Rwy'n fwyaf am y cyfnodd, yw Chris Fford, yng Nghymru, ac ymdwylliant ymdwylliant yma, i ddod y gallu eich ddweud o'r cwestiynau ar y ddweud. Chris, rydyn ni'n gwybod. Yn gweithio, wrth gofyn, ar barod, ffyrnes, a Edinbur, rydyn ni'n gweithio. Efallai yma, rydyn ni'n gweithio i Alun, yn ymgyrch yn ymddangos i gydag yma, i gydag gweithio i gydag yma yma yma, a rydyn ni'n gweithio i gydag yma ymdwylliant, litres that this was in going on. I think I was grinning mewn on months afterwards actually. And it was even today the humblness that you have seen if you have seen for example other John or Matthew about we are really sorry we took your stuff off the internet and customized it for our use. Is it OK? It's OK gentlemen, so thanks very much. On to the questions then. There are quite a few. I'll just ask them generally and whichever one of you chooses to answer will be fine I think. Did your journey enable a set of measures, objective metrics, repeatable, reusable for the phases that you went through? Has that been a consideration? And as you went through this process, in the operation space, has it actually changed the way you've built boats? Go for it, John. Yeah, as an ops guy, KPIs are built into me. I've measured everything since the age of 20. So, when the ops director at the time, just prior to all he wanted to get on this journey, as I said before, he was really focusing on the hobbyist, extension of university people that just like doing things. So, he wanted projects in place with embedded KPIs so we could measure the journey right through this process. As Matthew said, there was a lot of in-flight projects going on at that time. We KPI'd every stage, and I've just found out of somebody why some of them KPIs were quite difficult to get through again. I'll be having that conversation later on, thank you very much. KPIs is a major part of it, absolutely is. And as it changed, yeah, it has changed the way that we resource around building the boats. We structured the manufacturing engineering element of this. It allowed us to structure it, pull the scope together. But again, there is KPIs embedded right through. Is that okay? Yeah, I'll just add to that. A big part of our business journey that we're on and operations transformation is at the heart of this. It's really starting to work through more systematically the performance measurement we need for a modern-day shipyard and how we do in a more systematic way measure the performance of the literal throughput. The business has everything from raw flat steel coming in at one end of the shipyard and a fully commissioned, self-sufficient, nuclear submarine sailing at the other end. So it's a complicated set of measures to keep all of that understood. And the operations transformation activity has been key to bringing a lot of those measures to life. And we've still got a lot of work to do in that area. But the systematic measurement of both the core process and the improvement of that process is critical to us. I suppose just to add to that there are some elements of this that are quite difficult. A lot of the 27 projects were aimed at culture and behaviour and 65 sessions brought that out. The X and Y generation, they're not coming together, they're going apart. That really came out strongly. So to get a KPI in around leadership and culture is quite difficult because throughout this journey, as I said, the X and Y generation are really, really going apart. It shocked me quite a lot. Matthew, you mentioned that in the capabilities you were measuring the average target versus the current maturity level. How did you actually measure that? So essentially we took the operations function, as I said, as 10 key departments within that function. It was a qualitative review rather than a quantitative method. It was understanding their best position to understand the performance of their department and their very open and honest conversations around that of where they believed they were against those capabilities on the scale. So we put some nominal kind of sentences around each of the scopes of work to discuss what an absolute minimum level would be. So mobile IT access, for example, we put a nominal statement on there, all team leaders have blackberries. We know today that that's not true. So, therefore, we know we're not even there, whereas an optimum state would be actually in-flight information at the point of execution. Is that what we want? Do we need to get there? And we built that up around all of the 27 capabilities to really drive that home. What found interesting, actually, was that a lot of the issues and were similar in areas, there were key areas that had differences, but actually it was a lot of similarity across them. Great. Chris. Stephen, this one's directed specifically to you for the digital approach, a componentary that was listed earlier, and the EA or the architect approach you've adopted. Do you go as far as delivering architecture descriptions for the technology components if you've got that far? Broadly, yes. We've introduced a full architectural roadmap and a full catalogue of definitions covering the process architecture, the application architecture, the information architecture and the technology. And we call that our enterprise architecture repository. And we use a series of techniques now to create an architectural definition of a project so that we can be really clear which aspect of the business infrastructure we're dealing with. So we're trying to get some consistency across the full architectural definition. And we try and use that. That's now being used as a good framework for all projects, so obviously we're discussing here predominantly a non-technical project around operations transformation. Some of our more technically enabled endeavours use those descriptions to try and keep together a cohesive kind of definition of architecture. And that's been a key part of our maturity to getting an architected approach embedded in the way we work. Pawn, would you add anything else to that? So the only thing I'd colour that with is... ..as an organisation, a lot of the technology is provided by third party suppliers, so capital is an example or CSC. And so there's a level of abstracted architectural definition. But the detail crosses an organisation on contractual boundaries so they're tied up with some of those as well. So BAE Systems operates as the design authority and the design assurer of all of our architected solutions. And we hand over those responsibilities for detailed specifications to third parties where it's most appropriate. So in the business capabilities, you had a couple of things that I wouldn't mind, a bit of explanation for me. Everyone else might have understood it. So one capability was just culture and another one was management by key stage. Can you talk a little bit more about those? Just culture is a safety leadership initiative where it's about recognition for good safety activity, but there is also a route where if it's not going so well, there is a different route. It's a HR safety linked solution, but a lot of the themes today was leadership. Just culture is really focused. It's about talk safe managers talking to people, leading by example. It was a late inclusion to the capabilities so it caused Matthew and I a couple of problems. So that's what just culture is. Management by key stage is how we build our submarines in five key stages. This was about every stage of handover. There is a handshake. This was about better definition of that handshake, better scopes of work. If you're travelling work, what does that mean? So it's like business to business trading, but getting the structure, the business structure in and around that so you're not transferring work without the budget. It's more of an ops thing. If you want me to do something for you, bring your checkbook into one of them. So that's what that was, definition of build stages. The other thing that struck me, I think from Paul in your presentation, it was more the end justifies the means, but Tegaf and everything else that we heard was all about the process and making sure you actually do go through the process and don't just leap to the solution. Say a bit more about the dichotomy of those two. Yeah, so what I meant by that was there's a very real set of challenges for these guys to deliver on. What was interesting is never at any one point were they interested in becoming experts at Tegaf or architecture. I'm not saying that people do, but at the end of the day, I can remember sitting down and doing my first Tegaf-based project and I was worried about the spec, I was worried about the process, I was worried about what I was learning and how I was developing as an individual. That was quite key to me. And so the process and the framework and how I used it was a big part of my development. And these guys were doing it and they were a bit snapping off the sides as they were ramming it through the door, if you like. It was like, it kind of doesn't matter, I've got to let that go because actually what they are doing is getting a whole bunch of people in to an office that's got a load of papers stuck around the wall, lots of charts, lots of very, very rich set of information. I don't want to overplay the stereotypes, but a lot of these people would turn up with their overalls and their hard hats on and would probably not necessarily be in the right mindset to be taken through something that said, this is what you need to be doing, this is what you need to be worrying about. When that very morning they might have been told we've got to finish this task today, we've got these problems out, this kind of issue. So big challenges. So these guys had to kind of bring them in into that environment and make sure that they were getting the engagement, they were getting the message across, they were getting the outcomes that they needed, the handshakes with these people to do the right kinds of things. So it was, they weren't worried about the fact that Togath might have got a bit sort of, it was consumed along the way, if you like. Clearly they used it to structure it so that you can go back to it afterwards and say, actually there's a line of sight, there is a process. If you really, really want to know, the doubt is if they're going to come in, we can lift the lid and show you that we haven't just made it up, it is valid. And that's important behind the scenes. So there is a dichotomy in what you say, you know, you highlight that, but the point was the outcomes are really what these guys care about. I love the pragmatism, the pragmatic. Chris. John and Matthew, I kind of asked John this question over dinner, so I think I know the answer unless it's changed a little bit. How many of you were involved in tailoring and driving this thing since 2013? I mean, I understand that there's a lot of people doing the work at head of department and welder level and that sort of thing, but in terms of tailoring and digesting and regurgitating this stuff into a way that could be digested by the company, how many of the people were there? Right, well, there's some total of this. I need to think about this was me and Matthew. This is it. So we were the ones, you heard me talk about the very late nights and the very dark winters mornings and the books that got broken, that was me throwing them at Matthew and Matthew throwing them back. It was the two of us, but again, we can do that and we didn't really want many more people in that fall because it would have got complicated. The key thing is it's the people that you're dealing with, communicating, engaging. They're the important.  