If we can do this, just imagine what you can do.


Now is the winter of our discontent, made glorious summer by the sun of York, and all the clouds that lured upon our house in the deep bosom of the ocean buried. Now are our brows with victorious wings, our bruised arms hung up for monuments, our stern allotments changed to merry meetings, our dreadful marches to delightful measures. Your envisaged war has smoothed his wrinkled front, and now, instead of mounting barren steves to fright the souls of fearful adversaries, he capers nymphs in a lady's bed chain, through the city's pleasing hallelujah. That I, that am not shaped for sportive tricks, nor made to court an amorous-looking glass, I, that am rudely stacked, and want love's majesty to strut before the bonds that amble him, I, that am curtailed at this fair portion, cheated a feature by dissembling nature, deformed, unfinished, sent before my time into this breathing world scarce half made up, and that so lame and unfashionable that dogs parked me as I hopped on. Why, I, in this weak piping time of peace, have no delight to pass away this time, unless to spy my shadow in the sun and to scant on my own deformity, and therefore, since I cannot prove a lover, to entertain these fair, well-spoken days, I am determined to prove a villain, and hate the idle pleasures of these days. Plots have I laid, inductions dangerous, by drunken prophecies, lies, and dreams, to set my brother Clarence and the king in deadly hate against one another, and if King Edward be as true as just, true and just as I am suffering, and false, and treacherous, that day should Clarence, this day should Clarence closely be mew'd up about a prophecy which says that, gee, of Edward's heirs shall the murderer be. Divine thoughts, dive down to my soul, here Clarence comes.


What's going on everyone Sam here with late in sports cards ripping two boxes of 2022 tops Cosmic Chrome Baseball for Ed B. So good luck here Ed. See what we got buddy. Let's go Ed. The worm, baby. Let's go Yeah, my sister's like a regional for them She's got like all New England And then some in Texas, huh? interesting Like gold already of Joe, uh, Joe on Durand 19 out of 50 on the rookie nice one there, Ed Absolutely Absolutely You having sheets Yeah, grab your popcorn Rice and stop tray turn Yeah, I do it next thing you know, yeah, we'll say that JD Markians on the move, baby. We're taking this on a world tour. Absolutely. It's gonna come in and terrorize everybody's town Ripping big breaks over taking big bones Muller I hear that's that's your best move I make sure I'm out of town orange Got many machado launching to orbit orange Francisco Lindor secondary color match on the ray wave nice one there 25 of 25 on the Frankie Christmas Yeah Like It's really impressive to think my little sister's boss like that Got a blue a Dolos Garcia nice one there 15 out of 99 Rocket stuff that ain't me 600 round trips That's brutal Yeah, we got we got ours to Massachusetts for it was like 500 bucks a piece man. That's not terrible Probably what about my trip from Connecticut Dude, I couldn't go see no rockets Take me to where they got Fucking Bronco inside. Oh, yeah, that's all I need Tell him I have to mechanical bull Entertain yeah true Rockets or whatever that is. That's a expensive nap Jayrod rookie the tax to go here at good luck, buddy. No, I know I hear you launch an orbit wander nice one there Jose of brave Jeremy Pena rookie Yeah, that's my my sister started in the one at the one in Rockefeller Center Hunter Green rookie Where it all began that's Jeff McNeill on the scope Austin Meadows. All right, Ed Heat up in this second box, buddy. Good luck blue boba shut 30 out of 99 nice one there Blue read Detmer's to 99 nice one there again, Ed My sister's at this place O'Neill cruise Wow, there you go Ed on card auto. Let's go heck.  Just kidding going nowhere Not agree. All right, keep going. Sorry Bobby Whit rookie did that That's awesome A color on these are so nice Gold Dalton Varshio nice one there that is 10 out of 50 and Stephen Kwan hit the Kwan, baby Chapman colors. Oh, yeah endless apps Oh, yeah launch into orbit tatsy Jake Berger spent a triple syndrome. He used to be good at one point man. I used to be a fan Giving up scope Freddie Freeman CJ Abrams rookie Verlander last pack here Ed. Good luck, buddy Launch into orbit Sammy Sosa And base that'll do it for your break there Ed nice O'Neill cruise congrats on all the hits buddy. We'll get them right out Yeah, that was awesome


Good evening. Welcome to you all to the launch of this book, The Psychology of Raps. I know the psychology of raps within quote marks, a quote from, in one sense, the subject of the book, Kundansha, that Saeed Mirza, his long-standing friend, associate comrade, has used as the title of the book. I won't tell you anything more about the book, but we'll start this evening's proceedings, except, of course, to introduce the panel to you, Saeed Mirza, my father left, I mean, right, Geetha Hariharan, who will conduct the conversation and not to get put wasn't. I'll say a few words. They don't need any introduction to this audience, but I'll say a few words about each of them, never the less. Saeed Mirza, filmmaker, writer, traveler, teacher, is a pioneer of the new wave progressive cinema in India. He has directed such milestones of Indian cinema as Arvind Desai Ki Ajeeb Dasna, 1978, Albert Pinto Kokusa Ki O Atta Hai, 1980, Mohan Joshi Haajir Ho, 1984, Salim Langre Pe Matro, 1989, and Naseem 1995. All his films have won major awards, including the National Film Awards. He is the director of the popular TV serials, Nukar and Intzar, as well as documentary films on social welfare and cultural activism. Saeed was a student of the Film and Television Institute of India and graduated from there in 1976. And the relevance of that is borne out in the book he has written in his latest book. Later he also taught at FTII and went on to become chairman of the Institute. This is his fourth book, The Previous Free Being. Am I right, Saeed? Sorry, yeah. Am I, Letter to a Democratic Mother, the first book published in 2008. The Monk, the Moor and Moses, Ben Jaloon, 2012. Memory in the Age of Amnesia, a personal history of our times, 2018. And now I know the psychology of rats, 2022. To introduce Nachiket Patwardhan, again an associate and friend of Saeed, architect, artist and filmmaker, has been illustrating books since 1971. He started his architectural practice in 1972 in partnership with architect's wife Deyu and has executed a variety of mostly non-commercial projects across the country. He has been actively involved in theatre and film design since 1974, apart from numerous art direction and production design projects. Geeta Hariharan, who will be in conversation with Saeed and Nachiket, is a writer, has written novels, short fiction and essays over the last three decades. Her work includes The Thousand Faces of Night, which won the Commonwealth Rapewriters Prize for best first book in 1993. The Art of Dying, a short story collection. The novels, The Ghost of Vasu Master, when dreams travel in times of siege, fugitive histories. And most recently, I have become the tide which has been translated into several languages. She also has, to her credit, a collection of essays called Almost Home, Cities and Other Places. She has also written children's stories, edited a collection of translated short fiction and an essay collection. Geeta has over the years been a cultural commentator through her essays, lectures and activism. So that is to introduce