Hello, I'm John Harrison, and this is Arlington Community Media's Conversations with Great Authors. With us today is Dr. George Ellenbogen, poet, author, lecturer, memoirist, and retired professor of English and Poetry at Bentley University in Walfam. George received his undergraduate degree from McGill University in Canada in Montreal. He received his master's degree in the University of Montreal and his doctorate from Tufts University in Medford, in all cases he majored in English. During his last years at Bentley, he was chair of the English department of the university and founded the visiting office series. George has a poem in Kim Nagy and My Collection, Dead in Good Company, a celebration of Mount Auburn Cemetery. His poem is entitled Mount Auburn Cemetery, Winter Icons for John Harrison, bird photographer. Thank you for that accolade, George. George was my English poetry professor during my four years at Bentley from 1966 to 1970, a long time ago in a galaxy far, far away.  George Ellenbogan is such a teacher for me. He unlocked the mystery of poetry for me and always encouraged my writing. His influence is certainly a great part of the books I have been part of for the past few years. I am indebted to George Ellenbogan for his influence. We have remained good friends for the 50 years since my time at Bentley. George Ellenbogan's journey began in Montreal, Canada, where he grew up. He will tell us of his youth there, which he chronicles in his memoir, A Stone in My Shoes in Search of Neighborhood. He has authored four collections of poetry, The Night on Stones, Along the Road to Eden, The Rhino Gate Poems, and Morning Gothic New and Selected Poems. There are French and English versions of his collections of poetry. According to conversations with great authors, George, for me personally, it's a joy and a privilege to have you here. Thank you, John. And thank you very much for those sweet words. It really has been a long time, my God. I think we're going back to 1966, several incarnations ago. It's interesting, John, as you can imagine, over a period of 10 years, 20 years, 30 years, 40 years, I think it's over 50 years that I taught you. One remembers only a small proportion of the students that one taught, but you were an unusual student. I do remember that. I think you were a student at Bentley during Bentley's last two years in Boston before it moved out to Walton. Yes. And it was another kind of institution in effect. But you were different. I mean, I would have considered Bentley students at that point practical, very purposeful. They generally had a single goal in mind, becoming accountants and having reasonably programmed lives ahead of them. I remember you as being quite curious, reaching for something that you had not yet defined. And you clearly have had a very interesting life. I've got to say that when I first met you, I would not have envisioned that you would become a bird photographer and a splendid one. Just yesterday, as a matter of fact, I have your Mount Auburn book on my kitchen table and I was browsing through the photos and we had talked about the eagles in Medford the other day, but just looking through the photos of the foxes and raccoons and so on. And usually I focus on just your photographs, but I also noticed some of Kim's, specifically one of Robin's, the Robin, Robin Chicks being fed. Oh, with a nest. It's the very last photo with their beaks gaping open. Anyway, that's quite something. Both Pierce, who got you started with the bird photography and I are very proud of you. You really have made a career for yourself, John. Well, thank you very much and you certainly are a part of that. You influence me quite a great deal. But, George, when did you first realize that you wanted to be a writer and in particular a poet? Did you enjoy poetry as a youth in Montreal or did McGill instill the love of that form? I guess it's not so much a question of poetry specifically. I was a very scattered student all the way through in elementary school. I've got to say that after kindergarten, which was wonderful, we sat on the floor around round tables, cutting things out with scissors and coloring them in various ways. I loved kindergarten. After that, it was all downhill. When I entered the classroom and saw the rows all arranged symmetrically and multiplication tables on the boards, I knew I didn't have a pleasant time ahead of me. But I loved writing. I loved writing. I loved everything that was outside my immediate environment. The school environment was, to put it kindly, depressing. I remember as a child climbing the steep wooden stairs of Mount Royal Elementary School. Everything there seemed so tired, so worn, so gray, so depressing. I remember liking geography because it took me out of that milieu history because it allowed me to escape in time and writing, which allowed me to express the desire for escape. That was the only thing that I think I really excelled in. Arithmetic, anything pertaining to numbers, I always felt it was a conspiracy against my sanity that I eventually managed to master trigonometry and algebra and geometry to get out of high school and into college. I liked writing, and I've always liked writing. From that early point on, as to when writing came to me as an option, as something that might be central in my life, that didn't happen until I was at McGill. I had, as a professor of comparative literature, a man called Louis Dudak, who it turns out was one of Canada's grandfather poets.  You mentioned that I had something to do with the path that you've chosen to take. I don't know whether I would agree to that. It's very kind of you to say that, but Louis Dudak really played a major part in mine. I knew when I was taking his course on living, I never, never saw myself as a teacher, as a professor of literature at Bentley College. That just happened as a type of accident, I think. But I knew that writing would be the central part of my life, and I started, as you mentioned, as a poet, when my first, actually it's five books, John, my first book, Winds of Unreason, came back shortly after I left McGill in, I think, 1956 or 57. I had gone up to the Arctic, so I did my undergraduate degree at McGill, was writing poems during my last two years, started graduate work, was born out of my skull. I was sitting in the library from early in the morning until well into the evening, and asked myself what I was doing there, and could not give myself a satisfactory answer, and went home, I was living at home then, and told my parents who had virtually no education themselves, but saw education as a path to mobility, told them that I was going to drop out of school the next day, that I was going to work in the Canadian North in the Arctic, and that I was going to become a poet. I don't think that you would have poet did, or what a poet was, but they had incredible forbearance, they didn't try to pervert through dissuade me, and I came back from the Arctic with my first collection of poems, and I've been writing ever since then, John. So in recent years, less poetry, there's over the years I worked on a novel, never completed it, wrote a play many, many years back, before I met you, which was dreadful, the novel wasn't very much either, but I'm working on a novel now. I have written a play which developed from a long poem that you're probably familiar with called The Rhino Gate, which is the major, the major of the volume called The Rhino Gate Poems. And I see myself sort of going back to beginnings, trying to understand some of the things that happened for me that I didn't fully understand, and I think a lot of my work happens that way. It's in a sense, retrospective. So I'm just, at the same time as I'm working on this novel, John, I'm mapping out a piece on my six-month stay in the Arctic in 1956, I believe it was, ten years before I met you. Long winded answer. No, but that's a good answer. I didn't know some of those. I didn't know about your play, novels, so something to look forward to. That's terrific. I look forward to that.  You've lived in Greece, in England, in Mexico, in Spain, and as you just mentioned, even the Arctic, which seems like such an unlikely place, but for a poet, perhaps a perfect place. For me, only snowy owls could possibly lure me to the Arctic, but I expect for you, the Arctic was attractive in other ways. What did you learn from that experience? So where did that bring you in your writing life? Well, it wasn't something that I really planned, John. I had had enough of sitting in classrooms, listening to professors, talked about things that at that point in my life didn't seem particularly gripping. I needed to get away. I think had the opportunity been in the Congo or in Zanzibar, I would have gone there. As it turned out, there was a major construction project taking place in Canada. I think it was an American Canadian cooperative enterprise called the July, the Distant Early Warning Radar System. I went up on a six-month contract. It was the first time that I'd really been away from home. I guess it was my first experience with independent living. As it was, it was very strange, John, because as often happens with me, in a milieu, even if it's a totally different milieu as that one was, I was writing about something else. It was a very curious thing. Now I'm writing about it as though I'm driving and I'm looking and recording the experience through the rear-view mirror. What I'm involved in now is, in a sense, the process of discovery. It will be a series of vignettes, let's say nine or 10 vignettes. The arrival, the departure, this discovery of boundaries. There's a wonderful irony there for me, because I went up in June at that point of the year in the Arctic where there's virtually 24 hours daylight. I went up where I could see everything, and yet I understood very little. I understood nothing. I hadn't experienced it yet. I hadn't understood the solitude, the stark landscape, the different topography. Everything was the same, the kind of spongy earth that one walked on in the summer and that was frozen in the late fall. And yet what I left, I left in December when it was utterly dark basically, maybe a little bit of twilight for three quarters of an hour or so. It was dark outside, but yet inside there was light. I understood much more. So it's a poem, I think. I'm sorry, it's going to be a prose piece and maybe prose poem, but there were the elements there will be separation, boundaries, a recognition of boundaries, how one connects, how one connects with one's tenure, with other people, how one makes sense of things, how one reaches out to elements in one's environment to establish coherence. So right now, John, I'm on the outside of that along with you. As I work on this piece, understanding will come. Theodore Refke has a line I know by going where I have to go, and that's what will happen here. In other words, I'll write, I'll write, I'll write, and the piece will unravel, and I'll understand what it's all about, which is why I'm working on this piece because I always felt, John, that this was a pivotal part in my life. It was as though I was going along on a conveyor belt, and I wasn't ready to stay on that conveyor belt. I wasn't ready to become a goodness knows what. I hadn't chosen the profession. I didn't know what I was going to do. Had no ideas. I mentioned that I was going to be a teacher, and I feel that this experience had a shaping effect on my life. It didn't give me a sense of how I was going to word my living, but it confirmed my sense of occasion. I was going to be a writer, and I came back, as I mentioned, with a collection of poems, and I gave them to my old teacher, Louis Duda, who happened to be the editor of one of Canada's avant-garde presses, and that was my first book. If you don't have a copy of that book, John, after all of these years, I think I owe