We'll do the analysis, but the key part is the people. So the people doing it, Matthew and I, the people feeding it a lot. That leads me to my next question, which is we heard you talking about the shop floor people, the welders, the scaffolders, but also we heard Steve talking about getting a new, talking about the buy-in at the board level. How are the conversations different in the environment you're in between or are they different with the approach you're taking? I think part of being pragmatic with this is to realise that you've got to communicate appropriately depending on who you're trying to influence and how you're trying to affect an outcome. So the language of TOGAP, and particularly the translated language of TOGAP has become synonymous with how we're trying to organise the design of the company to succeed at delivering against some of our challenges. In the board room, that language has just started to sit and exist quite naturally with the rest of the normal business lexicon that we use when you're doing things like presiding over the complex business under which we operate. So at that level it's become just through practising it and we have formal governance now where we oversee at board level the results of these investments we're making through ops transformation through our other change programmes. And the language sits quite comfortably there and even when we bring on board new directors and we've seen quite a change in the leadership over the last 24 months, we get them on board that quite easily. But we then have to recognise that the guys talked about how we've communicated the vision for the future of the business and through the ops transformation how we've engaged close on 3000 people. You do have to think consciously about how that message lands with those teams and I've done a number of those personally and John and Matthew have done a lot more as well as the team. But I think it's very important that you see it from their point of view and it's got to be pragmatic, it's got to be sensible and you've got to try and empathise with everybody within the organisation if we're going to succeed at getting them engaged and brought into what we're trying to achieve. So the language does change, John. The other thing is all 3000 people I certainly represent and work with that work for all of you, they all want to get better, they want to improve, they want to fit pipes quicker, every one of them these are very, very proud shipbuilders. I still recognise a lot that I started my apprenticeship with. So everything was positive when we sat down. The 8000 suggestions, problem statements that came out of them, sessions, every one of them was digested, everyone was fed back to. So whoever said it was fed back, this is the answer to that, this is what we're going to do. We've got a lot of effort, a lot of effort to do it but you can really disengage people if they don't get this bit right so we put a lot of time and effort into that. It very quickly turns from being a language of intent to demonstrable change and delivery and I think that's the balance. We've got to communicate close to enacting a change otherwise it just becomes promises and empty promises and in our business where we've got, John talked about three decades for a programme our business runs at glacial pace so what we try and do is inject pace where transformation is needed and then deliver quickly on a broad front but in an organised way. So when you're communicating to some of the key talent we've got that do some of the most complex welds that you could conceive in a production environment and we're talking about improving the way they work it's so important to follow through on that quickly otherwise we will literally disengage so I think the language quickly turns into action and that's a key combination we've got to keep the activities closely linked to the communication to deliver value. One of the questions here was are you planning on using this architected approach for the implementations and from what you just said Stephen it certainly sounds like that's a yes. Absolutely, this is a cradle to grave process and we're wrapping it. BA Systems has a project governance method called Lifecycle Management LCM and an architected approach is completely complementary to the lifecycle of the entire programme whether a programme is 30 years designing, building, delivering seven hunter killer submarines or whether a programme is let's change the operation specifically around HR, future services or something so an architected approach is definitely in the delivery phase as well as the thinking stages. So before we go to the next question I'd like to change the conversation a little bit which is that this isn't just a story about a business organisation or about building submarines this is a story about a community. So can you say a little bit about the impact on the community that the doctors, dentists, bakers and everything else in Barrow when there's a big lay-off in this or when there's more employment coming in just give people a bit of context about that community of people. So when Steve told you before about the decline that there was a big gap in submarine building it's really really caused us problems so we had a 10 year gap in submarine orders which we went into surface craft which was quite exciting at the time believe me I was on it. We stopped taking apprentices for 10 years 10 years without an apprentice we are paying for that so badly now the influx of key skills into the town has gone so we've got a 10 year gap in labour skills and to build submarines it's a high top end the area where we live suffered we brought a lot of contract labour in but contract labour doesn't put its money in the local economy it tends to take it back where it lives so we are now we went from 14,500 people down to 2 we are now back up at 7 probably get back to about 9 the successor programme that's coming is very very demanding it's got a higher rate of efficiency it's asking for higher skills it's asking for higher levels of system stuff to support us to do that so the community is on a journey we're all on this journey we take the local community with us we need apprentices now we're back up at I think 300 apprentices coming in this year so it hits the local community very very hard so it's a major part of it and we do keep the community very very close to us because we've got to because you've seen where the shipyard is it's right in the middle of the town we call it Barrow Island it's not Treasure Island so it's there for a reason I hope I think to add on to that as a graduate who's not from that local area the complexity of the product that drives people in is changing the environment that Barrow Inferness has is bringing people from around the country wanting to stay who are setting up home there and actually changing the dynamics of the town in its own right by what we build and that influx of graduates as Steve just said I think we had a 100 graduate intake last year it's a massive organisation and a lot of opportunity for people to do that but I just think that in its own right is a positive thing to drive forward for the local community and then how does the organisation go from 2,000 people to 9,000 people and get everyone singing the same song with some challenge we have growing pains is the way that I described there isn't a magic answer to that it's about being consistent we have long range programmes that's a big benefit we have long term commitments from our customer so that enables us to create an environment where we can communicate a long term proposition so that's all good but then maintaining that day to day in the heat of battle if you like because no plan survives first engagement with the enemy then you've got to really be constantly supporting and communicating the long term plan but delivering in the near term so people can see the benefits that we can stay engaged and we can frankly attract and retain the right sort of talent and develop talent for the next generation of submarines because we're also looking at planning beyond successor we're now looking at the maritime underwater future capability so it's our intention to build a truly world class long lasting shipyard but the proposition has changed in the digital era people have different ambitions over work style work location, flexibility levels of capability the general hour skill requirement has gone up since the vanguard class of submarines and the Trafalgar class in the 80s and the 90s and as the guys have just reflected on that gives the town a different skill based challenge to meet so we're working really hard now handing glove in partnerships with academia starting out at effectively key stage two so that's year six and seven at primary and secondary so that's where we start supporting the local schools and then all the way through college we're a major user of the local colleges on the Barra Peninsula and the South Lakes and then through strategic partnerships with universities so at every stage of the education process we've got quite intended designed interventions to help again deliver an outcome around our skills program that is required for the business Chris How did you identify the existing capabilities in order to turn them and map them against different activities and project stages and identify the gaps? This is kind of that 2x2 that you guys showed I think How did you go through that process Matthew? So I think the first point was to identify what projects were in flight in the first place and that was part of all these three months kind of go look, see, understand how the business is operating what programmes are we trying to change already what areas are the gaps and we're not doing anything in once we kind of had that baseline of understanding of what exists today it was understanding ok for example the ability to understand where business with a profit and loss was one of the abilities under a modern attitude but in order to be able to do that actually you've got to have some leadership changes you've got to have the right behaviours you've got to have some manufacturing engineering capabilities to be able to understand what the cost of this thing fitting cost management was another one of the capabilities so the step really in that area was to go through and understand would this project as the scope of we understand it today help deliver this ability the question wasn't will it deliver the ability in its own right the question was will it support or enable or be part of that transition to that ability once we've kind of done the review the question then was to understand if I now put those five capabilities together and all of the areas that we're talking about will that deliver the ability then we know that we've got that first stem sorted if the answer was no we then need to understand what aspect of that ability is missing in order to develop and define the capability to fit the gap if that makes sense we did that 756 times so I kind of know the interdependencies quite well because I spent a lot of time looking at them I think the other side Paul mentioned before was the boxes and boxes and boxes of data that we went through and there was a lot one of the guys we worked with a colleague who keeps everything for years ten years with the data of every objective everything we said we were going to do every change initiative that we've ever done was all brought out and analysed over we started to group it and group it and group it down until we got to where we needed to be but it takes time you can't skip that bit I think when we were presenting it out people didn't get that they skipped past it but it was months of reading so that bit you have to have the data at hand and you have to take the time to do the analysis if you don't you're going to miss something you're going to answer a question that you're probably not really ready to answer Can I just add an interesting context to it because in a lot of ways you would want to shortcut that by understanding who else in the same industry has had similar problems but guess what there aren't very many comparable industries certainly not many that are willing to share how they do it starting from scratch if you like but starting from the heads was quite relevant and a couple of things that are really key to that was