our three guests this evening. We'll start today's proceedings with a short clip, a video clip, a delightful little video clip. I'm sure all of you will enjoy. In which Albert Pinto meets Jani Bhidoyaro. Over to you Anu. A terrific note to start the evening because in a way the craziness of your friendship with Kundansha, the craziness of the film also. And the craziness of the book, which we'll talk about this particular kind of craziness at greater length. But I'd like to ask Saeed to read a little bit to set the context of the book. I think he's going to read something about why he wrote the book. Why am I writing this book? Is it because I feel that it is necessary and my time is running out? Perhaps that is true. It is becoming more and more difficult to remember the conversations, camaraderie, intellectual debates and dialectical upheavals with a friend. Then I think, will all of this make sense to my readers? What are they going to make of it? I don't know but I have to get this off my chest. I have to present this wonderful, crazy and vulnerable friend of mine to the world because he deserves it. And also because I firmly believe he had not lost it, which is a comment made by some people at that particular point of time. In fact towards the end of his life his more and more surreal, bizarre and sometimes viciously crude representations of reality came so much closer to the sordid truth of our times that it was embarrassing to quite a few of his friends and admirers. Was it because they saw their own acquiescence to this state of affairs difficult to stomach? I also hope the reader will find the book interesting despite its social and political overtones because there is a story in it. A story about deeply passionate Indian and world citizen. A citizen who by using humour, the absurd and the grotesque attempted to unravel our times and the world we have inherited. I say this because he had reached a point in his journey which forced him to strip away the frills and facades of our reality and to see it for what it really was, its essence. Compassionless, grotesque with moments of beauty. That was the way he saw it, not just India but the world. It was not pretty. It was bleak, gloomy, immoral, yet starchy, poetic and at times ironically an excruciatingly funny. In fact each failure seemed to push him to further extreme to his final film which was a political metaphor of our scoundrel times. Yes the film was deeply flawed but was his grotesque representation of our political reality very far from the truth. The short unassuming man in glasses who looked more like a clerk than a filmmaker had been through a tumultuous journey and I believe it was a journey worth revealing. He attempted to unmask the big lie that all of us had to live to accept the political, economic and social circumstances we find ourselves in. In a strange way I also believe he was born to be inflicted with pain because he could no longer just be a filmmaker and this is his story. It's also a story about two people who could not have been more different from each other and who over time and circumstance built an incredibly strong bound of trust and friendship. You could even call them comrades, Kundan Shah and I, Saeed Akhtar Mirza. This book is our perception of the world we have all inherited. Thank you Saeed. I think just that brief reading warns us that despite the quirky cover, the playfulness of the title and the illustrations, this delightful rat with the magnifying glass who goes about examining big and small issues, funny and sad and tragic historical developments, that though it seems lighthearted and indeed there is fun and lightheartedness in the book, because how would all the important aspects of life be conducted, whether it's art or politics or anything, without play, without lightheartedness. But it is a very, very spacious book where all the big themes are taken up. How do you become an artist? How does the artist live with the citizen? What is freedom? Who's freedom? What is democracy? So all the really big questions are there but in a very human way. So because at the center of it all is friendship. So the friendship I think is a signpost for how do you achieve solidarity. Rather than being a patriot and holding on to the mic forever, let me be anti-national and turn to my panelists. I want actually for us to go back to the point how did Saeed and Kundansha get to where they did. So let's go back and especially for the young people here. We didn't always have attacks on institutions and the new education policy. So we will go back to the 60s and to a tree called the Wisdom Tree in FTII. Natiket has a drawing of it and we know it of course because in more recent times when there were protests in FTII, we all heard about the Wisdom Tree even those of us who haven't seen it. And I just want to say that he says about Kundan that the only time I saw him relax was in his encounters with the funny man under the Wisdom Tree. Thank God for the Wisdom Tree. Set in the plaza between the main theater and the canteen, it was the third point of a triangle and very strategically located. It was the meeting place for debates, the telling of tales, gossip and an open-air space for any student to express his or her opinion about any and everything. And when the students went on strike, which was often, it was space for sit-ins and speeches. So if we can go back and sit under that tree and ask Saeed and Natiket to talk about what education in the broad sense of the word was. The human beings, friendship, creating friendship even with people who are different, the kind of films they saw, the Battle of Algiers for example, films about resistance in different parts of the world. The Vietnam War, the movements and the books they read. What were they learning? In my book where I'm trying to understand, you know when you sit under the Wisdom Tree, it's a space, it seems so empty out there. But if you really look hard, you'll see all the ghosts wandering around there. There are so many ghosts.  It's a cinematic space. But those ghosts tell you a story simultaneously that create whatever you want to do, make mistakes, be wrong, it does not matter, rise up again, correct yourself, create. That's an idea. It's an idea.  It's a space. It's a space. And in that, you have people whose work is seen. I have, can I read a little, a little part of it from there, because it was, who are the students who are, who are they getting, who are they being influenced by? And I, it's a little, it's a little... It is sort of Ghatak sitting under the Wisdom Tree and drinking rum and drinking water or film in life. So like put in, sir, give us an idea. Like once Kundan Shah asked Mr. Ghatak, say what is it, what is it, what is it, what, what does it take to be a good director? Yes. So this is only very simple. It's not in any textbook. So you have got to have your childhood in one pocket and a bottle of alcohol in the other. It's not in any textbook. And yet it has meaning. It carries meaning. And I, to me, there's a thing called the argumentative Indian. It's right here, I think. Yes, over here. Now who are the people whose work we were seeing as students? Let me tell you about them. They were entertainers, philosophers, inventors, comedians, magicians, anarchists, dreamers, Marxists, humanists, painters, architects, adventurers, dropouts, ethnographers, poets, writers and even fascists. All of them are iconoclasts. And the cinema that they created came in all styles, shapes and forms.  