you that. Well, I'd love it. Along the road to Eden, I'm sorry. The Nine on Stones is the first one that I have. That's the first one that I received from you. George, what brought you to Bentley? So, we're reaching back to him, because that is in 1965. At that point, I was doing a PhD at Tufts, and I was working on my dissertation, I think, or preparing for my orals, I can't remember which, and driving an old 1959 Pujo, and I blew a pistol on the Pujo on the way back from Montreal to Boston, and it occurred to me that I would have to earn more than the $2,000 per semester that I was earning at Tufts for teaching two sections of freshman English. And I think someone had mentioned Bentley to me. I'd never heard about the place at all. And I went down and spoke to a chair then, a gentleman called Jim Kiley, and I taught part-time for the second semester of that year, and then the next year, I taught full-time and was really able to earn a living then. I think it was all of $8,000 a year, which really was quite good. So, I no longer have to go to meat auctions and so on. Because at that point, I was married with a child. So, I never planned to stay at Bentley, John. I thought it was going to be a temporary thing, but the market for university English teachers really closed up. And it was, although there were possibilities for me to return to Canada, I stayed at Bentley. And at that point, Bentley had very limited offerings in English, but the situation changed when I became chair, I think, in 1980. And we're very fortunate we were able to hire a lot of people, and it became just, for me, a very exciting place to be. I really look forward to going and had wonderful colleagues. And no regrets, no regrets. I still love teaching. I still love teaching. Don't get to do much of it. As you know, I retired in 2004, but I still do readings abroad. And sometimes I'll teach an intensive course in creative writing for a week or a few days. I've done sessions in the United States here for, let's say, a couple of days or so. And that's a wonderful way of doing it. I don't have to serve on any committees or great papers and so on. So I get the best of it that way. Yeah, you keep quite busy, I must say. I admire your ethic and your stamina for that matter. Can we spend a couple of moments on mechanics? There are different forms in poetry, free verse, blank verse, the sonnet, Haiku, Sestina, Ode, Villanelle, and others. Have you explored most or all of these forms and which are you most comfortable with? A little bit of background. My mentors were people who were really locked into the free verse movement. The Abongard centers that I was aware of when I started writing seriously in the 1950s were the Contact Press poets in Montreal, the Black Mountain poets, and a little later, the City Lights poets in San Francisco. But as a result of my own reading, I was also compelled by poems in a priori forms like sonnets, villanelles. I love villanelles. So I wouldn't say that I lean one way or another, John. For me, it's taking whatever comes. So I don't start with the notion that the next poem I write is going to be in the form of the villanelle. When I'm working on poems and the new poem comes, I don't know what the poem is about, a line will come, a couple of lines, maybe four lines, sometimes more if I'm lucky, and it'll come in a particular package. So it might be whose words these are, whose words these are, I think I know. It's the first line in the cross poem that's familiar to you. So it might come in a dynamic measure and the line that I mentioned to you, Theorefties, I know by going where I have to go, that defines where the poem is going to go. If the poem, let's say, starts off as, let's say, the Cummings poem does, simulating a falling leaf being carried this way and that way by the wind, well, then I'll follow that particular course. So I probably write more poems in free form or free verse. In other words, no regular metrical pattern, no regular rhyme pattern. But then there are times where I'll hear something, you know, one of those old rhythms, one of those old meters, one of those old line patterns, and I'll go with it. It's like a dance, John. And to some extent, the partner dictates the manner of the dance. Yeah, I understand that. That makes perfect sense to me. Now, no one can begin a discussion at this time with someone in the odds or especially a writer without at least minimally touching on the coronavirus. You were in the seaside town of Javier, Spain, when the coronavirus exploded. How did the lockdown in Spain impact your daily life in this idyllic Spanish town? It made some difference, John, but nothing drastic, really. I had, I really had an idyllic situation there. I was high up on the 11th floor with out of one window view of the mountains and the other full view of the Mediterranean. And although the town was locked down, I mean, you really, you could go outside only to go to a supermarket or to a pharmacy or to a bank. So I missed walking by the seaside because I got a lot of my exercise that way. And I missed sitting at a cafe and having a cafe connexia and looking out at the Mediterranean and maybe scribbling some notes, but I could sit in my balcony and do that. So I have family here, a lot of friends here and so on. So I left early and as it was, I was fortunate in being able to get out. And finally, my transatlantic flight, I think was probably 5% full. It was though they had scooped up the last stragglers leaving the planet for another planet. And my situation over there is not much different than my situation here, except that here I can actually take walks outside. But it, I think more important is the way it impinges this virus impinges on one's imagination and awakens one to what really has been a part of our history, whether it's the great plague in 1381 or the 1666 plague in Britain that had cataclysmic effects. But it works in a number of ways. I find, for example, that I've become very much aware of the place that I happen to be inhabiting my own home. I'm enjoying it in a way that I never have. When Evelyn, my late partner, and I lived together, we lived together for 30 odd years and we lived here for, my God, over 20 years. We hardly ever sat in the living room and so on. We spent a lot of time where I am now on the third floor at our studios, they're next to one another. But I, the morning I very often will read and listen to music in the living room. So I spent time in different rooms and just as my time in the Arctic was being dropped into a particular milieu. And in a sense, getting to know that milieu as it pertained to me was, in a sense, my neighbor, my partner. Well, in a sense, this house has become that. It's very odd. It's as though I've been living in this place or I have been living in this place for so long and I was have made it with it in, I would say, limited ways. So. Yeah, I think a lot of us will feel that way once this is over that we have enjoyed certain aspects of it, even though we're all antsy and they're cabin fevered and want to want to get out now. Will this unprecedented pandemic find its way into your writing poetry in time? Do you think or absolutely will or probably will or maybe or how do you feel about what that that might impact on you? It's very hard to say, John. Subject matter for me is an unpredictable thing. I mean, something could be important in my life as this is. I'm riveted to it as to how we're dealing with it at all. I think as a writer it's as though it's not an act of volition in my part seems ought to say that because ultimately I do the writing. It's almost as though the material has to come out and reach me and grab me by the lapels. Sometimes it does. Sometimes it doesn't. In the case of the Arctic, for example, it's a long time ago, John. How many years? 44? 20? It's over 60 years that I've been in the Arctic and it's only now that I'm addressing it. Now that I'm compelled by certain images, now that I feel I want to get my arms around it and understand it. So who knows? It might well be that I might be on a cruise, maybe be out on a boat in the Galapagos since I was at one point and that will come to me. This awful situation where these chaotic creatures, these viruses, simply want to stay alive and we're their hosts basically. That might come to me in such a way that I raise my hand and start to put something down on a page. Well, I expected will in time. I think it will grab you by the lapels ultimately because it's been such an unbelievable part of our lives for, even though it's a short period of time, but we've learned how drastically the world and our lives can change in such a little bit of time. That's one truth that's coming out of this. Absolutely. Yeah, it's really unbelievable. You think about it, John. In a sense, I must say over the last 30 years, probably for both of us, we live with a certain amount of smugness, maybe justifiable smugness. We're comfortable. We get three squares a day off of our own choosing. We get to travel where we want to travel, walk where we want to walk, read what we want to read, listen to whatever music we choose to listen to, and it's wonderful. It's as though this could go on forever except perhaps for a minor change here and there, a friend who's involved in the car crash. You can't walk any longer and suddenly you see something like this and everything changes. Very interesting, John. You might enjoy this book, an American historian, Barbara Tuckman, the book called A Distant Mirror. It's a history of the 14th century and there's a lengthy chapter on the plague. You take in one bald fact of it wiping out a third of Europe's population, but it's more than that. It's like whole professions disappearing and the whole culture as a result sags basically. There are things that somehow or other people can't do any longer. We're living with a level of anxiety that we haven't been touched by yet.  We will never forget this. Would you read frozen white for me? Frozen white. Have you ever noticed on a day when ice cuts through wind and spears across the lake that you don't touch her hand across the sheet, the white full frozen and you don't reach across through glasses of the can and you don't touch her reaching phrase, but let it drop into the twisted falls of the roof rug and you don't even stare at the fire as the cold pushes at the outside hinges and barrels down the roof, drifting up the windows and you don't and you don't and you don't. Thank you, George. Always a pleasure to hear that and just going to end with this thought in the introduction to your collection Morning Gothic, John Kinsella wrote about you. He is one of the most human and humane poets I have ever read. Yes, indeed. That's the George Ellenbogen I have known for more than half a century. George, thank you for joining us today to tell your story. It has been a joy. Thank you. Thank you, John.


Several people remain hospitalized after a loaded school bus plunged over a Macawthon County hillside Monday morning. Bus 2030 was taking students on its morning route along Route 40 when something caused it to veer across the road and over the hill. The bus landed on its side, pointing in the opposite direction from which it came. The bus was carrying 18 students and the driver, and Macawthon County Superintendent Chris Meadows said everyone on the bus received at least minor injuries. Four people were said to be in critical condition and the driver and two students were airlifted from the scene. Five students were taken away by parents and the rest were taken by ambulance to area medical facilities to be checked out. Students on the bus ranged from elementary school to high school. The bus serves Salyersville Grade School, North Macawthon Elementary, Harold Whittaker Middle School, and Macawthon County High School. Kentucky State Police is continuing to investigate the crash.