to me that sort of haven't been mentioned today but so conditioned the whole setup there are very very few of each class of submarine built so it's not a big repeatable process and there's no prototype there's no thing as a prototype submarine not like a prototype car or anything you don't have a test track you drive it round or anything so the first one that's built goes into service and that first of class is the one where you iron out all the problems basically and so that there's a lot of need to have done it from first principles which was useful for these guys to go through because they learnt from it but necessary they couldn't steal an example from an industry standard and I think that's very very relevant and just to kind of just one other part on it the lifespan part and it makes it fascinating they're about to do another first of class build in successor starts next year it's been two decades since the last first of class submarine was built roughly so the people who were there if they haven't left were only very junior pretty much so the experience of doing the same task again is just not there so having to do it from first principles is quite key you said to me Paul when we were initially having these conversations about were we willing to approach each other you said something that stunned me you said Chris do you realise that the young men and women that will man these vessels are not born yet it's a staggering time scale from my perspective from a number of the questions there's an impression maybe that you have secretly got a whole bunch of technology tooling in your back pocket that is somehow supporting it can you talk a little bit about whatever tooling you use not for building the product but for the architecture approach you've taken and what tooling you've used if any not a lot is the short answer to that we have BA systems has every single architectural repository tool do we use them effectively for our business architecture I would suggest not really where we're using architecture approach literally in the business as we've been promoting in this conference this morning it is with sheer hard work and let's say more traditional methods under which the definition and the analysis and the scoping is done and I think you saw some evidence with the pictures there of course we've got to get smarter with that and as we're going forward with an architecture approach my gang of IT teams are bringing some better capability to bear with some advice from people that want to sell us some software and we are starting to look at how we can get slicker get more effective at exploiting tooling capability to deploy capabilities like Toga but I would say today we're still quite Heath Robinson with the actual automation and the sophistication in managing the process of architecture but we'd rather put our efforts at the moment on the outcomes and the results and then we'll fine tune our architectural method and that's kind of the next frontier and I just got to answer a phone call to the salesman at some point who's trying to sell me some software and then okay so what was the aha moment that led you to map the Toga phases to project management terminology and did you I think the moment was sat with a copy a black permanent market sitting there thinking I've just been asked by the head of transformation to work out what this means and I haven't got a clue and I sat there and looked at it and at that point went I need to simplify what it's asking me here and that was literally my approach was get a pen cross something out, literally was anything more than three syllables cross it out and it started to make sense I could digest the pure context of what was being asked without the wider terminology around it now there was a danger and a worry that I'd cut that much out of it that I'd made a new sentence and actually just made it say what I wanted to say which was why it was important to get John involved and also to get Paul to refer back to what we'd done but I think it was there the moment where we crossed something out and we I could not comprehend what it was trying to ask me to do and then we crossed something out and it just said define your vision well we can do that and that was the penny drop to that moment well we can do that and if we can do that with this stage then actually we can do that with the other stages and that's the thing where we started to pick up the process I think there's I need to set a bit of context with this that please don't think we had lots of time to do this I had an ops director banging on the window of an office screaming at me what's the answer every day, every single day and when I mean screaming at me he needed the answer now because there's funding behind this there's programmes there's people, there's efficiency so when we did that that was done with an ops director with his face against a glass wall like that saying get a move on so that was quite tensioned that wasn't just free thought it was free thought with a thumb on my forehead so just to set the context that's what you call motivation something like that you mentioned earlier about in-flight stuff change things like that how do you balance you went through this problem you mentioned both of you dealing with developing the strategic intent at the same time you've got product delivery going on with in-flight or projective projects how have you dealt with that and how are you dealing with it with great difficulty to be truthful because again the same ops director was the same guy throwing in-flight projects at me so what we did was run out manufacturing engineering which is something the business has started to change through into an authority based solution we took that out we realigned it we did some things with it tactically but we then started a Torgath Torgath approach on that so we have now four or five projects coming off the main pack that are all going down a Torgath route so to align them yeah we had to do some tactical things while Matthew was away beavering in the room going through books I had to go out and do the not so nice thing which was called managing and go and sort them out which means we had to take people on a journey I had to move people around I had to change some things certainly the manufacturing engineering world so we had to take it head on to be truthful and just deal with it but it is an interference it is a primary strategic goal so you have got to be careful with it and it happened on more than one occasion where Ollie was in a room trying to do something and the ops director came in and we had to quickly take stock change direction for a couple of weeks firewall Matthew to keep doing some of the analysis while I went and sorted out plan B and then get back on track get that sorted out but come back on track but don't mix the two because it is disastrous Is the ops director now on board? The ops director has now changed to Ollie so that has made life a lot easier The last ops director was on board anyway he really supported he supported really well and he was a strong character so it is what it was needed we said in the presentations before that the leadership through your peers and either the director or the key stakeholder is absolutely vital for this if you don't have it you've got no platform so you've got to get that platform of wide change and get noddles saying it you want the ops director saying that and he did and he said it loud and clear to all 3,000 people he stood in front of 41 sessions all in two weeks and he stood up for an hour in every one of them and gave that transformation message out and the slides he used were Matthew slides that he put out before so that's the level of commitment you need but we need it How do you apply that level of kind of sense and respond and adjust to the vision I mean do you go back and assess I mean and how many times did you go through figuring out you got it wrong before you've got it right and have you got it right for how long The early stages to be truthful it took us a couple of months to get through the early stages and once we nailed it we nailed it good and hard we've kept that strategic intent we've never gone back and changed one of the abilities or one of the strategic sort of messages we haven't gone back we've changed the project aligned it back to that because fit for the future is what we've got to be and we've actually changed some of the prejudice quite a lot but we've put the effort in at the beginning to hold the strategic intention really put the effort in which was a big lesson to learn I think one of my worries around the strategic tactical headbut was around it's okay to put a tactical fix in place if we need to do that and that's what the demand from the business is, that's the right thing to do we've also got to ensure that we keep our strategic intent in place there's so much danger to be able to go oh well actually the strategy is to do a but at the moment something's happening we'll fix that problem and we'll forget the strategy that's what we didn't do we've ensured that yes we've put tactical fixes in where we've needed to which might have changed the scope of work but we've still kept that strategic intent so we're working towards that strategic intent as well as putting those tactical fixes in place is there you mentioned the HR organisation within the maritime submarine systems area is there any interest outside of your own division in adoption of this approach across BAE yes one thing BAE encourages through our operating framework is to share best practice and LFE learning from experience and the life cycle management process I mentioned earlier helps facilitate that all the way across the PLC and there's already been engagements within the operations areas into military air which is where we obviously design and develop and deliver the fast jets in the Royal Air Force and our sister businesses in those that make ships, not boats and those that service ships so there's a high level of appetite for the business to continually learn and I'm glad to say that in the past the Barrow business has sometimes been seen as a little bit behind some of those other businesses but now we're right at the forefront of practicing, promoting and sharing some of these better practices and in fact I think Paul you are with some of our colleagues in maritime services just helping them with some of the learning and adoption so we do that quite robustly across the company I have just one very simple question Paul how much was your engagement here in terms of time and investment as a reference point negligible really so you know I wouldn't want to take any of the credit away at all from what the guys think because I didn't do it so the model was a bit unusual in that actually I was working for Steve around digital strategy and innovation pieces and Ollie being a bit cheeky and someone I once knew kind of just sort of poached me every now and then in my spare time because I was around on the site in a lot of ways but even then a very small amount of number of conversations and kind of distilled guidance pieces I couldn't possibly come up with a number I think one of the key parts of it all though and I know it sounds it must not but the key part was there's a lot of context that you have to understand about the problem and the challenge so really it was about not letting that get in the way because if you didn't have some empathy for the situation and what was trying to be achieved and have any understanding of the business it wouldn't have mattered how good the architectural advice was because it wouldn't have wouldn't have taken root so that was the part and frankly that's taken nearly five years worth of investment That was the end of the written questions Ollie Yeah so I think that's been fantastic the whole morning has been fascinating for me and I can see applications for other businesses so just to wrap up given your respective positions in an organisation what's the one piece