And then you were the Wisdom Tree to debate about what you've seen and heard and to talk about what it appears. Imagine the kind of space that it was. I have young students here who just, because we've had so many strikes, one after the other, they are right here. They've come from other generations, several generations after us. Sudhir Mishra is right there, who's worked on Janavidhara. In fact, one of the key elements of Janavidhara is right there, Mr. Sudhir Mishra, who's, you know, there. Now these are the people who have seen what it's all about. Did you ever have any trouble screening, say, any particular film as we do these days? No, not at all. Never. Never. It wasn't me. It would be interesting to, if you could just pull out one film that you still recall because it had such a, made such a mark on either you or Kundan. I think Battle of Algiers. Battle of Algiers was a film that, because it was a very strange film where you had a film director repute, but everything else in the film were real people. And it was their story and their reward as they fought against the French colonizers and your protagonists were real people as opposed to actors. And he's combining now that into a film and the power of that film on people. It was called the Battle of Algiers. I think it was made in 1963 or 1964. What was it made? Around that time. And it's incredibly powerful. And remember to see this film in the time of the emergency in India. We have an emergency on in India. You've seen this film in your theatre. What does it do to the students? It says, you can't revolt. You can't dissent. You can't say a thing. And of course the film, Saeed, if you remember, I think one of the characters, I can't remember the name, actually says, winning freedom is one thing, but the real revolution will start afterwards. Which of course is really resonant, not just for Algeria, but for us. I was wondering, Natiket, could you tell us something about the 60s education? Was studying architecture anything like this kind of experience with studying film? Architecture actually even today continues to be taught through textbooks without any real experience. Architecture is a work which has been made into a noun. And it's after you get your degree that you then decide what you want to learn. Luckily, students know this fairly early.  You know that listening to music is important, you know. So you find your way out. And that's how architects have become architects. They are largely self-taught. And because you're not taught architecture in any real sense, you're open to receiving any kind of interesting, meaningful inputs that you can get. That's how we got into stage film designing as another form of architecture. I mean, the building is going to be removed when the day's work is done. But the principles of designing, supervising, right from concept to execution are more or less the same. The biggest difference was that there was a high level of informality in the education. We lived next to the Film Institute. Luckily, they didn't have a compound wall. We could go in through the broken hedge and walk in and see films, sit in and listen to Professor Bahadur or whatever. There was no sense of show me your ID card or where have you come from. And invariably every screening in the Film Institute, which at that time also showed films of the National Film Archives, were followed by a discussion because invariably present in the audience would be somebody who was involved with the film, either a director or, you know, it wasn't just seeing a film. The 15 minutes that followed the screening were, I think, very, very important. The mention of ghosts reminded me that the Film Institute probably still has the ghosts of the Prabhat film studios, which were a revolutionary institution through the 20s and 30s, where people came at 9.30, checked in, did their day's work, left in the evening, and everybody was involved with every stage of filmmaking. When a film was about to be launched, 80% of people would be working in the publicity. If they were shooting, people would be asked to get into costume and take part and located where it was, from a set to the hillside to a little forest to the Banaras Ghat. You had everything on campus. I'm going to hold on to that because this sort of, what shall I say, being anti-specialization and breaking walls between disciplines in that formal way, you know, science arts, but the fact that you can get this variety of things, it also means then, I'm interested in finding out when we're talking about friendship, that you have two very different sorts of people and also you're not, you're already married there and perhaps you even have children by then. Yes, you have two children by then. So, how this, in a way, there's a parallel here, the walls between reading and architecture and design and setting and everybody gets to do a little bit of everything, it also allows you to meet very different people and it's only later Kunban tells you how he felt. So, I think it would be interesting to hear about that, how the two of you, you found out actually that you come from very different places. No, it was much later, but I must tell you about when we talk about the kind of exposure, it was not just for directors and writers, it was also for the sound recorders and the editors and the cinematographers and the actors and the screenplay writers. Suddenly they were seeing a kind of cinema and you could see it coming to their work because they started turning much more nuanced, they started probing much more in terms of their work and if you see, at least we see Hindi cinema today and what you see in terms of its technologies, almost most of them have come from students from the FTI. The cinematographer was the cameraman, the editors, sound recorders all from school, who not from school, I was the SRFTI. But in other words, they were equipped but simultaneously they also saw a word cinema. They also saw and they knew what that meant and it gave them enormous amount of leverage in terms of their work because they were exposed to all kinds of cinema. In terms of Kundal Shah and I, I came from a kind of an urban background an elite school, elite college and Kundal came from the other side of the tracks in a sense and in the book I've mentioned this very clearly, he could see us when we discuss literature and painting and philosophy and architecture and Marxism and revolution and there he was from a trading family from Yemen and his grandma struggled to school and he went to Spain and he earned enough money to go to the first year of school and they hoped like hell for a scholarship for the next year. So he really felt in a sense, he felt that he was like an outsider to a much another kind of world and he always felt he had to catch up and in his final outburst which is there in the book and suddenly I realized how right he was and how wrong I was in terms of our approach towards life in a sense, you know and he taught me in that sense so much. The other thing is if I could, you know there's a little passage in the book which I wish I could know, can I read it out to you? It's a little passage. You know when I, and that outburst taught me a lot and then you know there's a little passage over there. Let me see if I can find it. It'll be further down. In fact that is rather good because you talk about the language of communication and I think it's a problem for today. Yeah, see if you can find it faster. It's something like 11 years later I think when the background side maybe you can tell people is that they make fun of Kundansha and a couple of others who spend a lot of time at night watching films and taking notes. So the rest of them are very amused that these are taking notes all the time in the dark.  