All right. Last session of the day and the conference. I'm so waiting for it to get over. So this is an impromptu session. As I was saying earlier, we lost a speaker. So thanks to TV for jumping in and helping us run a design thinking session. I would give him a round of applause for that. I'm going to touch upon agile testing. I don't know what it means, but I'm going to try and talk about that. The reason why I say I don't know what it means is because I think there is no novelty to it, but there are some new elements from off late what we've been discovering. And we're trying to somehow put all of that in the name of agile. So we will see how much justice it makes. The one thing that I've often found people are familiar with is what we call as the software testing ice cream cone problem. How many people are familiar with this diagram? Any challenges with this approach? Looks good, right? Let me kind of tell a quick story about another industry and see if there is something we could learn from that industry. How many people recognize the picture on this slide here? It is a power loom. It's a power loom. Bangalore used to be one of the biggest power loom center. I don't know how many people have grown up in Bangalore. I did. So I know where I used to live from morning till evening, you had this tuck, tuck, tuck, tuck, tuck, tuck, tuck, sound going on throughout the day. Those were basically power looms. And even though I say morning to evening, there were a lot of gaps in between because of the lack of power in India. India is actually one of the biggest or actually the biggest consumer of silk, right? India is the biggest consumer of silk. But where do you know where actually the highest amount of silk is manufactured? China. China is the number one silk manufacturing country. Most of it gets imported into India. This was not the case 20 years ago, right? Why has it changed so much? So let's talk about how power looms used to run, right? There used to be these buildings in which people would set up the power looms in the morning. They would set up the threads, let it run through the day.


House Speaker Nancy Pelosi has predictably gone back on her word and she is signaling her intent to decouple the bipartisan infrastructure bill From the reconciliation package as reported on by Heather Kegel and Sarah Ferris of Politico Now this is bad because if the House were to pass the bipartisan infrastructure deal before the Senate votes on the reconciliation package guess what? Progressives lose and conservatives like Joe Manchin and Kirsten Sonoma effectively win because at that point what leverage do progressives have? What point do any Democratic Party officials have at getting those conservatives to actually vote for the reconciliation package? Because those conservative Democrats they only want the corporate giveaways included in the infrastructure package So once they get that they have no reason to vote for the reconciliation package It's the only hope of getting reconciliation through getting all of these really important things through so Nancy Pelosi's move here is a betrayal She lied.  She's a corporatist to her core So in the event it were the case that the bipartisan Infrastructure package went through but the reconciliation package did not that's not so bad for her because she also Would like to please her donors. So, you know, this isn't necessarily the most surprising thing in the world I think that most people should have anticipated Nancy Pelosi being a traitor Having said that the question is what are progressives going to do about it? And it seems as if there is some reason to be optimistic not necessarily optimistic that the reconciliation package will pass But optimistic that progressives are going to hold strong and not support the bipartisan infrastructure deal If they don't get the reconciliation proposal and Bernie Sanders is telling them do not cave. Hold the line He tweeted out. Let's be crystal clear if the bipartisan infrastructure bill is passed on its own on Thursday This will be in violation of an agreement that was reached within the Democratic caucus in Congress more importantly It will end all leverage that we have to pass a major reconciliation bill That means there will be no serious effort to address the long neglected crises facing the working families of our country The children the elderly the sick and the poor it also means that Congress will continue to ignore the Existential threat to our country and planet with regard to climate change I strongly urge my house colleagues to vote against the bipartisan infrastructure bill until Congress Passes a strong reconciliation bill. So Bernie Sanders.  You went back on her word So if you vote on this now Don't expect any victories when it comes to the reconciliation package if anything at all with regard to reconciliation Now, thankfully progressives are holding the line and they deserve a massive amount of credit for that Mike Lillis and Scott Wong of the Hill explain if she were to call the bill It will fail Representative Jan Czakowski a close ally of Pelosi said while leaving a closed-door Democratic Caucus meeting Not because the progressive caucus people like me aren't willing to vote for it But we had an agreement that we were going to get these two pieces together quote I've never seen her bring a bill to the floor. That's going to fail She said it will fail if she does Representative Prima Legiapal head of the Progressive Caucus said dozens of liberals are prepared to sing infrastructure in pursuit of the broader package This agenda is not some fringe wish list. It is the president's agenda. She said in a statement Representative Rashida Tlaib a member of the so-called squad of progressive lawmakers of color was harsher She called Pelosi's plan to reverse course and decouple the two bills a betrayal We will hold the line and vote it down fly vowed on Twitter referring to the infrastructure bill This is not the time for half measures or to go back on our promises now after Pelosi announced that she would Likely be delaying the infrastructure vote before she went back on her promise to decouple these bills Ilhan Omar was very clear on Twitter. She says the whip count was right We aren't bluffing when the bills are up in tandem and we will put our votes on the board That's the deal Jamal Bowman shared a statement from progressives in Congress saying we are holding the line and backing up the president's agenda So they're not backing down and this is really really good. They deserve credit if they cave I will criticize them and I'm sure that many leftists will criticize them But for now what they're doing is exactly what they should be doing And I do want to read some of that statement shared by Jamal Bowman from the progressive caucus because it is Encouraging so far. It seems as if they're holding the line It says we just wrapped a meeting of our 96 member caucus and we are clear our position on infrastructure and build back better Remains unchanged. We will not leave anyone behind and the statement reads US representative from a legit Paul chair of the Congressional Progressive Caucus issue the following statement following the 96 member coalitions meeting about the outgoing infrastructure and build back better Negotiations we remain fully committed to passing President Biden's entire build back better agenda and delivering the transformative change that people throughout this country Urgently want need and deserve moving forward without the build back better act would put long overdue investments in childcare paid leave Healthcare affordable housing pre-k community college climate action and a roadmap to citizenship for dreamers TPS recipients and essential workers at risk our progressive caucus members remain clear We will not allow this process to be dictated by special interests and corporations at the expense of women working families in our communities We will not leave anyone behind and that is really important. They have to continue to hold strong They're gonna receive criticism from the conservatives in the party and now possibly Democratic Party leadership like Nancy Pelosi They're going to be criticized by members of the media You have done lemon asking Ilhan Omar whether or not they'd be willing to Vote for the bipartisan infrastructure deal now and then revisit the reconciliation package later No, there's gonna be a lot of pressure And if they all hold strong then that makes it easier that makes it less likely that any one individual lawmaker will break So it's very very important that they hold the line and they continue to threaten to tank this bill If they don't get what they want because once you give up the leverage once you give Conservative Democrats like Kirsten Sinema and Joe Manchin Exactly what they want that give away to their corporate donors, which is included in that bipartisan infrastructure deal That's it. You get nothing. So this really is a pivotal moment for progressive lawmakers Going forward if they hold strong here, they'll actually They'll actually have a lot more power in Congress But if they budge here then they're just gonna get steamrolled again and again and again They're setting the terms going forward because if conservatives in the Democratic Party see that they're willing to cave Then they're not going to be included in future negotiations because they know that these lawmakers are just gonna go along with Whatever the party wants. So now is the time Draw that line of the stand in the sand and don't cross it I'm really proud of them for holding strong, but I hope that they remain committed to the stance.