of advice you would give to your counterpart in another organisation So from my point of view I think it's determined and don't give up those are probably two overwhelming characteristics but also it's you've got to move forward with credible delivery and always be prepared to to take the challenge if you like because businesses I'm certainly in our business businesses are very good at jumping on the next problem and just dealing with things tactically it takes a bold business a brave business to try and confront things more strategically so never give up on those messages be pragmatic with your application don't become academically abstract from the real problem I mean otherwise you will literally become irrelevant so stay practical stay near-term and ultimately it's about delivering benefits and delivering value so really think about how you measure that, how you communicate it and how you can then influence and gain confidence and trust through demonstrable application of a pragmatic use of TOGAF and principles like that I think for me being a very junior member of this organisation it's about taking a risk and I was asked to look at something and review a document that I'd never heard of and digest it and come back with my interpretation of it and I think from a junior member of the team the opportunities that that's now opened up for myself being sat here today doing these presentations and taking these questions having that ability to take a risk do something new and actually interpret something into a new manner and I've definitely taken a lot from the architectural framework and as I've said any jobs constantly firing questions my way projects and the first thing that I ask myself is why am I doing this because once I can contextualise what I'm doing I can move forward with my delivery of the strategy and the implementation of it God I could be here for hours on this one the key one for me is I've said it you've got to get the beginning sorted out you've got to get wide change sorted we're on my fourth main tourgap project but there's loads of small ones underneath it and we always start with the wide change you get it nailed poor mentioned earlier before getting to write it down what does it mean, go back, check for understanding then move on there's the clarity needed when you present in this stuff back you've got to keep your eye on it because you can lose people present, we stealth this in all over the place so we present to people a lot about this is what we're doing, this is where we're going we don't mention an architected solution but we present it in the same structure so we've got people used to saying where's my change at why haven't you done my change first we've got them doing it but it takes a lot a lot of effort you've got to commit to this we committed to it, Ollie looked at us and asked us to do it and we gave him our commitment and again one thing you'll know about Ops people is if we commit to something we'll see it through so we aren't emotionally connected and yes it was emotional that's what I think I was just wondering which hat to wear in answering the question so I think it's fairly straightforward it's interesting to be asked this in front of my client but what I'm going to say actually in all seriousness and sincerity for me it's do not tell them what they want to hear I think you have to tell them exactly what they need to know however palatable that is at that point in time and that's the only way to maintain that kind of integrity with the piece that's it thank you I hope you all enjoyed that as much as I have the whole morning has been absolutely amazing so please show your appreciation to our great speakers and panel


When Budokai Tengai G4 was initially revealed, me and my two friends Rhyme Style and CiriX immediately went back to Budokai Tengai G3 and took on as many challenges as the game had to offer. We've played through modded story modes, fought modded characters made to be 10 times more difficult, but now, only today, are we getting to the hardest facet of the game, the World Tournament mode. If you didn't already know, the object of the World Tournament mode is to make it all the way to the finals and win, and you can do this by knocking your opponents health to zero or knocking them into the grass. If you want to see more modded Budokai Tengai G3 content, make sure to like button and subscribe to the channel, but for now, I think we have a tournament run that we should focus on. Alright, let me set the pace here, I'll jump in for the first one, YouTube boys just heighten me up, back me up, deal we gotta do. Wait, hold on, Dotto, did you one take that intro? Crazy, I feel like you didn't hear it, that was crazy. No, bro, it was a good intro, it was a good intro. Did I understand that? Normally it takes like 7 tries, but like now, first for the first one. 7 tries is a little much. Bro, all that barking, Dotto, get in there and show your worth. At least you have the cajonis to jump in first on your own video, I can't say the same for someone else. Now, this is a modded difficulty tournament, these are not going to be the characters we need to see. Hold on, Dino, Dotto's talking, Dino. No, no, no, no, no, no, no, no, Yabba, Dabba, do, yabba, Dabba, do, go ahead, Dotto. I wanted, look, all I wanted to say, all I wanted to say is, I'm sure we'll get multiple tries, but for our first tries, do we want to agree that we're going to use like accurate, lore-accurate tournament characters? Because I'm going to use Yamacha. I wasn't asking you, I'm going to get a lore-accurate set. Bro, which outfit has the not lame hair? 4? 4? 4, get 4, get 4, I have a feeling that 4 I'm ugly. I'm blaming you. No, I feel the forest alphany had in super where you had like the white shirt Wait, no, but he's trying to get more accurate, bro. That's bro Fine, I just didn't want this Haircut super say it three Goku at least rudegons on the left side of the bracket. I'm safe Bro wait, so you think I'm gonna lose you think super say it three Goku and is gonna stop me I doubt it comment section who's gonna get the furthest else will leave a like Subscribe and subscribe. I want a million No Honestly just subscribe to me. All right round one here. What am I wait? What am I wearing? It was immediate smoke hold on Let me explain what's going on We have the CPU set to the highest difficulty that's not in thank you This is like thank this repertoire. Oh, I got it.  I just honestly, I just mash and pray see boom bro You're lying. No, I know I'm pressing. No, I'm at the shoulder button My eyes have closed I'm bleeding out my mouth. I'll never forget you did that in one of our videos together I didn't realize your health was going away until early as what you were actually doing I got the second tag. He's not sharing with us bro. I just mashed the shoulder buttons. All right You got another super saying three. Oh No, that's a spoiled Dino's video, but Donald may or may not want some run back against go tanks Absolutely physically embarrassed me in the last video and I will not let it happen again.  Oh, he's firing too much.  I actually touched that first I saw him licking the bro bro was licking the concrete Bro was touching the slice of cheese. He's so far All right. All right. All right. All right.  I'm him. Did he ever? No, bro is trying to lose Bro is trying to lose at this point. Nope.  Oh, you also. Oh, wait. You bro. We've only seen Super Saiyan 3 matches This whole time is kind of tough. What's the thumbnail looking like? Who's in the thumb? No, it's definitely not. Is it yashiro be drawn as Super Saiyan 3? It's gonna be whoever I unfortunately get matched up look at me I've been training I mean You fall fast I got sword. Okay. Wait.  Oh my god, bro, it's fast. Oh We tried to hit you with the reverse uno what is he doing? What?  You had a good bracket run, bro But it's you I go you're not making it. All right now. I will just simply beat I thought you just posed up to get hit. Let me just charge the second he does anything is gonna get complain slicer Oh, it took you eight years to chart up a couple lamb slicer Wait, wait. Oh, nice guard. Lily and yaja Roby Are you? Oh nice, Vinny. I got it's got taken out by a key wave, but oh You wise I feel like little elbow Damn complain slicer sword. Okay thrown into couple lamb slicer not never a bad idea. Oh, you're pushing towards the edge Oh it What are the odds? Recess the location. No, that's great. It's great for me, bro Bro, you had him out. You had him on the edge.  I Got sore combos. Well, I don't know if you got any calm finish though Didn't he was just not getting like oh careful careful careful stay in bounds stay about Oh Wait, wait, that could be out of the bounds I am him I told you why the body staring at you. I will never know but eventually they're gonna fight back Because I'm waiting for it. My power level so insane that they can't stop me All I'm saying is if you get through all of these like really strong opponents and then somehow lose to Roshi Nah, nah, nah, nah, nah, nah, nah, nah, nah, nah, nah, nah, nah, nah, nah, nah, nah, nah, nah, nah, nah. If I lose to Roshi as I allowed him to win.  Can you beat Ice Shenlong? No, he thinks he's cold! He is cold.   No! Oh, evil eyes part two. Okay, you keep landing on the concrete though. That's big. Yes, bro, please die! Watch out. Oh Could this be the finale? Oh he weaving. Go go go. Maybe if you keep hitting him you'll take him to- oh, no. No, no, no, no, no, no, no. I thought he was about to knock you down. That was the best possible way that throw could have gone. But watch out. It's a concrete. It's a concrete. Evil life part two. Nice finish in the clutch when he needed it most. He couldn't find the evil life. The flame slicer. Oh, no. Nice finish in the clutch again. I'm dead. I'm dead. No, no, you're not dead. You're not dead as long as you don't fall in the grass. Stay on that concrete. The concrete's where you're strong. Evil I'm part three. No. Are you the first to get KO? How do you cancel dashing? Oh, I know. I got you. Evil lives to the back. How do you cancel dashing, man? And if only you had more health. You had a good run. You had a good run. That was a good run. That was a great run for Yajirobe.  My family will never accept me. You know, it's this or that. Dion, congratulations.  Easy, easy. And if we're staying with OG Dragon Ball, I might as well be the most iconic. We're all just going to try and swam. Oh, we were waiting for this one. We were waiting for this one. There's no moon, bro. What is costume for? I don't know. I can't even pretty OG around here. I'm about to cartoonish to lose in two seconds. That's the spirit. Who's my matchup?     I was going to say, this is going to be cartoonish. Don't have super armor. Don't have super armor. Please don't have super armor. You know she's going to have super armor. Bro, she's going to have super armor. But I'm just asking nicely. Here it is, Dion representing the team with the OG Kid Goku pick. Let's see if he can get a win on the board. He'll always find a way. He'll find a way. I believe he's got a stick. I'm going to have a one snooze snooze for real. There you go, there you go. Let's go, let's go.  Oh, and there it is. So how do you cancel dancing, bro? At least it wasn't just me. How do you cancel dancing? Get back in there, get back in there. Hold on, bro. For set three, let me just go first, bro. I waited so long just to do that, bro.  This is still set two, bro. This is round two, but let me go first. I was going to say, go again, go again, go again. I was mid-drink. I was mid-drink on my water. Oh, if you win, you get to go get the time patroller. Yeah, the time patroller from Xenors is in there. I'm fighting hit, bro. What do you win if I win? Well, you've got to win if you win. You've got to win because if you win, you fight ace. I already know that editor, go ahead. Put it like a fake mustache on Kid Goku's picture because this is just Goku walking back in the building again. He is not ready to lose, bro. He didn't lose. He didn't lose. He didn't lose at all, actually. Are you wearing the OG Dragon Ball outfit? Are you wearing the training outfit? You are. You're trying to go get milk.  