And you read that passage anyway about what he said and that passionate and eloquent outburst taught me a lot. That outburst of Kundan in 1989 revealed a lot of other lessons that had to be learned. How had I not read the sign that he had talked about? Most of the valuable visible lefties at film school came from a certain background. They were from elite schools and colleges for English sneaking and exuded a casual confidence in social relations. They talked about justice and equality, discussed wars and liberation movements, debated about history, aesthetics and art with confidence. And yet spoken a language far removed from the rest of the students. They dealt with ideas for their intrinsic value rather than through a lived experience. How the hell could they reach out to the rest of the students? Did they even attempt to? But the argument went far beyond our campus to an extent to the world at large as social political activists attempted to identify with the right with the fight for the causes of the underprivileged, the unequal and the disenfranchised. They would have to realize that it is not good enough to talk about ideas, language and philosophy. What was also important was a language in which these were conveyed. As someone said, history is littered with the causes of our intentions. So it's ways of seeing but also ways of speaking. I am negotiating different languages, literally and otherwise. I thought we would move on to talk about the artist's life. How in the institute you chose to be a filmmaker, so the choice of a medium, and then over a period of time you sort of become a polygamist or polyamorous and decide that one medium is simply not enough, that you have to have multiple, which is a very interesting thing with both of you, that you're able to use multiple media, have one leaking to the other. This book itself is structured like that with snippets and soliloquies, and so it's not the kind of boring conventional book that people like me write, but there's all this other stuff going on. So if you talk about, were you always sure that you would be a filmmaker, how did that, before you tell us about the great divorce? No, the thing is that, I did want to be a filmmaker, I loved cinema, I remember the child scene cinema in my home, and my father getting these various classics for us to see, because he realized that same love cinema he also needs to know there's all kinds of cinema, not just the kind that he's seeing in the theatres, but suddenly at the age of 14, I'm exposed to horror cinema. That was my father's input. And the thing is that I loved cinema, but I was also in college and I wanted to get married, and I needed a job, so I decided to get it to advertising and get a job and get married because I needed to know to prove that I can support a wife and family or whatever. So it had to be done very correctly. And then of course I did that, and for seven years I was in advertising. And it was horrific, actually. You know, it was bad, and my wife realized that it was very difficult to get up in the morning and go to work. It was very difficult, but you don't know what you were doing. But she knew what she didn't want to do. Yes, and then she filled up the forms of the FDR, so she went to go there, and don't worry, I'll work full-time. You go ahead to film school, because I really felt that if I had to go to film school, I must myself in the study of it directly, you know, and that's what we did. The rest, as I said, is perhaps history, but I must say the support that I got from the family.  So it is, yeah, it's a journey, it's a journey, but I've never regretted that. I moved from advertising to film.  I had nothing more to say, and I said I walk away from films. But it didn't mean I walk away from cinema because a lot of students would come to me with their work and other filmmakers would come to discuss their script, but I opted out of films completely. And I started writing. First of all, I started traveling a lot. Sir, you drove up to the bike. Oh, sorry. Sorry, I started traveling a lot and then started writing. And I realized it gave me immense pleasure, I think. And to, actually there's a phrase, it says to understand yourself, you know, when you gather yourself, what better way than writing?  And I wrote my first book and then I liked it very much for myself, I felt good writing it. And then I continued writing. That's it, it's a journey. And when you... You thought, I must... I, when I write, because of my training as a dissenter at the film school, I made a point to dissent against the structure of the novel too. I objected to what exists. And I tried very hard to create a form in literature which I could call a literary installation as opposed to literature. You don't want to use the words. I am not interested in the wizardry of words. I'm interested in ideas that can be communicated and therefore you structure a book in a certain kind of way which delivers to a reader an experience. If it can, that's the intention. And I've always believed that this linearity of the novel of the beginning, middle and end is never, never... It's just something lacking in it as a form. As a form of a beginning, middle and end. So as soon as you start playing games with form and that was the attempt. How successful I've been, I'm not so sure. I'm not so sure. But you know that as a form I can travel on this path for some more time until I shift to some other kind of form. But right now I feel this is a path in which I can travel. I don't know what... In fact, I was going to ask you specifically about the book and then we come back to multiple engagements with different forms. But the way you have designed and structured the book and perhaps installation is the right word for the character. But also the events you have chosen, you've actually covered years of, you know, 16 years of change and mayhem. And so if you could tell us a little bit about how the... I know that psychology of rats is where the rat began.  And as a contrast to that you have this cuddly Walt Disney. So I was very keen to not... to sort of strike something in the middle which would make it a little human but not an unreal cartoon character like Tom Inger here.  So that was one effort which took some time. Otherwise it was really following more or less because we would go through the book, he would read it, I would draw. So there was a lot of back and forth. It wasn't a case of illustrating a text. So it was really deciding whether there should be an illustration at all or not. Or whether the text was fine or what kind of illustration it needed. So it was... And we spent a little over a year over this. And part of the design is also, you know, there's a kind of amplification. Yes. Because suddenly you have a bold thought. The page was also very conscious of what shouldn't appear towards the end of the page but needs to come at the top left on the next page. Or something must be a new paragraph and not added on to the earlier. So there was... We were looking at not just the drawings but the text itself in terms of the islands that they occupy and posters which I felt can't be really represented as a drawing. So we've kept the posters, film posters as they are. And some photographs also didn't really need... There was no way one could improve on a photograph in some cases. So it's a combination of photographs, drawings, posters and the text used and positioned