This is Mises Weekends with your host Jeff Deist. Ladies and gentlemen, welcome back once again to Mises Weekends. I'm so pleased to be joined from Israel, the author of a brand new book entitled The Virtue of Nationalism. His name is Dr. Yoram Hazoni and as he explains to me, that's my bad American-ish pronunciation of his last name, not the Hebrew one. So his new book is something that we rushed out and got via Amazon I read it a couple of weeks ago and it's asking some really important questions and it's getting a lot of play out there. In Time Magazine, he was recently on the Laura Ingraham show, et cetera, et cetera. This is someone you ought to be following on Twitter. So Dr. Hazoni, let me ask you this first. There's some books out there right now talking about the failures of liberalism. This book is different. From my perspective anyway, it's making, it's at least asking the question, is nationalism inherently illiberal? Right. Well, I think some of the books that you're talking about are looking at liberalism as though liberalism just is equivalent to the American experiment. And so there are people I think for, not entirely for bad reasons who are saying, look where America's ended up right now. And they're asking whether there's something fundamentally flawed about it. Now, my point of view is somewhat different. I certainly don't think that the American founding was a misfounding or a mistake. I see it as one of the greatest and noblest experiments in political history. But I definitely am sympathetic to the view that in the last generation or two or three, it depends on what you're looking at, what you're counting, that things have definitely moved away from what I see as the kind of classical American nationalist vision, which was a vision of America as an independent nation conducting its own experiment, which was going to contribute and has contributed greatly to all mankind through this experiment. Since the fall of the Berlin Wall, especially, we've heard both from Democrats and Republicans, and this is echoed across Europe as well, an enthusiasm for a project of imposing a unified law on the entire world. And I understand that most of the people who are behind this are very well-intentioned and very well-meaning, and I think they simply don't understand that the elimination of the concept of a world of independent nations, each one of them pursuing its own course and conducting its own experiment is itself a very great danger to the American experiment and to various other countries. If you are a liberal, I myself see myself as a conservative, but if you are a liberal and you believe in American liberalism, you should definitely be extremely worried about the move to create a worldwide liberal empire, which is going to dictate to America how its liberalism or how its government and society are going to work, because Germans and French don't see things the way that Americans do. Well, this is so interesting because you have a chapter entitled Liberalism as Imperialism. I love that title. There's a sense, a growing sense that Westerners and especially Americans are trying to impose something on the rest of the world, and that's liberalism generally in the form of social democracy, and you seem to be one of the only people making this point. I don't know if I'm one of the only people pointing to the problem, but I may be one of the main people saying, imperialism is when you decide that, A, that your values, the way you see and do things are completely universalizable, that they can be applied in any time and place, and B, that you're so right that you simply have to impose it on others by force. And without quite noticing it, this definition of imperialism is exactly what Americans, Democrats, and Republicans have slipped into in the last generation, not only thinking that their own ideas can be universally applied, that we can argue in debate, but even that they should be imposed, which gives us a foreign policy that, as we can see from Yugoslavia to Somalia and Iraq to Libya, one attempt after another to try to impose by force an American view of what the world is supposed to be like. It hasn't worked out well for those nations, and it hasn't worked out well for America, and so I think it's very important to think now about political ideas and political ideals and where exactly we want to stand on these things. But here's what bothers me, is a lot of the same people who believe in universal precepts that good ideas ought to be good ideas everywhere, political precepts, for example, are the same people who spent the 20th century talking about democracy. Doesn't each level of supranational governments necessarily sort of attenuate democracy, attenuate the individual's ability to live as he or she wants? That's exactly what we see in Europe. People keep talking about the European Union as though it's an experiment in democracy, and it's nothing like a democracy. It's precisely the severing of the self-government of different nations in Europe and their self-determination. It's ending it. Just take a look at the way that the Germans are deciding what's going to happen economically in Greece, or the Italians just elected a new government. They have who they want to be finance minister, and Brussels vetoes their finance minister. You can't even imagine something like this taking place, and it's here it's taking place, and people are saying this is democracy, this is not democracy. This is actually exactly the way that democracy dies. Well, it's interesting to me, of course, we are big fans of both Ludigun Mises and Friedrich Hayek, both of whom you quote in your book. It's interesting to me, though, that you use the same term Mises frequently used, and it sounds old-fashioned now, self-determination. Don't hear that phrase anymore. Did you use that purposely? Did that strike you in Mises' book, Liberalism? Well, I think self-determination is a very popular term among nationalists. It's something that if you hang out with the kind of people who are thinking about national independence, it's actually a Kantian term. I'm not a great fan of Kant, but I do love this expression. I'm not a big expert in Mises, and I'm eager to learn more. I quote him in the book from the 1920s, 30s, when he and Hayek were thinking about the world as kind of like a big extension of the Austro-Hungarian Empire, and I don't know so much about what they thought in later life about the independence of nations, so I'm eager to learn more about it. Well, I'll push back a little bit, and I'll say that I think Mises might have seen a bigger role for the nation state than perhaps some of his pulled quotes from Liberalism would suggest, and we will also post with this interview an article by Joe Salerno, which is very much on this topic, but nonetheless, I personally am pleased that you sought out and quoted Mises as an avatar of Liberalism in that sort of 20s genre. You know, you bring up Kant, and one thing is of course he had his idea that the only way we'll have perpetual peace, the only way reason will reign supreme is if we get rid of these old clunky nation states and finally have this global governance, and so it's not just something new, and to me there's an awful lot of hubris in that perspective, and we never call it hubris. Liberals today just assume that we should all see the rightness of this. Yeah, I agree with you.  But then I thought, you know, it's just a pop song. And then as an adult, after the fall of the Berlin Wall, we suddenly start hearing about the New World Order from George H. W. Bush, President Bush is telling us that literally for a thousand generations, mankind has tried to reach this moment and failed, but now we're actually going to achieve it. And what is it? It's the replacement of the, what he called the replacement of the law of the jungle with the rule of law. Now that concept of a worldwide rule of law, that's exactly the Kantian idea. It's amazing to think about it. The 200 years after Kant, it's Republican President George Bush who becomes the spokesman for the idea that the Security Council of the United Nations or some other kind of world bodies are capable of legislating a law for all nations that's going to bind all of us. And I think that hubris is exactly the right word. It's an astonishing, absolutely astonishing piece of arrogance to think that your mind or your organization or your philosophy is so fully proven that there's no need anymore for a competition of different philosophies and different legal systems and different experiments because we've reached the final answer. And I think in that sense, my view of this actually does, I think fit very well with Mises and Hayek with their understanding of the limitations of human reason, the limitations of the ability of a particular individual or theory to grasp the whole. How about competition within a nation state, though? You have an interesting chapter about the myth of the federal solution. You point out some of the failures of the U.S. Constitution, the failures of the EU to represent individual nations' interests. What do you think of subsidiarity, localism, secession generally? Well, secession is a different subject, localism, federalism, subsidiarity. There is a way of understanding these things that I'm completely in favor of. I mean, I don't argue that federalism should not be used. My argument is that people who think that a worldwide federalism, that's the point that I'm responding to, is that people like Kant who think that federalism can be a solution for the whole globe, I think that they don't understand that the purpose of federalism is to grant the greatest possible autonomy to lower levels. And I'm completely on that side of political theory. I think that the closer you are to the ground, to a local population in terms of decision-making, the more likely it is that the decisions are going to reflect the actual needs and concerns and interests of the people. In that sense, federalism is great. But federalism also means that there is a central federal government. And that central federal government always has a responsibility, and I think people often miss this, it has a responsibility to set the boundaries for what is legitimate in the subsidiary states or locales. So examples are the American federal government determining that slavery was not going to be legal in the United States, which, you know, a decision that I certainly support, or the American federal government deciding that it was going to stamp out polygamy in Utah. These are examples that I support. You can come up with many other examples that I think are more questionable from more recent federal decisions by the American government, but the point is that federalism has two sides to it. On the one hand, the greatest possible autonomy within a certain range of subjects. On the other hand, it always is the federal government that's determining what the legitimate range is. And when you start talking about federalism, federalism works when there's a certain commonality of civilization and culture, and so the great majority of the people say in the United States are willing to accept the boundaries that the federal government is imposing. But now try to think about that on a global scale. That commonality doesn't exist. By having a world federal government, basically what you're saying is that somebody's going to determine for the whole planet what the bounds of legitimate experiment are. You can't imagine something more dangerous than that. Even if it could be benevolent and decent for one generation, what's it going to be in the next generation? You just don't want to create, none of us want to see a world power that has that kind of authority. Because human beings are just flawed. They'll be decent for the first 10 years and then just imagine what's going to happen. So I don't ever want to see a worldwide federal government. And it's not because I'm against federalism. Federalism has to work within nations. But one of the great points you make is that the concept of a nation-state can actually limit the contagion in terms of war and famine and all kinds of problems. Yeah, this is an important point also frequently underestimated. I think people are more familiar with the idea that the family unit is a bulwark against tyranny. I think that's something that's been often discussed in the literature is the fact that each family is basically each family unit is basically a sphere in which the father, the mother create in effect they create a value system that's unique to them and they inculcated among their children. And that ability to inculcate over decades, a certain way of viewing things, that is in fact a great bulwark against tyranny because you get, when you get a tyrant who says I want everybody to be the same.  