I actually heard the school rock sound effect. I'm just going to jump over it. Yep, yep, yep. Oh, he did jump it. That was actually Dragon Ball canonic. Canonic. Sorry, but I'm falling, dummy. Business and flying, it's falling with style. Whoa, he's dodging everything. Boxes and paper scissors. Let's just play paper scissors. Oh, no.   Bro. Yeah, run. Run, run, run. Where's Goku? He can't run. He's trying to run into a hole. He can't dash cancel either.  Hey, I'll let him cook. Let him cook. What is this kid doing? The cameraman in the world tournament working overtime right now. He can't dash cancel. Can I take advantage of this? At least it wasn't just us. No, no. Great 8-fists? There's no way. Oh, yeah, I don't want to do that. Flap your tail.  If you got to the time prison, you would have died. Does it hit down? No, it freezes you for like 10 seconds, but then you would fall. He is falling out of the sky as we speak. I don't even remember that because he did it to me in the tournament before. That tail is not flapping hard enough. Watch this. Oh. No, please. Get high, get high.  No, I'm using a move. I'm just going to hurt. I'm dead. No, no, no, no, no, better. He's better. He's falling. Just knock him down. Just knock him down. Down square. Here we go. Hey, that's it. That was huge. I'll try to breathe in. No, no, no, no, no. Just don't get time prison part two. That's it. It's over. It's over. Yes. Kid Goku clutch. Let's go. He got me out of the pools. He didn't drown. Now let's see if he can fendle a time patroller. I never do. I never have in my life except that one time when I flew out. Can you be the time patrol, though?  That guy might have just got cooked. He got cooked. He got cooked. I'm about to go all the way. You're just finding a main team from fighters right now. I was going to say, Deon, you know Janemba. You main him in fighters. This is going to be easy. Hold on. Who's next? I want to see if it's my full team. Let me talk to him. Let me talk to him real quick. I'm going to talk to him. I got to see his face first. Right, right, right, right. Right, right, right, right.  At least he knows. I think he took you serious. Oh, my God, the dammit. A whole bar and then some. There you go, there you go. Wait, a little combo? OK, this is kind of the rest of them. Oh, don't get hit by now. Don't get hit by that. Don't let your guard break. Don't let your guard break. You're just dead at that point. There we go. OK, nice. A little. Oh, no, I'm blocking. I'm blocking. I'm blocking. OK, that's the green movement. Fighters. Nice Hell's Gate combo. Stupid. He does not have those. Oh. I'm weaving that. No, I'm not. Janemba, I'll just take you out of the wagon.  Careful, careful. Roll carefully. You've got to touch grass. No, I'm good, I'm good. Rock, paper, scissors. Oh, can he beat him in the rock, paper, scissors match? He's got him, he's got him, he's got him. Rock, paper, scissors. Hit him again. There you go. Yeah. Which I throwed up, which I throwed up. I'm the protagonist. I think you hit him with all of them. You cheated. You're not supposed to use one. Uh-oh. I think you're dead. OK, that's OK. Damn. 14,000? That was a lot of damage. I'm not going to lie. I'm a child. Dono, you know what I want to do? I'm going to close my eyes. Whoa, going random with it. Oh, my God. No. Good luck. Good luck. AY, appreciate the spirit. Bro, canonically, he's strong. And then Yajiro will be so theoretically you should do better. You could have given me anybody. Oh, my God, who am I fighting? Omega, Shenron. Of course I am. Yeah, never mind. Steal the trash, kid, trash. Yeah. Well, can we at least appreciate the energy you put in the clicking random? I thought that was pretty cool. Are you going to random with me? Well, I mean, we'll see when it comes up. I think you know what? You're probably just going to, I think you went out here. I'm a winner. Maybe not. I thought you were just going to kick you into the stand. Please. I have a feeling if one hit you, I don't know why. I don't know why I just get that feeling at the end because you can't make your death.  Oh, oh, that move is aggressive. I don't know if he's going where you want him to go. Y'all really high up. Interrupted. I tried to throw the pitch. I tried to finish it. I thought it was him. It's OK. You're getting closer and closer to the ground. He's close. Oh, he almost got you. Yes. You got him. You got him. You got him. You should have do it yourself. Trash, look behind you. It's Frieza. Let's go. Anyways, trunks? Trunks? All right. Damn. Damn. Careful, careful.  Damn, you threatened to do a combo on him right there. Quick, Rhyme, you got to tattle up Frieza on him. Trunks, Trunks loves killing Frieza. That's one of his favorite activities. He'll be distracted. I got to key up first. Eek, eek, eek, eek, eek, eek, eek. The Sword of Hope. All right. Oh, my God. What did you do to his timeline? I feel like that's kind of illegal. What did you do to his timeline? Frieza was taping on him the wrong way. He was literally just taping on his ultimate. All right. He's about to. Bro was trying to be childish. We're just spamming. Ah! Oh, my God. He's got one thing on his mind. And that's hope.  That's for use in the Sword of Hope against you several times. We might actually have a comeback here. God, damn, bro, be spamming. I'm going to win. I believe it. I can't be cooler. Can you beat Metal Cooler? Well, no, I work for him, technically. Good work for his brother. It's kind of the same thing. One of you was mashing. Who was it? Wait, you got to let him know Frieza's there. Oh, shiny. Bro, shiny. The one he just got out of car wash. He just got car washed. Damn, why is he in HD 4K textures? All right, all right, all right. I feel like I just. Look at him standing over there. Whoop. Nice sidestep. Oh, I thought he was hitting you from behind. Finish, finish, finish. I'm trying to finish it. You were not. Bam. Oh, damn. Bro, please let me do something. What are you doing? Stop that and cancel it. Oh, no, oh, yes. Bro, you're one knockdown away from winning. Bro, you've shown that none of this really matters. Yeah, not good.  Oh, my God. Well, at least he threw you on the hard concrete. At least the hard concrete broke your fall. Whoa. Oh, my God. And he immediately elevated himself. This is where the computer.  I know. This is like the only one I can think of. This is just professional. But he's not making a single mistake. He is playing this exactly correctly. I know what to do. I know what to do. Bro was cooking you surgically. You can't block that. The precision here is insane. He's going to fumble it somehow right now. He's doing spins above you. You're going to call his brother out of all he's lost. Yes, he's stuck. I know he's not. Marfriza, we're here. Does it go that far? Bro, there's no way. It went about as far as it could have without. There's no way. He just fumbled the bag.  Dodget, you're alive. You're good, you're good. You still have time, Ryan. Clutch up.  I'm mad that my ultimate ended before you asked him. Why did he die at so? You gave me a lot of spear. I actually think I am going to do random now. I think you chose the right path. I just think you know cooler kind of. That was unfortunate that you ran into cooler. But you get like the most broken character in the game. I'm going to do it. I'm doing random as well. Give me. Yes, exactly the way I needed. That is exactly what I needed to see. What do you get? What do you get? I looked away. He got jeering. Of course you did. Of course. I needed this. I am about to body the entire world tournament. Super Saiyan 3 again. It's like poetry. It rhymes. It's the same thing I went through. Bro, the video. I started with Super Saiyan 3 Goku. Now I'm about to end it with Super Saiyan 3 Goku. Let's give all the cutscenes. I don't need to see any of it. Goku, come here. They may be cartoonishly tall. Why are you using framework? Bro, bro, please, bro, please. Oh, I was about to run out of the reef. OK, not much I can do about that. See me act special. Did you use that thing? What thing? He did. Yes, I did. The thing to break out as you got hit by explosive wave. Yes, he did. Yes, I did. He's still one. And he's still one too. He just had to do it. Well, he said you just massed the bumper button.   Is that it? Boom. Oh my god. Get the touchable touchable touchable. No, touchable touchable. No way. No way. I am bent over. I am tired. I exerted myself a little bit too much.  I don't think so. Why do they, man? I'm still I can't get over the fact that Jiren and Tenkai are 6'7".  Why are you so big? What's wrong with that? Bro, is 6'7"? Oh, super same for you. Bro, just win. I mean, I'll try. I just don't think it's going to go well. Give me at least six. If I get six, I win. No, I saw the six. And I am tall, though. Big bang. Why did you? Oh, big bang. I'm going to fly into that. You're going to want to not. Oh my god.  Stop that. That's gojira. That's gojira. This is Budakai.   Every club lets you know. Why did you just smirk at you in 4K? Bro, they fly up just to smile. Bro, show me a toothy grin. Who got you smiling like that? What? Damn it. I was going to at least get the youngest to go next, but I realized this. No, no, no. We're doing one more. The idea, the idea. What more? I'll do random. I'll do random. Yeah, because I'm not going to end it with getting smile. That's that's what's not going to happen. What if I smile at Dion? I don't have that. I think we'll have it. I'm about to have even better RNG than you watch. I'm not mad. She's she's pretty cracked. I could work with this. All right, Donald, I predict because Kevlar is really fast in this game. Fast as fuck, actually, to be specific. I'm not going to fly myself out. He's going to fly himself out. No, I'm actually going to win the whole thing. Beerus about to put them paws on you.  Beerus about to catch these kitten mittens for real. Hold on. Once I canonically beat Beerus, editor, editing Tom from Tom and Jerry just yelling. Also, editor, if Dion does fly out, just cut to that and then end the video after it says ring out. I'm not going to do that.  The God of destruction. Imagine you enter a tournament and Beerus is your point. I'd be so tight. Mink, Mink, he dodged one of those. That's a huge, that is a huge opening. It's over. It's over. Dion is on a different path. Dion redemption arc. We're going to fly out. Yeah, I have a character who can fly now. Oh no. My next opponent's smiling. Yeah, that's me. I did the You Like Goku video once upon a time. All right, I'm going to start a little different this time. I'm going to start a little different. What's the opening? What's the opening? Oh, he's already kind of smirking. Yeah, that's fine. That's fine. Not on the full smile. He's smirking the last two. Dummy? Yeah. Oh, no. Yeah, every time. Oh, whoa, whoa. Don't get smacked. Oh, no. No, I'm blocking. I'm blocking. That's a lot of board. That's a lot of board. That's a lot of board. Blocking backwards.  He was popping up the jam. But I don't think he's going to do it anymore. He tries to lose, but then Joe Budden again. Bro, please let me fight back. This guy has no interest in ringing you out. He is just doing combos. I mean, that's left. And his character's going to do that. It's going to be him. Whoa! All right, hold on. I got to look at the skills. You know it's over when you start looking at your skills. That's what gave you that. Hold on, but what it says is actually snapped for this mode. Bro, always vanishes every move. I think you're dead here. Hell no. Yeah, they got nervous. Wait till I get my paws on him. Oh, no. Don't hit down. I think he's down. Yep, yep, that's it. Damn! Oh, you're at the wall. It's all over.  That was almost, if not worse than the cooler thing, bro.  Well.