in a way that gives a sort of a pause or a... So that was a very challenging process. Is it too far-fetched like a set design almost? No, you see with a set design there is a very... Well, it is close to that because there is a demand of the script and the performance and you have to provide a visual context for it. So that's true in a sense. I have not really felt that doing a building or a film or a book design are vastly different things. The mental process is very similar. You just have a different method of presenting it. So we take a lot of pains in showing a building as a drawing where it's actually going in another direction. The building has nothing to do with us. It's all very different. I have never felt it is very different because there is an idea and a concept you have to build on and all of them require some amount of research. You have to read the history book or sociology book or something to find out more about the subject that you're dealing with. And then there is a way of doing it. Now you have a computer and you have various tools to help you achieve that. So I think the process is... I don't know if I'm making sense but I haven't really felt I'm doing very different things. Actually, the medium is different. There's a kind of drama in the words. I noticed that very often, Kundan Shah says something outrageous and you say, what? That's a kind of, you know, with a question mark and an exclamation. So there is this feeling of being on stage. So there is this feeling of an installation. I thought one fascinating thing about this friendship to come back to Kundan Shah is that you're such distinct individuals. Not just different, but individualistic side. You continue to be, but you were even then. But yet there is this feeling of camaraderie which is quite beautiful. So it's not like two identical people because they think the same and they speak the same than their friends. But it is a kind of argumentative relationship. That's the reason for it. Yes, tell me. Right through our film career, a film school time, three years over there, I always thought he was one of those nerds who keeps taking down notes. I think this is like an NBA film director. He wants to, even in the theater, in the dark theater, he had a little torch, a flashlight, and he'd be taking down notes. And I said, here, look, later, you go to your editing room and see the details of the film. See it. Take it in. And his argument with us, as you guys did too much in politics, politics was nothing to cinema. Cinema is separate from politics, so please don't contaminate us. We are free. We are free spirits. This is Kundan Shah. So in the end, he became slightly closer. It's only at the end when I saw his diploma film, his last final film, and we just barely become friends. It was a masterpiece of controlled anarchy.  And it was the best film in our class, that film, that diploma film of his. To me personally, I found it the best film. It's about bank robbers shooting. Nobody dies. They're shooting everything. And they're committing suicide. All kinds of things are happening. They're going nowhere. But it was a piece of anarchy. Beautiful. And the applause that it got in the class. And then we parted. It was a lovely film, et cetera. And I said, I'm going to do my work, et cetera. So I heard it pushed off to Hyderabad, because they didn't want to take the big city of it. They pushed off to do some little work over there. He and his gang of three, two of them. They were doing something. I kept hearing stories. And as soon as I completed my first film, I heard a story that Kundan Shah has gotten married, migrated to England, and he's no longer involved with films. And I said, oh my God, I heard this story.  What a waste, because what I saw, that last film of his, I said, what did he do? He's become a trader. He came back to something, but he came back. That's the story. He came back because he could not be a trader because he had tasted poetry. He had to come back. He had to come back. It's in the book. The special thing about the friendship, Said spoke of how he learned from that outburst all those years later. What I enjoyed very much was the same Kundan who said, why do you people see politics in everything? And then later he says, I see politics everywhere. Exactly. Which I think is a kind of finally what education is meant to be. That you are open to transformation. Absolutely. So if we move beyond friendship to the bigger world, not always happy, but there's a lot of that in the book. I think it's important to talk about Kundan Shah there, because in both instances, whether it's the emergency where he says, must stand against tyranny, or 2002, when he actually takes responsibility. So I think we can start with that and then talk about the artist as a citizen. No, because at the time of the emergency, at the FDI, my sister-in-law, my wife's sister-in-law, my sister-in-law, my wife's sister was arrested and she went to jail. At the time she was three or four months in jail. And the news spread at the institute that Said Mirza's sister-in-law was in jail for anti-national activities or something. And sitting in my room and late in the night, I knock on the door. This is the last year of I knock on the door, Kundan enters. I'm sorry to hear this news. We have to fight these fellows. We have to fight oppression. First time he taken the political stance. He said, this is wrong. You cannot go to know this is wrong. He took a stand there. I said, this is the first time he did something political. But in 2002 we have the riots. We are friends, we are partners. He tells me that he's right there. I am responsible for the riots.  Had men out then. Oh, sorry. But he said, I have to take responsibility for the riots.  We've got nothing to do with it. He said, no, no, I have to. I am a Hindu and I know nobody will be held responsible for it. I am taking responsibility for the riots. I am taking responsibility for the riots. Nobody will be held accountable. I know that. I am telling you, I am so sorry. That is passion. I am so sorry. And right now we've got a home minister who just said, see we taught those guys a lesson in 2002. Two days ago. Three days ago.   They are quiet. But the point I am getting at, that is Kundan Shah. No motion. It's a very powerful line. For those who didn't hear, Jennifer is pointing out that Kundan Shah said that the Babri Masjid should be rebuilt brick by brick in slow motion. Of course, it's being December. It's a good thing to remember. And you've got to say something. There was a word in between because last time translation, brick by brick. In slow motion. Yes. In fact, for reading, I was wondering because you have asterisks there, whether we should say a thing when we are talking or say fucking. But and beyond, beyond India, we sort of glancingly refer to Vietnam and Algeria. But in more recent times, the book talks about warfare with drones as if it's some sort of video game. It talks about Afghanistan. And Obama. He had to take on Obama, which is quite no, he was he was eclectic but so there so much there. He was just he was there. So let me ask in more general terms. Can you move you closer so that you're comfortable? No, no, I can move forward like that. I keep forgetting that. Yes. Yes. Okay. He's going to be uncomfortable otherwise sitting like this. It is on. It's on, all right. Yeah. All right. This is turning out to be a new scene from maybe we should both speak back to back. Thank you. All right. I feel good. Yes. Now you can sit comfortably. I do want beyond the friendship and what is in the book I think it's important to talk about how do all of us in these times whether it's through a book or a film or music or whatever or perhaps a building given the center of itself how do we actually express what we feel deeply I'm not going to say our politics because you have you know Kundan Shah's taught us that politics can be something deeply felt. How do we dissent? How do we say what we want to in these times? How do we become a citizen? Walk on the street with your slogans. Just walk, I don't know. See it. I don't know it's like you know I as Kundan would say if 10 guys say you're drunk you don't lie down. You stand up and see it. You stand up and speak your mind. What is the fear? I cannot understand what is the fear unless there are so many skeletons in your closet that you're frightened of being caught and I don't know and then the point is if you do have skeletons in your closet you shouldn't be speaking up anyway why are there skeletons in your closet in the first place? Why are there they there?  