up tool other than payments and what unique value you are adding to the YouTube ecosystem. How are you helping YouTubers grow other than partnering channels? Tell us in the comments below if you have other suggestions for people who want to become their own MCN. Tell us if you plan to apply and what are your unique benefits so we can all learn from each other and give you feedback because this is the spirit of freedom. We all help each other grow together as a family. And if you have any other tips on how to grow tell us in the comments below. I gave you many tips in the past such as how to comment with style, how to add bold italics and other emphasis to your comments. So your comments stand out. Click that I up there to see that video how to comment with style if you don't already know how to use the stars and the underscores to do that. And I also gave you a lot of tips on how to improve your channel trailer. That's the single most important video on your channel that helps you make the best first impression. Click that I up there to learn about improving your channel trailer and what elements it should have like YouTube cards. Like be very quick and to the point and introduce yourself and answer the question why should I subscribe to your channel in 10 seconds or less. Those are all the key points but there's many more so watch that video. I hope you look forward to my videos covering VidCon. That's where we're going to be in a few days. In the next day or two we're going to meet with some of our partners so we're going to hopefully get you more deals and more value for the freedom family. And in the meantime keep sending us links to your best videos to your improved channel trailers and everything else that you feel you want to tell us about to get feedback on so we can help you grow. And if you haven't partnered with us already click that I up there to partner with freedom and let's grow together. Who am I? I am George CEO and founder of this beautiful family called Freedom with no freedom shirt again. Sorry about that guys. I am George and if you liked this video click that like button down there so I can see what content you enjoy. Do you like this new format that I'm doing temporarily while traveling with my cell phone? One shot. No editing straight through videos and if you like it subscribe to Freedom Central youtube.com slash freedom home of the George show. I am George and you've been watching the George show on the road unedited. Till next time. Zai jian. Be safe.


I want you to write down the first point is that everything starts with compassion Everything starts with compassion The Bible says Jesus looked at the crowd. He was moved with compassion Disciples looked at the crowd and they saw inconvenience Because they were complacent because they were living in comfort and I think we all love comfort There's nothing wrong with comfort as long as a comfort does not conflict with compassion As long as my comfort doesn't push me out of compassion if I can keep compassion alive There's nothing wrong with comfort, but if comfort is my goal if comfort is my aim If comfort is what I'm praying for and a lot of our prayers if you were really really careful. It's really for comfort There's nothing wrong with being completely healed and being free from everything and having financial breakthrough and having that boy To be your husband and being married. There's not that's all praise God Jesus came to give us life and more abundantly But if every single prayer aims to help me feel more comfortable in life instead of help me to Tap into a compassion vein that is inside of me Deposit by the Holy Spirit sooner or later. It will stand before God with everything that did not matter at the day you are dead And give an account for what for that which does not matter when you have five minutes to live You know my uncle passed away a week ago. He was the guy who helped to start our church. I call him our Russian Rambo This guy was so brutal unbelievable in faith and then outside of faith Used to cut the lawnmower flip the lawnmower didn't turn it off went to fix the lawnmower cut his own finger Watch trying to clean the lawnmower in the church Rambo It's full of faith. I mean this this man evangelized ever just just a very I mean you look at him physically you will be intimidated. I Was the day before he passed away in his in his bed He starts seeing angels You're standing there, you know, he'll he just build a nice house And none of the stuff matters his business seven children And he says I feel I see rain he barely can speak because we prayed against the cat He had cancer the quickly developed and he wasn't able to lost so much way He wasn't able to even speak but but his eyes were full of fire and I'm looking at that And I'm like that's exactly what I'm gonna come into everything I work for today Everything I worry for today when I come to that point and I will because statistics as 10 out of 10 people will come there It won't matter the only thing that mattered that day is How you live for the call of God? the purpose of God and My life was literally just kind of shaken up once again Though I just turned 30 to live with the perspective my life will come to an end and the color of the church's carpet will not matter at that Day and the make of my car and the brand of the clothes I wear and what I eat and who I hang out with and how Many followers you have who likes or doesn't like your status is who snapped you back or who doesn't snap you back All of these things will matter not what will matter is how close did you live to the purposes on the call of God in your life? Because somebody shout amen Everything starts with compassion compassion is when you begin to feel that in your heart You know many of us we are like that guy who went fishing one day And then he saw all the small fish and threw the small fish back into the sea and the other guy noticed that he is I'm sorry He threw all the big fish out into the sea and kept all the small fish So the other fisherman noticed that he came to me he said hey could you could could you explain to me?  