Hello everybody and welcome back to the average or welcome to the average if you've never Been here before I guess maybe some of you might visit from other people's channels because this is the first time that I'm doing the YouTube Artists collective as an official guest and I'm really excited and I'm so pumped to do this and Yeah, it was great fun. So this is what I came up with this time round theme was verses And I was so stuck on this idea because I was like what am I gonna do? I don't want to do like a fighting game thing because I don't really like fighting games So why would I go for that and then I thought I would do a city within a forest So it's like the cityscape kind of versus nature and then I thought that was a bit too ambitious because I kept trying to do That I tried to do a couple times digitally and I just like got really bogged down with the details and stuff So in the end I decided to go with this abandoned house and the premise of the story behind this theme is that it's a Mansion and people have taken over the house and taken over different rooms And they're all fighting over the house and had a lot of fun with this premise as you can Hopefully see you with the final piece at the end, but at the moment. I'm just drawing out I found a house that I quite liked the look of on Pinterest and I'm drawing it out here and what I really liked about this house is that I had all these like different style of windows and It just looked really run down and the paint looked really nice the way that it was blue and it kind of like oxidized In places and I thought that'd be fun to play around with and just do different splats of color and shapes and Textures and stuff and if you've been watching my channel for a while I remember when I first started doing my horror comic during these old abandoned creepy houses was something that I was really Enjoying and interested in and it led to the inspiration of the horror comic So doing that was like a nice little throwback and I was like, oh, yeah, I remember I really liked doing this So I just drew it out with pencil and try to get all the proportions right and the perspective because I'm not amazing at perspective But it was a good thing to practice I guess and I know it's just flat on so you're like what perspective But there's tiny bits of like where the roof goes backwards and things like that and the roofing and Just the lines of the windows and things that all look a little bit dodgy because I think I went a little bit too small This illustration I'd like to revisit this type of idea again and go bigger So as you can see I've just gone over it with micron fine liners because those are waterproof Inconside because I'm gonna watercolor it now and make all the lovely colors I think the one regret that I have with this piece is that I didn't really focus on the background at all and you'll see in the end piece the final piece that is just kind of a Gradient of green to blue and I wish I had four of different things to draw in the background Maybe just some pencil colors, but this is an excuse, but I've been pretty ill this week And I was just trying to catch up with my work and I've just started a new job I hop on about this all the time But I'm just trying to get to grips with my upload schedule and things like that So it was pretty hectic and I was just happy to be drawing again because now I've started a job as a graphic designer again It was like oh, yeah drawing I miss drawing because after work I feel kind of tired to draw I did this this morning. So hopefully it's not too crazy and rushed But I really enjoyed doing this and I hope that the YouTube artist collective people let me Have another go at this next time or another time whenever and if you want to know more about the YouTube artist collective then all the information is in the Description below and also links to everybody else's channels who are part of this collective And you can go check out what they did with this prompt verses And I can't wait to see what everybody has done because I was a bit stumped on this prompt for a little bit So it'll be interesting to see what other people have come up with so what I decided to do I've done a few like paper cutout arty things on my channel before and I realized that I really missed doing them So I wanted to do like a simplified version of that maybe and just have these kind of flaps in front of the house So it's like a doll's house exterior if that makes sense. So now I can draw inside each room What has inhabited and taken over and trying to claim the house before I would try and make these like a little bit funny and cutesy so In one of the windows is going to be some cats in another is some witches doing sort of a Say-ons or something is the word say-ons or I don't know hmm I don't know if I got the right they're doing some sort of potion thing And then in another room in the bottom I decided to do sort of a hipster coffee shop because those take over a lot of places, right? So that's kind of a joke and then Really funny joke. Yeah, and then in the final room. I decided because I was super stumped I was like why don't I just draw myself like in the desk and have this sort of inception Drawing me during this inside the drawing and I'm confused But yeah, I did that because it's like oh, it's taking over. I'm taking over the house because I'm drawing it Huh get it get it. No one gets it. I think I get it. So yeah That's kind of the idea and as you can see Pesto kept coming up to me. I'm like Pesto, please She loves it whenever I do Hardy stuff. She wants to be in the channel She wants to be the star of the channel Pesto is the star of the channel and this is her channel I am merely a servant to her whim anyway I as I said, I was just room painting the background and this paper is a bit It's supposed to be watercolor, but it's not very very nice watercolor paper I realized as I was doing this, but you know it held the paint That's that's a plus and it didn't rip or tear. So, you know, it could be worse So I just glued down the house and I penciled out some of the scenes that are gonna go in each room And once I've glued this down, I go over each room with a micron pen again And I start watercoloring it this again was really fun to do and I wish as I had said before I wish I had made the illustration a bit bigger so I could play around more with the rooms but you know, I went with this and I don't regret it because I think it turned out really nice And it was really fun to play with like I said and I want to do more illustrations like this So I can just mess around with drawing lots of little tiny things and details and I don't know It was just fun to do and oh, yeah, so I just I'm drawing the rooms here now And I think this is a really cool idea for verses because I didn't want to draw Like I said the other stuff that I did and I'm really happy with the idea that I eventually came to So I hope that you guys like it as well. I haven't really got much else to say about the illustration So I will see you at the end So as you can see Pesto kind of liked my painting very much and this is the final piece Once again, I really like the idea of having something that you can touch and manipulate with your hands as well And just like play around with and they can open and discover things themselves. I just really like it And I hope you guys like it, too I'm sorry that it was a little bit rushed just because of my sickness and new job and stuff But hopefully you guys enjoy it and if you're new to my channel, please Subscribe or like this and whatever you want to do and I will see you next time guys. Bye


I've always had a penchant for watching stuff after dark. It wouldn't come as a surprise to many that the greatest thing about the history of television is the fact that people can use it for their own projects, unsupervised or not. Though we're already past the era of public access television on those lazy transmitters that the average guitar player would use to advertise their dubious music, it's still common, at least for me, to come across small shows dating back to this era on bizarre archive channels that air them. Don't pulverize me though, because it's obvious I can't get my terminology right. Anybody who has grown up during this century will know by now that since signals can run for days at a time, there's no need to cut off to static or pitch darkness after the midnight hour, almost as if the days of the flag signoffs were hundreds of years ago already. For me, television's metamorphosis goes beyond the shift from public access to the era of streaming platforms. In the early days, families gathered around bulky sets, eagerly tuning in for weekly sitcoms like I Love Lucy or groundbreaking moments such as the moon landing. As technology advanced, we witnessed the rise of cable networks, introducing specialized programming like MTV, reshaping how audiences consumed content. And here we are in the digital age, where on-demand services like Netflix revolutionized binge-watching culture, allowing viewers to escape the constraints of scheduled programming. Simultaneously, the internet's integration into television became undeniable. Social media platforms like Twitter transformed shows into communal experiences, with live tweeting amplifying the conversation around events like season finales or awards ceremonies. Any kind of social media emerged as a breeding ground for independent creators, authoring a democratic platform for anyone with a camera and an idea. I'm sorry for going on a tangent but my fascination with that very evolution is what has continued to intrigue me. Though again, you can't as always give someone due credit for complimenting advancements, but sticking to the past, that's not how you make a living as far as I'm concerned. Despite the relentless march of technological progress, there's an enduring charm in revisiting the Biden eras of television. Nostalgia seems to be the driving force as I find myself drawn to obscure archive channels that specialize in resurrecting forgotten gyms. The flicker of black and white classics or the crackling sound of analog broadcasts transports me to a simpler time, offering a unique viewing experience that transcends the pristine resolutions of modern screens. There's a certain magic in stumbling upon the vintage commercials and quaint production styles that were once the norm, providing a glimpse into the cultural zeitgeist of those earlier decades. Even as streaming services flood the market with an overwhelming abundance of content, I can't help but cherish the quaint simplicity of these old shows. The absence of elder rhythm-driven recommendations and the curated playlists of yesteryear television has a certain authenticity. It's a deliberate choice to immerse myself in the grainy textures of shows produced in a different technological era. In a world where everything is instantaneous and on demand, there's a distinct pleasure in allowing oneself to be swept away by the deliberate pacing and genuine storytelling found in these relics of television's past. Go ahead and give me a degree, or even a PhD, in having an old soul for all I care. While every era has its gems, the 1980s in particular captivates me in a way that transcends the content itself. It's not just about the shows, it's about the influence and nature that define the era. The neon-soaked aesthetics, synthesizer-laden soundtracks, and the inapologetic state of storytelling create something to me that holds a timeless appeal. The 1980s were a playground for creative experimentation, birthing iconic genres like sci-fi and fantasy, while pushing the boundaries of what television could achieve. The cultural impact of this era reverberates through contemporary media, and my fascination lies in unraveling the threads that connect the past to the present, savoring the unique flavor of an era that continues to shape our entertainment landscape. It's for this reason that I've gone ahead and made my own projects to try and mimic this style, either through satirical vlogs or just outright soundtracks made from an aging electronic keyboard in my garage. A dated atmosphere that can still grasp the minds of anyone that wishes to comment on it. My particular fondness though, for watching the night blocks comes from both this sense of nostalgia, and the fact that there's just a nature to watching something after dark. Fifty episodes of both Full House and The Wonder Years Act 2 in the morning have left me with a feeling that I generally cannot describe. Imagine being kicked in butter and sitting on the set of a sitcom where everybody laughs at you, not with you, but instead of feeling embittered you're just as happy as they are. It's so satisfying to the point where I could watch someone else's television through a far away window without informing them that I am in their presence. There's no issue with enjoying free content attained with a price, right?  