If you've done it in a certain kind lived your life in a certain kind then you should speak up. That's it, that's the only way. I really don't know why should one be afraid? I've called my home minister names two days ago because I'm not that I'm fearless I'm not suggesting that I'm fearless I'm just saying this is the truth and that's the way when he makes a statement like this about the 2002 why can't he be hauled into court for that statement he should be but there's an incredible silence there's a conspiracy of silence all around I'm not suggesting that one should be agitated the thing is it should be said what is it? it needs to be said absolutely let me ask you made a film on Gandhi of course there's a question of courage and leaving aside fear and so on but there's also the more difficult question of how do you make a film or write a book without it being crude propaganda how do you use that medium well to say what you want to think about but I was interested that you decided to make this film on Gandhi what do you think what is important is today you have far too many distractions all of us have a hundred distractions it's difficult enough to find out what my medium is but having found it to be able to pursue it without distractions with enough rears every day and hold on to it is very very difficult and if people do not know what their medium is they are playing cricket when they ought to be singing that's very difficult and this is not something which other people can decide for it we have all the whole world is a intelligent faculty if you're willing to look and listen so and yet a lot of children chase something because there's a good salary or because there's money and what do I really want to do at the end of the day is the most difficult step to cross and I think if we can all do that and do it with a sense of purpose and literally look at other things like an evening entertainment or the problem is that with the distractions you want to do a hundred things and then nothing works so I think if all of us did what we are doing very purposefully because I keep finding a plumber who actually wanted to be a taxi driver like plumbing but he's doing it and a taxi driver wanted to do something else but he's inherited this taxi and so he's driving a taxi so this is happening on a very large scale and students are chasing salaries or you know without really focusing on what they want to do what they can do the right word I think and as I actually that's partly what I want to get back to is to recall at this distance whether it's film or writing what is that dedication these are demanding very very demanding vocations, professions whatever you want to call it so that is really what I'm talking about so how do you get what you want to say into that your films I was watching some of the early ones again they're very passionate, they're very angry and I suddenly realized today people talk about the underworld they glamorize it they sentimentalize it but these are very real people so it's not some body would imagine so that is what I'm talking about the courage to say this is what real life is like this is what it feels like if you are desperately trying to find a place in the world if you are Salim Langre or Albert Pinto and I think that is what is very very interesting looking at back at your work I suppose also the fact is that the amount of research that went into each film that you worked on there's a lot of research that went behind it and through that something emerges and I would like to call that you might have made mistakes in your cinema or your books but the point is that the approach to it was not there was a certain integral approach to your work that to be very critical how do you approach something with integrity or is it is it for other reasons and that's the critical part that I was talking about how do you approach anything that you do and your approach if it's going to be for some kind of gain I think you've lost the battle halfway you've already lost the battle do it for the sake of it has to be done then check it out later as to what will happen with it later but right now I think the entire approach is with what you are doing and that should be total concentration total integrity as opposed to will it be going to this festival so unimportant will it be making a lot of money we have this particular scene because it is going to be what a waste of time write the scene if you believe we are not a hot house plant and you do your work that's it I was telling somebody I think I said Hindu there is that a lot of things that I have done you feel that the intention behind it seems to be more of a you question the intention behind it it appears to be worth now you can judge almost you can judge what is the intention behind it and that sets you thinking that's all I have to say you use the word poetry frequently and in multiple ways to mean the soul to mean poetry as we usually mean it and you say in fact you moved on from film because no longer had poetry and in fact you quote your father I thought that was amazing that the Soviet Union fell because it lost its poetry now you are using poetry in fairly complex ways would you like to say something about this finding the poetry in a form what is poetry to me if something has poetry has an intrinsic value in it when my father talked about the collapse of the Soviet Union he said it was an idea that had a lot of poetry in it what is the idea of the Soviet Union communism really all about what are the intentions behind it and then when it turns such turning into its own head the poetry is slowly sucked out of it and then it is going to collapse the other factors are also coming to play which help it collapse but there is an internal there has been a corrosion also simultaneously which has to be recognized and when I say there is a quote from this film called La Jolie Mai which I have used in La Jolie Mai and in that it says so long as there are rich so long as there are poor you can't be rich so long as there are unhappy you can't be happy so long as there are presents you can't be free these are little details of is there one definition of poetry? I think there are multiple definitions of poetry but what we are trying to get at is that it is fundamentally a compassionate vision of the world in a strange way that's what it's really all about a compassionate inclusive vision of the world beautiful definition on to the the floor I wanted to read the third soliloquy which in fact is about poetry and Saeed