It's people who are raised in solid families who are immediately the first to say, well, you know I'm sorry, I have other loyalties besides, you know, the loyalty to the dictator. I have an understanding that's independent of the dictator. I think this is very well understood. I think less understood is that the variety of national states the diversity of independent national states works just like the diversity of families and independent families except on a much larger scale. It's the unique nationalisms of different independent nations which have always stood up as the most powerful resistance to worldwide empire to universal imperialism and to universal ideologies. So, I mean if you just take World War II people don't remember this way necessarily but I think it's very clear that what happened in World War II was the allies when people talk about the allies they're talking about the allied nations the way that the allies presented themselves in radio broadcasts to Europe was Hitler is an imperialist his aim is to enslave the world. Our goal is not to replace his empire with our empire. Our goal is to replace his empire with independent nations. Our goal is to free the enslaved nations and give them independence. Now it's American nationalism and English nationalism in the end even Russian nationalism because historically what happened was that even Stalin gave up on his Marxist claptrap during World War II in order to rally the Russian people by declaring that this was a great patriotic war. And so in the end the force that defeated Hitler was these three French nationalisms and Polish nationalism and it is the unique love of a given nation and its way of doing things that is the strongest political bulwark that we have against every empire every attempt to impose a single view on the world. That's a fantastic answer I agree completely you've got this new article in Time Magazine you've spent a lot of time in the United States recently you've seen all the divisiveness with Trump and you talk about commonality and federalism what could that commonality be you point out in the U.S. it's not about whiteness but neither is it about some abstract idea of what it means to be American that there's got to be something more concrete than that I feel like we're searching for it. The Americans are part of the greatest political tradition of the last thousand years which is the Anglo-American tradition of nationalism, limited government individual liberties and that tradition has to a large extent been uprooted both from the public consciousness in English-speaking countries and also in academia where most departments that study and teach political theory or political philosophy or law or history of ideas most of them are at this point divided between professors who are some version or another of Marxists and professors who are some version of let's call it revolutionary liberals liberals who think that the ideas they believe in come from pure reason without any kind of historical experience and that there's no need to know anything about that one thousand years of development of the Anglo-American political tradition and I think those traditions have to be returned to America has in fact the greatest traditions of any nation in the world but it doesn't study them and it doesn't appreciate them and let me just give you an example of what I'm talking about right now today on the bestseller list and in public debate there are quite a few professors and other intellectuals bestselling authors who talk about the United States as though it was a miracle that took place in 1776 or 1787 and what they leave out is the fact that the American Constitution is an adaptation of the traditional English Constitution to the American context what I'm talking about is due process of law the idea of checks and balances limited government the property is a cornerstone of individual liberties and economic prosperity the bicameral legislature you can just go on and on and on but that's not the only side to this tradition this tradition was also a religious tradition so I think there's still a lot of health in America as I know it but I do think that people are going to have to step forward and say look we have old and good traditions and those traditions they can be updated a little bit for our time but those traditions are what held our people together and without them all sorts of terrible things can come and I'm afraid for that well we're out of time all I can say is it's a good thing you're an academic working in Israel I can't really say these things because nobody says them in the US ladies and gentlemen the best way to follow Dr. Yoram Hezoni is probably via his twitter account there you can find at his book which is an amazon which is doing well you can find him his article in the current issue of time magazine doctor we appreciate your time so much and we congratulate you on all your success ladies and gentlemen have a great weekend you


Hello people of the internet my name is Johnny and welcome to a FNAF movie news video that I was not at all expecting to make today. In fact I was literally just about to click start recording for a traditional normal FNAF news video because we've gotten so much info on the movie that's kinda all we've been talking about recently. But today had other plans because I kid you not we just got a 15 page long document detailing brand new details about the upcoming FNAF movie. So because this document is so long I don't wanna waste too much time here at the start though I will give a heads up this document does contain some pretty minor spoilers for the movie. Some plot points, a few motives for characters and deeper meanings behind what their role is in the film. It's nothing too too massive like this doesn't give away the ending or anything but definitely if you're trying to avoid spoilers especially cause we're getting so close to the film's release I'd say skip this video but hey while you're here why not scroll down and subscribe. This is the document I'm not gonna read the full thing but I'm definitely gonna be pointing out some of the more interesting topics here and if you do wanna read the full thing that will be linked down below. But it starts off with a deeper synopsis, a description, summary for the film so let's go ahead and read that. Can you survive 5 Nights the terrifying horror game phenomenon becomes a blood chilling cinematic event as Blumhouse brings 5 Nights at Freddy's to the silver screen. The film follows Mike played by Josh Hutcherson, a troubled young man caring for his 10 year old sister Abby played by Piper Rubio and haunted by the unsolved disappearance of his younger brother more than a decade before. Recently fired and desperate for work so that he can keep custody of Abby, Mike agrees to take a position as a night security guard at an abandoned themed restaurant, Freddy Fazbear's Pizza. But Mike soon discovers that nothing at Freddy's is what it seems. With the aid of Vanessa Shelley, a local police officer played by Elizabeth Lale, Mike's Nights at Freddy's will lead him into unexplainable encounters with the supernatural and drag him into the black heart of unspeakable nightmare. The film also stars Mary Stuart Masterson as Mike's icy aunt Jane, Kat Karner Sterling as Abby's caring babysitter Maxine, and Matthew Lillard as Steve Raglan, Mike's smug career counselor. We get a very detailed look at all of the crew members involved in the film. The document then gets into the backstory of how the film actually came to be, a story that I'm sure we're all pretty familiar with at this point, seeing as it's been eight and a half years since the film was first announced. It goes into Scott Cawthon about how he was a struggling game developer, how he released Chipper and Son's Lumber Company, which got a fair bit of backlash, saying how the characters in the game were unintentionally terrifying, and then of course led Scott Cawthon to release Five Nights at Freddy's and it blew up, it became this big cultural phenomenon that we all know and love today. When Hollywood came, Colin Cawthon was justifiably protective of his creation and wary of a film industry that didn't exactly have a great history with game to film adaptations. This is of course when Jason Blum reached out from Blum House saying it's a perfect project for the Blum House banner. The games are horrifying, fun, and engaging, and they have a built in community where people of all ages across the world can come together and share in something bigger than themselves. So, Blum reached out to Cawthon to start a conversation about what might be possible for Five Nights in Blum House. He had attempted to develop a movie with another company, which I'm sure as we all know was Warner Brothers, though that didn't go well. As we started working together and we got to know one another, we began to trust each other more. Over the course of the eight years or so that we worked on the movie, we developed a terrific partnership. I respect him and I know he respects me, hopefully this will be the first of many movies we make together. Then we got some quotes from Scott himself saying the biggest challenge was finding the right story that people could connect with. Jason always believed in my vision for this. And even though my pursuit of that vision ended up delaying the movie for quite some time, I'm very happy with the end result. That would have never happened without Jason Blum and his team at Blum House. I don't think I will ever be able to fully express my gratitude. I'm not going to keep reading too, too much, but they do just keep going back and forth showing just how much of a buddy-buddy relationship they have now, which hopefully does mean more FNAF movies in the future. After Cawthon drafted an initial screenplay, the next step was finding the right creative captain to oversee the project. Blum suggested Emma Tammy, with who he had recently worked on two horror anthologies and a documentary for Blum House TV. Tammy's ambition was to create a film that would both terrify and entertain, but also to resonate. You go to horror movies, to Blum House movies to be scared, Tammy says. And with our protagonist, Mike, the haunting of his past goes deeper than the jump scares as he struggles with guilt and shame that he can't reconcile. On top of that, there is an incredible ambience and tension within the setting of the pizzeria like in the game. And a bit of humor sprinkled throughout the movie. All of this is meant to be experienced collectively. I hope the film takes audiences on a fun ride and also an emotional journey that stays with them even after the jump scares are over. Blum saying Emma's approach to the world of Freddy's was really second to none. She was able to fine-tune the story in a way that had previously been missing, bringing a heart to the story that made you more invested in the characters. She hit it off incredibly well with Scott immediately, and they had a great collaboration in bringing the world to life. They go on to talk about refining the scriptwriting process, you know, the stakes involved with the film, the haunted house element as they call it. And then we actually get to Jim Henson's shop getting involved, saying the actual process of building the characters was painstaking and labor intensive by design. Tammy says, I would stop by Henson's to check in on things and it was a sight to behold. Everyone was working on these designs. Certain parts were being built over here, the others were being sewn over there. Everything was done by hand. It was just this incredible workshop which really feels special and rare these days. There was simply no better group to trust in bringing the animatronics to life. So that was the backstory of the film. It was pretty long. I'm not sure how much of that's going to stay in the final video. But again, if you want to read the full thing, it'll be linked down below. But now we really move on to the heavy-hitting stuff, the characters. Starting off with Mike. As an unemployed security guard with a checkered past who has stepped up to become the guardian to his younger sister, Mike has a lot on his plate. And that's before he accepts an overnight watchman gig at the actor Josh Hutcherson apparently wasn't familiar with the game, but quickly immersed himself in the world of Five Nights at Freddy's, saying the game was very creepy, very intense. Because the world of Five Nights is larger than life, we wanted to find a way to ground these characters. And now we get into, again, that spoiler territory where we get to Mike's backstory. When Mike was 12, his younger brother Garrett, played by Lucas Grant, was taken by an unknown man from a park while Mike and his parents were only yards away. Mike has been haunted by that event and searching for his brother and his brother's