On occasion I've tuned out the television as I drifted off to sleep, my hypnagogic mind taking over the reins of the dialogue to provide me with a continued youth work but nonsensical experience. Quite a few times I've awoken to fine strange or just completely random content on various channels, the weirdest I recall being three men dressed as elves dancing in a hemlock forest to a country Christmas jingle in the middle of July. It was quite funny, but if these men were as skilled in dancing as they were in public entertainment, wouldn't they'd want an audience during the day? Nonetheless, everybody has their own reasoning for how to convey their own form of entertainment. On one of these particular nights, after a roughly average day out and about, I decided to turn off all the lights far before evening in my basement and flip through various channels to see which one would flip to mature oriented content before the others. After unintentionally coming across explicit content that would likely only satisfy the minds of a divorced businessman or a 75 year old bachelor, I was able to come across one channel that was in what I like to call the B-Range, which tends to be at the top to middle of the wide fold of all of them. The channel name almost implied that it was specifically oriented towards people such as me, late night programming. I wasn't able to check to see if they had aired anything in particular before 7.35, nor if I had even familiarized myself with it, since I'll admit while I do flip through various stations, it's not like I don't gloss over others in a personal lust for the interesting ones. It didn't help either that there wasn't an option for me to check their broadcasting future, as my remote does not have an ability to scroll left or right. This particular channel was airing a documentary on ground stations, albeit one that was either dated or inherently low budget, as it just comprised of lore as pictures of them staring into the stars, accompanied by what I would assume to be a technical engineer giving a lecture on how it works. It became apparent to me that they were obviously trying to make it interesting, since for those who aren't familiar with ground stations, they have the ability to send and receive signals from satellites and spacecraft in orbit. They repeatedly brought up, in an ironically trivial sense compared to the other information being described, how they believed that aliens could be contacting them based on some jumbled frequencies they received from up and above. The dialogue became more garbled as I assumed the technical operator himself had either gotten bored of the broadcast, or had decided that what was now an obviously live transmission had yet its time limit, that latter suspicion of mine was confirmed when the entire broadcast went to black, and was followed by what I considered to be very odd but marvelous at the same time. The channel then proceeded to transition into a flag sign-off, which is something that I had not seen before on actual television. It wasn't impressive whatsoever, merely a pre-recorded choir singing the national anthem over a flagpole in what looked like suburban Arizona, but the fact that anybody would have the audacity to do this was fascinating enough to me. I eagerly anticipated the transition to static as if I was waiting in preparation for the next episode of my favorite series to air, but it soon became clear that this wasn't going to be something I expected. The abrupt shift to static was anything but conventional. Instead of the usual electronic interference or technical glitches, the screen slowly dissolved into a mosaic of pixelated stars, reminiscent of the initial documentary. It felt like the broadcast itself was caught in an interference, as if the very stars they were exploring had invaded the transmission, which would have humorously confirmed the suspicions of the operators in the documentary. As the static intensified, fragments of the earlier lecture on ground stations echoed faintly in the background, creating a neary contrast with the visual chaos. It was as if the channel had become a system for the frequencies mentioned earlier. It must have been at least more than 15 minutes of me just sitting there in silence, looking at the screen dissolving and combining again, before the screen changed again. Instead of returning to either regular programming or just outright an altered static, the station then proceeded to transition to a black screen, of which small dots could be seen appearing intermittently. I would have assumed this to be an older film camera if they weren't of varying color. It was similar to the effect if one put their phone camera to the floor and then zoomed in. A gentle tapping sound was playing nearly in sync with the appearance of the dots, and soon enough, a faint logo appeared. It had no readable text, just a strange twirl of colors, with random letters making up some fictitious jargon appearing in the center. It never appeared completely, rather it was just as if someone barely superimposed it over the virtual nothingness that had preceded it, and then just left it without much effort. The tapping noise was replaced by a word, which was similar to what would happen if you somehow merged both the microwave and vacuum cleaner aggressively turning on in the same place at the same time. I had been paying attention to the noise, or something else in my peripheral vision, when I noticed that the screen had transitioned again into a view of a dark cylindrical plank leg moving into the carpet below. It took me a surprising amount of time to realize that I was looking at a table. The quality was grainy, but it wasn't low resolution like the documentary that had preceded it, it was instead reminiscent of the cinematic style of the 80s. As this weird scene unfolded, the camera transitioned from the enigmatic black screen to reveal a man in a purple sweater and blue jeans. He was comfortably seated on a plush purple couch in a room saturated with the same color. The size of the space carried another worldly quality, as if the color itself was holding some form of significance. The man on the couch remained motionless, his gaze fixed on an undefined point in the distance. The camera lingered on him, capturing the enigmatic aura that surrounded him. The room, painted in various shades of purple, seemed to surround him in an isolated reality. The subtle hum of the camera's lens motor accompanied the transition, adding a subtle layer of tension to the unfolding visual narrative. I took a closer look as the camera almost silently examined him as well. He had light yellow hair and dark brown eyes. I noticed that the room itself though appeared to be more out of the ordinary than him, even despite the man's lack of clear emotion. The couch was bent in odd areas, and one of the arms was misplaced outside of the center, creating an unnecessarily short gap between the other at the left end. A painting on the wall, displaying some sort of white gate, was situated carelessly between the corners of two walls, although equal more with one side than the other. Another bizarre and surreal painting was sitting on the wall behind the man, showing a white circle with a frowning face gazing at Graver bothered to look at it. I imagined it to be the moon, but there were no prayers, just a look of disappointment from a disjointed face plastered on the surface of a planet's satellite. Outside the window, there was nothing but the display of a night sky, but with a subtly purple hue, probably because the window itself had been tinged that way from the inside. The right half of the table, and another couch, were partially visible on the other side of the screen. The man in the purple sweater then shifted his focus from the undefined point in the distance to directly address me. His words, delivered with a comiette penetrating tone, had a strange echo that I could faintly hear from the speakers. What are you to believe? The question hung in the air, surrounded by the surreal ambience of the room. I didn't understand what he meant at all. I found myself wondering whether or not he was either pulling some form of surreal entertainment, or just wanted to give an uncontextualized lecture on whatever he was thinking. The strange thing is that I had no urge whatsoever to change the channel, or even move from where I was. All I can recall from the point of the earlier static transition was a full view of the television, indicating that I was arched against the screen by this point, wondering what else this presentation had to offer. The man's demeanor shifted, and he delved into a chilling monologue, his voice carrying an uncompromising vibe. In the shadow of commercialism, the tendrils of consumption wrap around the very fabric of reality. Consider, if you will, the insidious rise of the urge to read on. A serpent of desire, it slithers through the corridors of your consciousness, compelling you to consume without discernment. As one esteemed mind once pondered, in the age of information, ignorance is a choice. The pages you turn, the screens you scroll, each an offering to the insatiable appetite of the consuming void. Media, my dear interlocutor, has become a realm of distorted reflections. A distorted mirror reflecting our collective fears and desires. As the luminaries of thought have remarked, the spectacle is not a collection of images, but a social relation among people, mediated by images. We unwittingly dance to the tune of manufactured reality, entrapped in a perpetual masquerade. The narratives unfold, shadows whispering distorted truths, luring you into the abyss of perpetual dissatisfaction. The man, still fixed on me with an unwavering gaze, intensified his discourse. Do you not see? The machinery of medium-old minds, a puppet master pulling strings. The medium is the message, as one sage declared, revealing the profound influence encoded within the very channels through which information flows. The cocoon of purple that envelops us serves as a metaphor for the seductive illusion of comfort, concealing the tendrils of control that extend into the recesses of your consciousness. In the realm of manufactured reality, my friend, the horror lies not in the unknown, but in the insidious familiarity of the manipulated narrative. Abruptly the con-scene shattered into a violent transition, with surreal and disturbing images appearing with no preparation whatsoever. Among them, the most startling was that of a faceless humanoid suspended in the sky, a hollow silhouette devoid of features. The emptiness of its expressionless face seemed to mirror the void left by the distorted realities the man in purple had just unveiled. Yet even more disturbing was the sight of a milk carton with spindly legs, frantically sprinting into a wall infested with writhing baguettes. I couldn't understand what kind of jigs to position this man was himself trying to convey, was this some form of messed up talk show? The Givid Nightmare's shimmage re-enfolded with a sense of uncanniness, challenging the boundaries of my understanding and plunging me into a surreal nightmare. The images didn't end there. They progressively started turning into more graphic depictions, a woman giving birth to a scorpion, a man using a piston to crush his own collarbone while laughing, and a group of children dressed as gestures dancing in a circle around what looked like the charred remains of a dog. These were themselves interspersed with other strange and surreal scenes, including one showing a man whose face was bent inwards smearing excrement over a man in a wheelchair with an armless elderly woman doing an interpretive tap dance in a mindless frenzy. I started to feel physically sick as these images faded away, with the same soulless expression of the man returning to the screen. Behold the final media. I said, comparing it to a popcorn machine that pops out thoughts instead of kernels. It is the waffle iron of consciousness, pressing reality into bizarre shapes that make you question your breakfast choices. His metaphors, although trivial, carried a surreal weight that left me scratching my head. Then in a bizarre twist, he started talking about the final media as if it were pizza with toppings representing conflicting ideologies. Price and narrative, toppings and perpetual debate, and you my friend, are just a hapless delivery boy caught in the crossfire of pineapple lovers and anti-pineapple purists. The absurdity of his comparisons continued, transforming the gravity of his words into a carnival of triviality.  As a disturbing spectacle, the physical manifestation of the strange ideas he had just presented. His face, twisted and molded like a surreal clay sculpture, nearer the contorted narratives and bizarre realities he had woven into the fabric of our conversation. The room pulsed with an unsettling energy as I watched, unable to look away from his strange performance. In a sudden and jarring turn, the man in purple slumped forward, his once animated presence now eerily lifeless. The surreal performance had taken an unexpected and grim twist, leaving an unsettling silence in its wake. It was as if the bizarre reality he had crafted had collapsed, leaving behind only the residue of its enigma. As my gaze fixated on the motionless figure, the camera ominously panned toward the window, revealing a real frowning moon hanging in the night sky. Its expression, so different from the painted one on the wall, cast another worldly blow over the room. The lips began to quiver as it softly muttered something which I couldn't make out. The only thing that stood out to me though were the contents of its eyes, a reflection of myself, staring into the screen. The moon linked at me, and in the same eye that had briefly closed appeared an apparition of myself, drawn in the same attire as the man that was now probably dead.  The surreal room saturated with shades of purple had dissolved, replaced by the mundane reality of my bedroom. It took a moment for the disorienting images and the haunting synth soundtrack to fade from my senses. As the remnants of what I could have best assumed to be a dream climb to my consciousness, I couldn't shake off the lingering enemies. Shaken, I sat up, the vividness of the dream still vivid in my mind. The man in the purple sweater, the bizarre images, and the frowning moon were still ingrained in my mind. The morning light streaming through the window offered a stark contrast to the other worldly hues that had dominated the dream. Yet the disquiet remained, and as I moved through the routines of the morning, I couldn't shake the sense that the surreal experience had left a mark on me. It was by the time that I returned to my bedroom after about an hour that I noticed there was something lying on the top of the television that I hadn't seen earlier. At first I thought it was a cloth that I had left sitting there in the middle of the night, having probably awoken in a daze and planted it there for no reason at all. However, I noticed upon closer inspection, this was not the case. It was a purple sweater, accompanied by blue jeans and a note reading. The media is the message. You've been acquainted.