Mirza and Kundan Shah poetry it was a word that he used so often what did he mean by it I remember the time at film school when he was deeply moved by the voiceover in the final scene of the documentary film La Jolie May by Chris Marker so long as there is sadness you can't be happy so long as there are poor you can't be rich so long as there are prisons you can't be free great stuff Kundan had said and you don't have to be a Marxist to feel such emotions it was a jibe I still remember my quick response Chris Marker is a Marxist I know I was pulling your leg it was almost towards the end of our final year at film school and Kundan Shah and I were getting to know each other much better he was even pulling my leg by the way I discovered a great poet Faiz Ahmed Faiz so I decided to pull his leg too you did I thought he was discovered a long time ago well I discovered him today I was reading translations of some of his poems in the library very powerful a pity he's also a Marxist it was my turn to smile yeah a pity I like the way he uses metaphors to get his points across it's a very powerful tool to convey ideas what Kundan would not know was that a poem of Faiz would become a kind of anthem for a very large number of people in India in the year 2019 that would be two years after Kundan passed away the poem is called Hamde Kinge


Wognizal asset news, take the top stories in crypto currency and assets and break them down into bite-sized pieces. Today I want to talk to you about how to use your theta tokens to stake on the theta network to create a guardian node and thereby earn key fuel. So to go over some requirements, it used to be that you needed 10,000 theta tokens to start up your guardian node, but that all changed on December 10th where they said it only takes a thousand theta to start up your guardian node. So much easier. So how do we do that? Well, it's pretty simple. I will put that link in the description. You're going to scroll down to where it talks about join the network. Theta guardian node. And we're going to, there's two options. Download for macOS or windows or Linux, whatever else you can do right here or click on the getting started guide. I recommend just to do that because there's two options. When you open that up, you can do a GUI, a graphic user interface, which is what I'll be doing.  I will not be doing that. I'll be doing the GUI. So I'm going to click and I'm going to scroll up and it states, please download the latest installation file from, or for windows or macOS or Ubuntu, Linux, whatever. So I have a Mac. So I'm going to click on Mac. I'll save it to the desktop. I'll press save. I'll find on my desktop and I'll open it up and I'll stick it in applications because I have a Mac and I'll find on my applications and I'll click on guardian node and say, welcome. There's four steps. Create a node, sync, stake, run. So let's let's continue. Let's make a password and let's create a node. And I was going to wait for it to totally sync to 100%. Now, right now we're waiting for just a little bit. And this is what we want. Deposit state. Please take it to your guardian node so it can begin voting on the Theta network. And there's a nice little long hash and you can copy the clip or the QR code to expand, whichever you want to do. Now I'm going to show you exactly what we're talking about. So the first thing I want to do is go to my Theta wallet. You can find it at wallet.theta-token.org. I'm going to link that in the description. If you do not have a Theta wallet or this looks a little bit confusing, no problems. Just go to DanTeachersCribs.com. It's my 100% free website. Just log in to the members area after you sign up or if you already have a username and password. And then go to module five. How do I? It's the very first video. How do I buy Theta? And it's going to walk you through how to buy Theta. How to set up the wallet. And I make things super simple. So I already have that set up. I am going to unlock my wallet and do that. I'm going to do two things. The key store file and the password, which I'll do right now and probably show up this video. Okay.  You notice I got 10,000 whopping Theta, which I have accumulated over a bit of time. So I dollar cost average. And I was waiting for 10,000 because that was the limit for the Guardian node. And of course they changed it to 1,000, but that's okay. Theta is still a pretty great project. So before I do everything, I had to tell you that you're going to need some T-Fuel. And you don't need that much like .001. And what's great about the Theta wallet is that you're going to click on that. And if you don't have any, you can always get some at SimpleSwap. Again, watch the video that I just talked about over at DanTeachersCrypto. But for T-Fuel, you can just click on receive. And you can see right here, receive a small amount of T-Fuel on the mainnet. Sure. I'll take a little bit. Click on faucet. And it's going to say you receive a little bit. So great. Let's take a look. And I got just enough .001. That's exactly what I need to stake. So how do I stake this? Well, very simply up here, wallet send receive stake. We're going to click on stakes. Actually, I'm going to click on Theta and then click on stakes. I'm going to deposit stake. And do I want to be a validator or a Guardian? Well, I don't have as much Theta as Google has because they are a validator. I don't have millions of them. I just got 10,000. So I'm going to click on Guardian node. I'm going to click on continue. So now Theta. Here's all the tokens that I have. The Guardian node holder summary. That looks familiar. It's the one right over here. So I'm going to copy to clickboard. And I'm just going to remember. I always try to remember like the last one. So BA-01, 0x04 is the first one, BA-01. Okay. So I'm going to copy. Come over here. And I'm going to paste. And BA-01, sure. And the first one, 0x04. Yes. Looks like I'm good. The amount to stake. So I'm going to click on this. I'm just going to go for the whole shebang. 10,000. Why not? Transaction fee. Oh, I only need .0001. T fuel. Great. I'm going to deposit the stake. And it's going to say, is this correct? Great. Enter the wall password. And I enter that in. And I'm going to click on confirm and deposit stake. Great. Your transaction is now being processed. So now we can see on here it says, Stakes, 0x04. And if it be, that's me. 10,000, blah, blah, withdrawn, no return, whatever else. So that is what we want to see. So now what I'm going to do is just to verify this. I'm going to go back to the Guardian Node, which I downloaded on my computer. And voila. It states right there. Stake 10,100, network stake, blah, blah. Stakers balance, earnings, guardian pairs, and so on and so forth. And just so you know, if you ever have to get back there, remember it's an application. So just like my deadless wallet hangs in the background, I'm going to have my guardian node right there. I can always get back to it. And that is it for staking on Theta. Also, if you like that easy video on how to stake on Theta, I've also got another video on how to stake on Cardano. Just head on over to danteachescrypto.com. And the very top just says ADA Staking. Just click on that. And then very simply just click on wallets or scroll down, whichever you want to do. And there's a nice little video here about 13 minutes. It'll tell you how to stake your Cardano on deadless Yoroi or ADA Lite. So hopefully this was a very easy to follow video. Thanks so much for watching all the way to the very end. And I'll see you on the next one.