kidnapper ever since. Even in his dreams. Now he's become the de-factor parent of his younger sister, Abby, but is on the cusp of losing her because his demons are preventing him from being able to hold a steady job. You talk a bit about how Josh fit into the role of Mike and Matami, saying he had this instinct for the character that was so authentic and so lived in. He had an incredible ability to keep Mike in a grounded place, even in the wildest of circumstances. Scott saying, when I watched him, I really believe that this guy is just doing his best to take care of his little sister. He is immediately likable and relatable and you want him to be successful in what he is setting out to do. Josh talking about the animatronics, saying watching them come to life was incredible. They have this texture and quality that only Henson can do. As an actor, you get something physical and real to interact with. My character is supposed to be haunted by these things and now I have a creature in front of me that in the right light is terrifying. And now I move on to Elizabeth Lail's character of Vanessa Shelley. Vanessa is a local police officer whose beat has long included the derelict family pizza restaurant, Freddy Fazbear's. Initially, Vanessa is skeptical of new hire Mike who has a penchant for falling asleep on the job. But as she learns more about him, she begins to sympathize with him, providing him some crucial history of Freddy's as well as becoming an ally when Mike claims rusty animatronics are acting in seemingly impossible ways. Elizabeth Lail leapt at the chance to play Vanessa, claiming my niece is a massive fan of the games. These characters are recognized around the world and I feel really grateful that I get to participate in a project with such a passionate fan base. And then we got a new quote from Emma Tammy about Vanessa saying Vanessa in many ways was the most complicated character to inhabit. She's a cop with a hidden agenda. Elizabeth did an incredible job finding the authenticity in Vanessa, not turning her into a caricature, but really giving her dimension and empathy. She had to be strong, but also exhibit softness and vulnerability, something also quoted by Scott, strong in the outside, but had a lot of pain and confusion on the inside. As you can see, next up, we have Piper Rubio's character of Abby. 10 year old Abby is Mike's little sister, but his new role as her guardian has complicated their relationship. Because of this uneasy realignment, Abby has retreated inwards, spending the bulk of her time churning out page after page of artwork depicting a seemingly mythical realm known only to her. But after Mike accepts his new job, he begins to notice a strange overlap between the unusual happenings at Freddy's and his sister's drawing. So that was something we absolutely speculated on. Abby's link to Freddy's, the haunted animatronics, you know, the spirits possessing the characters, especially Golden Freddy. And pretty simply, I mean, this document just confirmed that theory. Both in saying I kept going down the list, trying to consider other auditions, but I kept going back to Piper's. I think what made her so great was just the fact that I believed her when she read her lines. She convinced me that she was Abby in her audition. Pretty heartwarming mention right here. Tammy remembers fondly the first time Rubio saw the animatronic characters. Her jaw just dropped. She turned to me and said, I thought they were just going to be men in green suits. She was over the moon that she was actually going to be meeting Freddy, Chica, Bonnie and Foxy. And she would hug them first thing every time she came to set. Wow, that is really cute. And she would hug them every time she left. That is adorable, man. A quote from Piper herself saying, this movie has been the best experience, the most fun I've ever had. Tammy took special care of the young performer, especially during the film's more frightening moments. Emma would bring me this little rainbow owl plushie for me. His name was Owen. Later, I asked Emma if she could stop bringing Owen. I wanted to stay in character. Piper is the sweetest actor we could have ever had for this film. This whole like paragraphs about her character is just the cutest thing I've ever read. But now we move on to something a bit less cute. And that is Mary Stuart Masterson's Jane character and Kat Karner Sterling's Maxine character. Jane has become a fixture in the siblings' lives since the two began living on their own. Metalsome and sharp elbowed. Yikes, Jane disapproves of Mike's attempts at raising Abby, so much so that she's begun to register formal complaints with other caregivers in Abby's orbit. Though Jane insists she's agitating for no other reason than her loving concern for Abby, she may have ulterior motives. The lead up to this whole movie, the character of Jane, Mary Stuart Masterson's character, has been extremely fascinating. If you remember back in December, on Docko's charity stream where we got some actors revealed for the film, this was when we first found out about Mary's involvement, the only role we knew of that she was playing was an unnamed female villain. So now that we have this description here, it gives us a bit more information about the character. She does, in fact, want custody of Abby. That's kind of the main reason why she's the villain. But I'm assuming towards the end of the movie, again, based on this description, it's going to be revealed why exactly she wants Abby so bad. She has some other big picture in mind, whether or not that means she is related to William in the form of being his wife or his sister or some other relationship I'll know. I'm not entirely sure because it does say, ooh, she has ulterior motives, you know, she's not just trying to get custody of Abby, it does kind of linkade into the theory that she is involved with William in some way. But your theory is on Jane, I'd love to know. Let's move on to Max. Max is Abby's babysitter and caregiver while Mike is at work, most likely when they say when Mike is at work, at his mall job. Cause when he gets the job at Freddy's, you know, we see Abby very clearly go with him. And also in that one TV spot we looked at recently, Mike says, you know, I wasn't able to find a babysitter when Vanessa asked, why is she here? So whether that means Max dies when her and all those people break into Freddy's, I'm not sure, that's my theory at least. Max is attentive to Abby, but is quietly concerned that Mike may be unraveling and might not be capable of caring for his little sister. While her intentions are pure, she's easily manipulated by other people who may not have Mike and Abby's best interests at heart. That's my walking theory right now is that she's being manipulated by Jane to perceive Mike as this like extremely bad guy who cannot, cannot take care of Abby. But I'd love to know your thoughts on Max as well. And now let's move on to Matthew Lillard and Steve Raglan. A smug career counselor charged with helping Mike find a job. Steve Raglan has zero sympathy of the burdens of the unemployed.  Steve seems to take a perverse pleasure in forcing a desperate person like Mike into a situation that's less ideal. It's actually Steve who suggests the night guard job at Freddy's to Mike who then bides his time like a spider until Mike reluctantly agrees to take it. So if you're still going into this film, and I don't know how you could be thinking that Steve Raglan is not William Afton. He's just this helpful career counselor who's trying to get Mike, you know, back up on his feet, you're dead wrong. I mean, this paragraph spells it out pretty clearly. This guy's the bad guy. There was a long list of people we were looking at for this role, says Scott Cawthon. I was leaning towards Lillard early on because I had great memories of seeing Scream in theaters like 20 times with my roommates in college. But when a close friend of mine told me what a great guy he was in real life and how he took such good care of his fans at conventions, I knew Matthew was the right person for the job. I told him on the phone during our very first conversation that after the movie comes out, no one will even be able to imagine anyone else for the role and I stand by that. Emma Tammy says Matthew brought so much zaniness and electricity into the mix and he had such attention to what Five Nights fans would want to see. Matthew himself even saying I've been eagerly waiting to get back into the horror genre. Really covetting that opportunity. Scott saying this was a dream cast. And yes, I know this is the first cast I've ever worked with but that doesn't change the fact that it was a dream cast. Now we move on to the final part of the document, details about the animatronic character designs, locations, et cetera. It's mostly about cast and crew like right here but there are some points I want to point out like Scott Cawthon was on set regularly. Acting as both an encyclopedia for the Five Nights universe's deep lore and to ensure that the animatronic characters remained in line with his original vision. The most complex animatronic, Foxy, took six puppeteers to operate with different human operators for Foxy's face, head, body, arms and feet. During dress rehearsals, it took about an hour for performers Kevin Foster, playing Freddie, Jess Weiss, playing Chica and Jade Kendor Martin playing Bonnie to don their animatronic suits. By the end of the shoot, the team was able to get all three performers dressed in less than five minutes. An hour to five minutes is crazy. Puppet Captain, already Esposito asked his 10 year old son, a fan of the Five Nights game series for advice on how one of the animatronics, Golden Freddy, should move. The boy's suggestions were confirmed by game creator Scott Cawthon on set the following day. The movie was filmed in New Orleans, Louisiana. Principal photography lasted only 43 days. Set design details were taken directly from the games. Pretty self-explanatory. Director of photography, Lin-Mon-Creef and director Emmatami designed a specific set of aesthetics to employ when inside of Freddy Fazbear's pizza. Including different lenses and angles, point of view shots from the animatronics were often used as a way to increase tension. BFX supervisor, Jonathan Deering, worked with director Emmatami on ways to minimize the use of CGI. A goal from the film's outset. Costume designer, Natalie O'Brien and her team worked to include a multitude of Easter eggs in the film's on-screen wardrobe. Something we've seen pretty clearly with Joseph Poliquin's character of Carl, he has an Easter egg of FNAF 6's midnight motorist mini-game on his t-shirt. And that is gonna do it for this info document. Hopefully you enjoyed this video. I've been recording for about an hour. Hopefully if this is still a pretty long video, you still enjoyed it. I always love stuff like this, getting a peek behind the curtain on film, seeing quotes from not only Scott and the director and Jason Blum, but also the actors and actresses involved. Like that was an amazing thing to see. Well, that's gonna do it for this video. Thank you all so much for watching and I'll see you all on the flip side. Goodbye.


Sashi Varma and she is my mother Mrs. Bimla Devi. In the month of January she developed some sort of pain in her chest as well as she had some breathing issues. Immediately we came to Manipal Hospital. We contacted Dr. Monique Mehta and asked for his guidance. She was under medication for like near about one and a half months. After that there was slight improvement. Doctor suggested that she should undergo angiography. Eventually a second week of March she underwent angiography. When it was identified that she had the blockage in all her three arteries in the heart. Again a blockage comprising of 98 percent. Considering the seriousness of the situation we contacted Dr. Malmohan Singh Chauhan. He recommended an open heart surgery known as Cambridge and recently last week she underwent that surgery. By God's grace and as per the operation performed by Dr. Malmohan and his team it went successfully and she's now perfectly fine. She was in ICU for three days and now this is like fifth day she's about to get discharged shortly and I would like to thank Dr. Malmohan and his team from bottom of my heart that because of all their guidance and the way they took care of my mom you know there is no other thought that you know we can have a better option than Manipal and better than the steam. Again thank Dr. Malmohan and his team on behalf of my family members who really took good care of my mom and really would like I want you to hear from my mom as well as to how she's feeling post her surgery. After that, they suggested that we do a 5-5 surgery. Then Dr. Manmohan Jee Singh came. Then he did the surgery with us.