An Hugo State government has ordered parents to sign an undertaking against juvenile delinquencies and other crimes such as autism, truancy, alcohol, smoking of hard drugs, among others, being committed by some pupils in public, primary and secondary schools across the state. These activities led to abrupt closure of some schools in the third term of last year as the order led to the postponement of schools resumption in the state. Department of Education, Science and Technology Professor Abayomi Aribabu attributed juvenile delinquencies to poor parenting and some environmental factors, including social media and peer group pressure. It is important to use this opportunity to mention the fact that some of the behaviors, some of the issues we have in our schools will actually be traced to a number of things. Part of it is parenting, poor parenting. Most parents have actually abdicated their responsibilities and they feel that the school should just take over and the parents have to make copies of the forms and then fill the forms in the presence of the principals that's designated maybe teachers, that is the class teacher or vice-president, that's what we say. So you have to fill it in the presence of the school designated person. So that we don't have to see where by somebody we just sign something from somewhere, just come and dump it in the school. So the answer is to see the parents physically and see that it is the biological parent that is there to sign that particular form and then the student, the learner will also sign and then at that point the school will also put the stamp after the principal and the vice-president will have signed. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


Today's anti-capitalists are closer to fascism than they think. By Fabrizio Ferrari, an audio-mesis wire narrated by Million Quinteros. On the back of the economic crisis brought about by the COVID-19 pandemics, we are witnessing once more so-called economists, historians, and pundits attempting to proclaim the failure of capitalism. Their criticisms of the capitalistic organization of human cooperation and coexistence are various, but there are three strains of ideological attack against capitalism which seem to me to occur more often than others. There is an element about anti-capitalism that is often neglected. Even though anti-capitalism is usually associated with socialism and leftist movements, we can find the very same anti-capitalistic mentality in the fascist ideology. As Thomas de Lorenzo pointed out in his latest Mises You lecture on the topic, fascism is just a particular kind of socialism, just like communism itself is, hence the fact that fascists and communists share the same contempt for capitalism should not surprise anyone. The best way to understand the anti-capitalistic mentality of fascism and how close the arguments of contemporary anti-capitalists are to those of Benito Mussolini, is to read Mussolini's 1932 essay titled The Doctrine of Fascism, written together with Giovanni Gentile, the acknowledged philosophical ideologue of fascism. The attack Gentile and Mussolini carry out against capitalism is at least three-fold, and its underlying rhetoric is no different from the one of contemporary anti-capitalistic and allegedly anti-fascist movements. First, Gentile and Mussolini advocate a greater role for government in the economy. Second, they condemn both methodological and political individualism, asserting the importance of collectivism and collective identities. Third, they blame economism and the role economic constraints play in shaping human behavior, deploring materialism and advocating governments that transcend the praxeological and sociological laws of economics. Arguing Forevermore Government Intervention The first step anti-capitalists take when it comes to arguing in favor of bigger government is to belittle freedom in classical liberalism. In the paragraph titled Rejection of Economic Liberalism, Admiration of Bismarck, Gentile and Mussolini write that fascism is definitely and absolutely opposed to the doctrines of classical liberalism, both in the political and the economic sphere. Doesn't that have a familiar ring? Is it so different from the calls of many leftists for rethinking neo-liberalism and capitalism? A couple of paragraphs later, the absolute primacy of the state. The two fascists commenting upon what they believe to be the epitomic failure of capitalism, namely the 1929 World Recession, assert that economic crises can only be settled by state action and within the orbit of the state. Does that differ so much from the advocacy of contemporary liberals, better social Democrats, for interventionistic policies and their attempts to put capitalism under stricter government control? If it wasn't clear enough, just a few lines earlier, at the very beginning of the same paragraph, Mussolini and Gentile show what they mean in practice by their contempt for classical liberalism. In fact, they blame the classical liberal minimal state for restricting its activities to recording results stemming from economic dynamics, instead of directing the game and guiding the material and moral progress of the community. There again is the difference from leftists promoting greater interventionism or calling for a bigger government, able to steer markets so as to foster their own idea of social justice. In the end, when it comes to economic affairs, both modern leftist anti-capitalists and classical fascists are in favor of a highly non-neutral state. Fascism eulogizes collectivism and despises individualism. The viscerally anti-individualistic philosophical approach of fascism is clearly laid out throughout the whole essay. For instance, in the paragraph appropriately titled Rejection of Individualism and the Importance of the State, the fascist ideology is explicitly labeled as anti-individualistic. Insofar as fascism stresses the importance of the state and accepts the individual only insofar as his interests coincide with those of the state. Then doesn't this kind of rhetoric have a familiar ring? Is it so different from contemporary anti-globalization advocates and anti-capitalists arguing against, say, economic globalization? Because in their illiberal perspectives, it benefits only capitalists and entrepreneurs, neglecting the needs of the collectivity and the ultimate well-being of the nation. Can they see how close their interpretation of modern sociological and economic phenomena is to the fascist viewpoint? Should an entrepreneur refrain from freely trading with global partners just because the alleged interest of his nation or collectivity would be to preserve domestic national employment? Classical liberals would definitely answer no, whereas anti-capitalists, anti-globalization activists and fascists would altogether answer yes. In the end, when it comes to balancing the interests of individuals against the interests of collectivities and the nation, many modern anti-capitalists are no different from classical fascists. Fascism, Anti-Materialism and Omnipotent Government Lastly, many contemporary leftist anti-capitalists share with the fascist rhetoric both a sort of utopian anti-materialism and a kind of mystical idea of the mission that states and governments are vested with. As a matter of fact, the idea that a state should not passively accept the outcomes of freely chosen economic interactions and voluntary exchanges is widely held by modern leftist anti-capitalists. Analogously, in the last lines of the paragraph titled Rejection of Economic Liberalism, Admiration of Bismarck, Mussolini and Gentile blame classic liberalism for the agnosticism it professed in the sphere of economics and in the sphere of politics and morals. In other words, fascists, just like modern anti-capitalists, cannot accept that welfare-maximizing human beings naturally seek to engage in exchanges that each person thinks will make him or her better off. Instead, anti-capitalists would like to substitute morally superior choices forced on consumers by the state. Conclusion As Cicero stated, Historia Magistravite, knowledge of history is helpful to avoid past mistakes. When it comes to anti-capitalism, all its branches share more than their promoters are willing to admit. More precisely, every anti-capitalistic ideology promotes government interventionism, contempt for individual freedom, anti-materialism, and a mystical view of government's role in nature. They all start with anti-capitalism. They all end with dictatorships, slaughters, wars, and misery. For more content like this, visit Mises.org.