He says it's a very simple solution in a home. I have a small frying pan any fish that doesn't fit the frying pan I throw it away And that's exactly how many of us live We have the small frying pan of a complacency and compassion Of complacency and comfort and anything that doesn't fit that portfolio We just throw it away when we hear the challenge, you know join the group. You're like doesn't fit my frying pan When you hear the challenge. Hey become a home group leader. What why would you want to do that out of that? Anything you come to choose the prayer that's boring out of that and anything that doesn't fit the small Religious thinking thinking all about me frying pan guess what we do we throw it out So when Jesus says keep the multitudes disciple says no, why would you want to do that? They're annoying They're burdensome. They're inconvenient. We already had enough of them get rid of them Jesus I want to challenge each one of us today allow the Holy Spirit to stretch your compassion Just a little bit Don't do those prayers God wreck me completely. That's not gonna happen You live your life selfishly for 25 years being religious. We think in one minute you're gonna become selfless mother Teresa Of course not but if you come and say God you make me a little bit more compassionate this week God make me go at least to one prayer meeting God help me to join one group help me God begin to stretch my heart like a rubber band So that my heart will begin to feel that compassion I remember I heard a story of one man in Australia who lived by the cliff for a very long time With him and his wife and I think they have a picture of that and so one day he lived at this cliff called the gap and in this clip There He started to notice people coming to the cliff and disappearing He didn't realize what was going on until it dawned on him that he started to search the found out that for hundreds of years This cliff has been known for the most suicides that happen in Australia.  We're not very religious people But there's something we can do you know what he started to do He started to go on the edge of the cliff when he saw some people and he does this something very simple He says, what is your name? After they will say the name he said he says I have some warm tea in my house and some cookies I would love if you can come and I don't have anybody to share cookies with and warm tea Could you come to my house? He would bribe people with cookies and tea He's 80 something years of age. He saved 160 people with cookies and tea What could you do with the power of the love of Jesus? What could you do with the power and the compassion of Jesus Christ? You know what changed that man is one day he looked at that and he saw people throwing themselves off of the cliff And he says you know what I may not be able to save the world, but I can try to save one It's a compassion that begins to move his heart and it's a compassion that can move your heart You may not be able to save Vancouver, but you can save the area You can save the people got places in your sphere of influence by simply starting to care When the person in the lunch sits by themselves because they moved new into town and you got your little gang You got your little squad that you're hanging out all the time And you so cool and you so trendy and you guys are so popular and you get you get your little slang That you have going on what would happen if that person who stands on their own cliff right now You will leave your little squad at least once a week go sit beside that person and say what is your name a Are you new in school? You will see how God will begin to use you to save people and change people's lives I want to challenge each one of you today in your sphere of influence begin to ask God to stretch your heart Just a little bit more in the area of compassion. I heard a story This happened in Asia in China where another guy who there's this famous bridge in China That is known also for the suicides where the most people commit suicides over a thousand people committed suicide in the last I think 200 years in this kind of a city and this man First time he saw a person committing suicide He was driving on this highway and there's four different lanes There's passing by and he saw a lady that was going over the rail He stopped the car who ran through the cars almost got run over and quickly grabbed her She was falling down and pulled her back and now He goes there every weekend every weekend and Stands there waiting for people That's his life now. I think over a hundred something people have been rescued from committing suicide Because a man he wasn't even a he's not even a Christian just cares. That's it I want to challenge each one of us today that you will begin to care Do you begin to have compassion? You begin to be concerned for the people in your school for people who don't know Jesus in Jesus name because somebody shout amen