Hello and welcome to this video session on Interintegrated Circuit, I2C bus for peak microcontroller 16F877A. Myself, Mr. Vipul Kondekar from Walchand Institute of Technology, Sholapur. So these are the learning outcomes of this video session. So student will be able to describe I2C module, its master and slave configuration with the help of block diagram as well as student will be able to implement the interfacing of any peripheral device which supports I2C protocol to the microcontroller. So these are the contents of this presentation we will have brief introduction then we will go for various control registers associated with this I2C protocol for peak microcontroller. Then we will see how we can have interconnection means when you get different peripherals which are to be interconnected they are supporting I2C protocol so how we can have interconnection between them and at the end we will try to understand the operation of the master and slave module of peak microcontroller for this I2C with the help of block diagram. Now this I2C protocol bus is one of the important quite popular versatile widely used protocol you will find in most of the embedded systems what are the reasons behind that. So one of the important aspect of I2C is its hardware efficiency so when we will see the interconnection of this I2C protocol only two lines two pins are required for this interconnection and hence the circuit becomes simple not only is when you are using these two lines out of these two lines one line is used for these are the lines are bidirectional one line is used for data communication another is used for the clock signal whenever you have I2C bus compatible devices so you can have effective communication between those devices because those devices have got on-chip interface and this on-chip interface available on those I2C compatible devices allows them to communicate directly with each other by taking the help of this I2C bus connection between the two devices I2C protocol support it can support up to 128 different devices attached on to the same bus so so many peripherals you can connect on to the same bus when you are going for this I2C protocol and few of the few examples of that is whenever you are having some embedded system developments some memory is required so serial E-square prompts are available so they are I2C supporting E-square forms so you can use this I2C interface IO expander real-time clock ICs are available serial ADCs serial DAC some sensors are available all these things we can have interface to the microcontroller by taking the help of only two pins of the microcontroller if I2C is protocol I2C protocol is supported there now this is what is the simplicity of the I2C protocol so when you want to have the interfacing suppose this is a microcontroller is a master device so only two pins serial data and serial clock these are the two pins used and this is one I2C bus this is a common I2C bus these bus lines are pulled high by using these two pull-up registers and then whenever you want to have interfacing of I2C compatible device let us say device 1 2 3 up to n we have seen that up to 128 different devices we can connect here so so these devices are also taking the help of only two pins the two pins are used for interconnections so this is one typical interconnection let us try to understand same thing with the help of one what we can say embedded system diagram where a microcontroller is there and your requirement is you want to interface different peripherals like accelerometer is required let us say serial e-square prom is required your application requires RTC real-time clock and OLED so if these are your requirements and you want to have the communication between them so you can take the help of this I2C bus and this is how a typical interconnection can be made between these various I2C compatible devices to form a very simple efficient interconnectivity for the communication as far as the peak microcontroller is concerned so as we discussed MSSP is the module and it supports I2C so this I2C mode it is implemented in all master and slave functions all the functions are supported for the peak microcontroller including general call support as well it supports it can generate interrupt so this I2C module can generate interrupt on start and stop bits in hardware to determine the free bus as we have seen that so many peripherals are connected onto the same bus so there may be the problem of collision if more than two devices are transmitting their data onto the same lines you will get collision of the data and to avoid that so this type of facilities are used so again this module is implemented in standard mode specifications as well as seven and ten bit addressing is used so when you say where you are interfacing so many peripherals to the microcontroller so how you are identifying a particular peripheral in that network so addressing is done for that so these are the features some of the features and when you want to implement this particular I2C protocol so what hardware as we discussed only two pins are required so as far as the peak microcontroller 16F877A is concerned so the two pins of port C a piece RC3 and RC4 so they're working as SCL serial clock pin and serial data pin respectively so these are the two pins used as far as the hardware part is concerned and these are the various special function registers control registers which are used for this MSSP module I2C for the I2C operation so it starts with SSP control register control one register control two registers are there SSP status register is used SSP buffer all these registers we will see when we will see the block diagram of this I2C module so one buffer register is there one shift register is there we know that when you have the data the data available to you in file register you want to send the data is in the parallel form so that parallel data is to be converting to serial so you require this shift register and as well as as we said different around 128 devices can be connected in this I2C bus onto this I2C bus so we have this unique feature this address register is available so that you can have unique addresses for all the peripherals so these are the special function registers these are the various registers and these are two hardware pins required for this I2C communication now as we have discussed when you want to write a program for I2C communication so that I2C communication you will be controlling by taking the help of different control registers so these are the control registers used for I2C communication SSP status register which has got this file address 94 H one more register SSP con one register is used as well as this SSP con two so SSP con one SSP con two and SSP status are the three important registers you need to deal with when you are writing the program for peak microcontrollers I2C communication now let us try to understand how this I2C module is working with the help of what internal hardware is present so there are two parts either you are working as a master or you are working as a slave so this talks about the master mode operation when peak microcontroller works in the master mode operation and then we can have comparison what is the reference between master mode operation and compare mode operation as far as this block diagram is concerned so if you look at this block diagram so as we discussed these are the two pins used so on this pin clock will be sent and on this particular pin data will be either sent or received as we said this device is master so one more responsibility of the master device in the serial communication synchronous serial communication is it has to generate the clock and hence you'll find this particular clock generation part so this is a border generator by taking the help of this SSP ad bit number 0 to 6 you can generate different border rates and this clock can be generated here this clock is given to other slave devices in the network as well as the same clock is used by this master for sending as well as receiving the data and then this is the SDA pin so this is a bidirectional either you'll be sending the data or receiving the data now as let us discuss this part this new thing as compared to the SPI mode that this SSP ad register is there so here you'll configure the address for a particular device and whenever another device wants to communicate initially it will send the address to whom it wants to communicate and then that data will be received here and then you will check whether the address with which a particular device wants to communicate is your address if you find this address match then only the device will start accepting the data so this is what with the feature available along with that to have the control of error control of this particular communication so our framing part so this start and stop bits detection and generation of block diagram is there so this this will result into set or clear of the S and clear and set of the P bit in this SSP set so this is the what we can say one important block as far as the start and stop bits are concerned so this is the block diagram of the master and as we know that when you are sending the data the data is available on the file register from the file register it will go here and right to the SSP buff will be the operation and when you write the data in synchronization with the clock generated that data will get converted that this SSPSR shift register will convert that data okay into the serial form and then that data will go on to the SDA line if you are receiving the data again that receive data will be available in SSPR shift register then it will available to SSP buff and then you can read that data receive data you can read here on to the internal bus with the block diagram of the master now just will go for the block diagram of the slave and just see what are the differences here the most important thing in on slave you will not find any clock generator border generation circuit most of the part is same one more difference you'll find is it is start and stop bit detection circuit let us go to the previous slide this border generator part was there and start and stop detect and generate both the parts were there both the functions were performed here in the master mode but if you come to this slave mode you'll find that only start bit stop bit detection part is taking place as well as the slave is concerned as well it is not generating any clock signal it will be taking the help of clock signal generated by some another master present in the communication module in the given network so this clock signal which is received on SCL will be used for sending the data as well as receiving the data and all other operations this SSP add register and match detection part is same as that of the master so this is how this is the hardware present inside the peak microcontroller with which with the help of which it supports this I to C protocol and you can have in very simple way communication between the I to C compatible devices now just think now we know SPI I to C so can you list out the differences you find between the SPI protocol and I to C protocol as far as some hardware and software aspects are concerned these are the references used for this video presentation


Hello and welcome to the International Daily Roundup with People's Dispatch where we bring to you some of the top stories of the day. Independent journalist and documentary filmmaker Abhi Martin has filed a free speech lawsuit in a federal court in the United States against the state of Georgia and Georgia Southern University over the state's anti-BDS law. BDS or Boycott Divestment and Sanctions is a global movement that seeks to make Israel accountable for the atrocities it commits against the people of occupied Palestine. To discuss this with us in detail we have with us Anish. Hello Anish. So Anish what would be the grounds of this case and what would be their implications? Now so the grounds of the case as we saw in the press conference that they conducted jointly is the right to free speech which is basically their first amendment right. So they are going by their constitutional rights to fight this case and which is rightfully so in many ways because this these laws I mean Georgia is not the only one that has it there are I think about 2022 other states that have it already in many ways that actually penalize people and or firms in one way or the other for advocating BDS. So what it effectively does is infringe upon people's right to express themselves even if it is in opposition to a certain kind of activities by another foreign country and this is being done to protect a foreign country and to penalize American citizens most of the day. So in the implication would be to reaffirm that constitutional right because in many ways you can actually see in the United States talking about Israel has always been very taboo in many ways you don't have mainstream politicians not many talking about it we have had cases of Ilhan Omar being framed as anti-Semitic in even Bernie Sanders who himself is Jewish to be big just because they speak at various different degrees about Israel's crimes against Palestinians and its occupation of Palestinian territories and this will actually push a certain at least a certain discourse and discussion that is solely needed in mainstream United States about why why United States support Israel despite with billions of dollars in the aid despite what it does to to not only its own citizens but to an entirely colonized nation that it occupies effectively so that is what the you can see the larger effects of it will be sure thank you Anish in a historic victory the left wing Shan fine has emerged as the second largest party in the doll the lower house of the irish parliament making a considerable wedge into the century-long two-party rule in Ireland the general elections to the 39 multi-seat constituencies across the country were held on February 8 Saturday to elect the members to the 160 seat doll the elections witnessed a 62.9% turnout this election has been seismic and historic and has been driven by the demand for a change by the people Sean fine said in a statement as results were declared on February 10 Monday the Sean fines registered a thumping victory by securing 37 seats out of the 42 it had contested with 24.53% of votes in the previous elections held in 2016 the left wing party had won 22 seats the incumbent the incumbent fine gale has been able to secure 35 seats in the current elections with 20.86% votes compared to the 47 seats in the last doll the center right Fianna has won 38 seats and 22.18% votes seven seats less than than its performance in the 2016 elections the victory of Sean fine is attributed to its pro people manifesto manifesto for change that promise to take steps to tackle the issues of wealth inequality affordable housing health care and education for all there has been widespread anger against the major establishment parties in Ireland the for the phone the fine the fine gale government led by Leo Virat girl and the fianna fall led by Michael Martin as they failed to address the problems of rising inequality the attack on labor rights and the increasing hate crimes in the country the austerity policies implemented by by phone gap gal and fianna fall have further exacerbated the people's discontent with the establishment of parties as Sean fine rising popularity became evident the corporate media attempted to discredit the party several media houses launched desperate attacks on Sean fine before the elections over the party's links with the provisional Irish republican army IRA which which was involved in the fight against British rule during the northern Ireland conflict with no party able to achieve a simple majority of 80 seats to form the government all eyes are currently focused on Sean finds leadership on whether they decide to form a minority government with the support of the independence 21 seats the green party 12 seats the social democrats six seats the left leaning people before profits five seats and the labor party six seats fianna fall may also may also raise a bit to form the government with the support of the independence and the minor parties that's all we have for today's episode of international daily roundup for more such stories visit our website peoplesdispatch.org subscribe to our youtube channel and follow us on facebook twitter and instagram thanks for watching


Pamela Broussard. And today, we're going to be talking to you about shoes. This year, over 100 million shoes will come into our public schools, representing over 50 million students. Some people say that you can't really know a person until you walked a mile in their shoes. Well, this year, one in 10 students will be English language learners. Some might say, those students can't learn. But we think, well, we know they can. The United States Supreme Court decision of Plyer versus Doe said that we are responsible to educate all children, regardless of their immigration status, their first language, or how long they've been in the United States. These students have bet their lives, their cultures, and their language, their communities on the promise of public education. These are their stories, and these are their shoes. Now, I would like for you to do a little something with me. If you don't mind, would you put your feet forward so you could see your shoes? Now, look to the person on the left or the right. They picked those shoes today because they were exactly right for them. Could you imagine wearing those shoes all day today? The rest of the evening, for our students who are immigrants, refugees, and asylum seekers, that's what coming to our school feels like, stepping into shoes that maybe just aren't right. Because some of our public schools have the idea, and they make their expectations of these students too small, too binding. Other schools, they're too wide, and then just the students are flopping around. They just don't fit right. We are new rival center teachers, and as teachers of students who come to the United States knowing almost no English, we have seen many of our students find success. We've found and have seen many students find the right fit. When I think of students who've walked into my classroom, one of the first ones I think of is this child, Helen. She came from Panama. She would tell you that her life there was perfect. She had friends and family and a rich community all around her. What she didn't know was that 15 years prior, her father had applied to come to the United States. When they got the paperwork, she was devastated. She came to my class and she would tell you she was angry and she was sad. But at the end of the year, when she was surrounded by all of her friends and a gold medal for winning all honor roll, all A honor roll for the entire year, she was happy she was here. I'm reminded of one of my students. Her name was Anh. Her mother immigrated from Vietnam to the United States and left Anh in Vietnam with her grandmother. It would be 10 long years before she saw her mother again. When Anh walked into my classroom, she was very shy and timid. She told me how difficult it was to be in Vietnam when she felt all alone. And then when she got here to the United States, she had to not only learn a new language and a new culture, but she had to learn how to be with her mom. It was very difficult for her. But she persevered. She tried her best. And the first year in US schools, she made honor roll every semester. What I think of students who've walked in my room, I think of Javier. Javier grew up in Mexico. He was abandoned by his father when he was three days old and abandoned by his mom when he was three months old. You might know him. You might have met him while on one of your trips. He was that kid selling the gum in the street in Mexico. He was the kid who washed your windows. And as he grew older, selling gum and washing windows wasn't enough money to survive. So he decided he would come to the United States and try to connect with a father that had abandoned him as a child. When he walked into my classroom, he was bright-eyed and hungry to learn. He made straight A's for two years solid in our program and in the classes after us. He passed his state exams the first time he tried. He moved to a new school and they realized really quickly how incredible this kid is who had lived on the streets and been homeless his whole life. With only a two days notice, they grabbed him and said, hey, why don't you represent us in the state history competition? He readily agreed. And when he came home with a fifth place medal for the first time in five years, that school had won an award. I'm reminded of Luis. Luis is from Venezuela. And one day I asked, well, why did you come here? And he said, I didn't wanna die, miss. I was really shocked. This kid was always happy and smiling and ready to help everyone. And so I asked him a few more questions. And he told me, he said, well, one day because of the political division and unrest in his country, he was kidnapped. And as they were placing him in the trunk of the car, he didn't know if he was going to live or if he was gonna die. Luckily, just as that was happening, a police convoy was passing by and they rescued him. He knows it's only by the grace of God that he was saved. His parents and his family, they went into hiding and eventually they immigrated to the United States. He knows every day is his second chance. And so he works hard. He even went to summer school so that he could be a senior this year and work toward graduation in the spring. When I think of remarkable students who've walked in my room, I think of Glory Devine from Cameroon. Her family was a family that won a visa lottery, diversity visa. That program now is in danger. They came and what she would tell me, she said, you know, miss, I came from a poor country and there they called us poor. But Glory wasn't poor. She was rich with a hunger and a desire to learn. She looked around my room and the first time I read a book to the whole class, she laughed as a small child because she loved the words and the rhythm of the words. Last year she read over 1,000 books from my classroom library, her first year. And you know those state exams that everyone's always complaining about and the American kids have to take? My kids take them too and she passed it as a non-English speaker to passing the exam in one year. One of my favorite students was Jamila. Jamila's family is from Sudan and she can remember having to walk and walk and walk because of the civil unrest there, they just couldn't stay. She was very young so she doesn't have too many memories but she does remember arriving at the refugee camp where there was no school. By the time she immigrated to the United States she had missed several years of schooling. So school for her was very difficult. She was frustrated and that frustration showed up in my classroom as anger. Every day I had to face it. So let's fast forward two years. She walks into my classroom again.  And when she came in, she had a different attitude. I saw a different person. I said, what's going on? You okay? She said, oh yes. She said, last year I just decided to try. And so I said, okay, if she's willing to try so hard I'm gonna be willing to try hard for her too. Now that took a lot after school tutorials, modifications, accommodations, you all know those words. And it also took some mentoring and even celebrating her birthday with her very first birthday cake, encouraging her. Now she's a freshman at Sam Houston State University. When I think of students who've locked in my door, probably the story that hits me the deepest and touches me the most is the story of Marcos. Marcos is from Honduras and his family has a coffee plantation there. The problem is that the cartel wants it. They've wanted it for a long time. In the beginning as they began to threaten his family, the family was able to pay off a little bit, a little bit, a little bit in order to keep peace and to keep their property. But in time, as you know, the cartel does not stop. They ask for more and their demands become higher and more difficult to fulfill. When the family could no longer provide the finances that the cartel wanted to keep them happy, they threatened to kill Marcos. Marcos ran to save his life and he made it to the U.S. border. But when he got here, he was handcuffed and put in chains and his hands and his feet. He said, miss, when they walked me through that Miami airport, everyone was so afraid of me. I was just trying to stay alive. He came into my classroom and he also wanted to learn. He was hungry to learn. He was excited to not have that daily pressure anymore. But after a while, he found out very quickly that the cartel was not gonna stop. He would still have to be able to send money back to keep his family alive now. He started working. He came to school every day. He was making straight A's. He stayed and came to tutoring. He worked 50, 60, 70, 80 hours a week as a young teenager. Finally, the pressure just got too much. He just couldn't take it anymore and he quit school. We were devastated because we all loved him. One night at 2 a.m., he heard people screaming. He looked out his window and he realized that underneath his apartment, there was a fire. The building was already pretty consumed with fire and he just in his boxer shorts jumped out the window to save himself. When he looked back at the apartment, he realized not only did he lose all of his certificates and things that showed he's done well, he lost the two months of cash that he had saved in order to be able to come back in school. He was devastated. As a community, as a school, we rallied around him. We got him clothes, we got him the school supplies. We got him things for his apartment and a new bed. We got him everything he could need to start again. And Marco said, if I'm gonna come back to school, I gotta make the same grades I made before. I have to make straight A's. We're like, it's okay, you don't have to just come back. Well, that wasn't good enough for him. He came back and he made all the straight A's and he graduated and now he has his own construction business. Our students can feel big shoes. And just like those immigrants who've come before them, such as Albert Einstein, Madeleine Albright, Steven Chen, Sergey Brin, just to name a few. Our students can be successful. They can walk in greatness too. Thank you.


Stuck is okay. Figure out why you stuck and then try to take small incremental steps to getting unstuck and don't tell people about it. Just privately work away at things until you start to feel what you would call less stuck and you'll know what that feels like.  So try to track it when it becomes more, I just don't feel stuck anymore like that. I feel a bit freer now in that area. Good. But if you don't figure out why, you won't know how to repeat it. Stuck often means you've got to move away from some people, move away from mindsets, move away from some emotional parking that we've done. It's a combination of those things, but it's no big deal.