QuickBooks Desktop 2024, customer prepayment, purchase order, bill, invoice, and receive payment forms. Get ready and some coffee because we're locking into some non-stop QuickBooks Desktop 2024. First, a word from our sponsor. Yeah, actually we're sponsoring ourselves on this one because apparently the merchandisers, they don't want to be seen with us.  Like our crunchy numbers is my cardio product line. Now, I'm not saying that subscribing to this channel, crunchy numbers with us, will make you thin, fit, and healthy or anything. However, it does seem like it worked for her. Just saying. So, you know, subscribe, hit the bell thing and buy some merchandise so you can make the world a better place by sharing your accounting instruction exercise routine. If you would like a commercial free experience, consider subscribing to our website at accountinginstruction.com or accountinginstruction.thinkific.com. We are in QuickBooks Desktop sample company file. We set up in a prior presentation using the enterprise version of the QuickBooks Desktop software so we can practice using the unearned revenue new feature within it. Under the view tab, we've got the hide icon bar selected, the open windows selected, open windows open on the left hand side. Under the company dropdown, we have the home page open going into the reports so we can open the major financial statement reports. Like we do every time, company and financial looking at that balance sheet standard report. Let's customize the report, change that range from 010127 tab, 123127 tab, fonts and numbers changing the font to bring it up to 14. Is that okay? Yes, okay then. Then we're going to go to the reports dropdown again, company and financial. This time the P, the L, the profit loss, the income statement, change the range. This time from 010127 to let's go to 06327. And then I want to see this one on a month by month breakout, month by month. And then customize the reports, fonts and numbers changing the font up to 14. And okay, yes and okay. So that's the setup process we do every time. We've been running the multiple scenarios here, the standard scenario in January. Then we did a couple scenarios with a negative AR February and March or March through May. And now we're running our new scenario here in June. Let's recap what we did thus far. Home tab, we're looking at a situation where we're selling a large product. In our case a surfboard, a psychedelic surfboard because it's got a crazy airbrush on it. And we want to then, we made an estimate for it. So we're imagining the customer came in, wanted the surfboard, we made the estimate. And then we made a sales order which basically locks in the estimate that has been made. And then we asked for a deposit because we're going to go up here and order the custom surfboard. And we want to make sure this guy's locked into the sale. And then we jumped over and received a payment skipping as the arrows are saying here the invoice. So usually when we do that under the old method that would make a negative AR, which would be okay from an internal reporting standpoint or bookkeeping standpoint, but for external reporting purposes causes a problem because it should be a positive liability. And so the new method QuickBooks allows us to make a positive liability. Check that out. Balance sheet, instead of making a negative accounts receivable over here, it made another account down below and we called it customer deposit. There is our $50. When I look at the sub ledger reports under the reports dropdown, if I go to the receivables, we now have two of them we need to track. We're going to go to the customer balance detail. This tracks the accounts receivable. Let's customize it. Let's make the fonts and numbers. Let's just bring it up to 12. Let's not get crazy with the 14. Yes. And okay, it's not here yet because it's under the, it's a liability. So we have another report now a sub ledger for the customers and receivables. And this is going to be the open, what did we call it? Open pre-payments. There that is. Let's customize this report. Fonts and numbers change the font up to 12 as well. And okay, okay, okay. Then if I go into my customers dropdown, the customer center. This is where our customers are hanging. They're hanging out over here. So there is our customer. We could see that we made an estimate. We had the sales order and then we got that payment. We should now be able to apply that payment to the invoice, which is what's going to happen next on the customer side. But before we do that, we have to actually buy the product. So we're going to go over here and say, we don't have it yet because it was a custom order. We made a sales order. Now we want to make a purchase order from the sales order so that we can then go to our vendor and purchase the product. All right. So let's do that. Let's go back into the customer detail. I think the easiest way to do that would be from the customer center. We go into the sales order. And then I'm just going to say make a bill, a purchase order from it. So create a purchase order. So we're going to the purchasing side and it says create the purchase order for all allowed items. That's what we want. Pull the whole thing in there. There's just one thing. And then this is going to be, what did we call it? Customer prepayment vendor, which is a funny name for a vendor. But I'm just trying to say everything has that name so that we can tie it to this scenario that we're running out. This is going to be 06, let's say 0427, tab, tab, tab, tab. This is another internal document. Not going to record anything. It's only for $100 because that's the cost of the surfboard, not the sales price, which was $175 and no sales tax is being applied here because we're going to apply the tax on the sales side internal documents that we could track in Excel. This is just going to be the PO or purchase order, no financial transaction happening. We track that internally. So I'm just going to save it and close it. Where do we track it internally? Closing this out. We track it not in the customer center, but in the vendor center. So we go to the vendor dropdown, vendor center. We can see it somewhere because I should have named the vendor's name with a 4 so I could have seen it easier. What did I call it? Customer prepayment. So I should have put a 4. That's what I was doing before. But that's okay. Here's the open purchase order. And then the next thing would be we would have a bill that when we receive the surfboard. So let's do that. I'm going to double click on this and we would then we could say create a sales receipt. I'm just going to go directly to a bill. I'm going to close this out home page and let's say now we're going to receive the inventory with a bill. So we got a box with a surfboard and it's got a psychedelic air breath that was ordered for and we want the and it's got a bill with it. So this is going to be the customer, the vendor. What did I call it? I call the vendor customer prepayment vendor. And then it says there's an open purchase order. Do we want to add that? I'm paraphrasing. I'm going to say yes we do. I would like to do that. Quick books. Thank you for working asking. This is going to be 06. Let's make it 0727 tab, tab, tab. There's the $100 and there's the item down below. Now what's going to what's this going to do? It's a bill and therefore it's going to increase the accounts payable. That's what bills do. It's going to increase the sub ledger for this vendor and the other side is going to go to inventory for the surfboard putting it on the books for 100 and tracking the sub ledger for inventory. I don't need to make it billable because I don't want to pull this into the invoice. We will create an invoice because I'm going to turn around and sell this to the customer. But we're going to create the invoice from the sales order in our case. So if I record that in a journal entry format over here, I could say let's do it with a journal entry. What's going to happen? We're going to say the inventory is going to say equals the inventory is going up and the other side is going to be equal to the accounts payable. That's it. And it should be over here. I'm going to copy that and put that over here. I have to cut it and put it over here. And then I got a format paint this down here. Sorry about that. And this is going to be a bill type form for $100. One hundo, negative one hundo inventory up top. Let's record it. Inventory is going to go up by the one hundo. And then the liability accounts payable is going to go up. Both of those accounts have a sub ledger to them. Inventory, we need to track it by units of items typically and accounts payable. We need to track who we owe by the vendor. Notice nothing is happening down here for the cost of goods sold at this time because we're using a perpetual inventory system. So I'm going to go back on over. Let's check that on this side. I have to make it smaller so I can see the button to complete the transaction. So I'm going to save it and close it, save it and close it. And then back up to full super sized. And then we're going to go on over to the balance sheet to see what happened. What happened? We're going to say that the inventory went up. The inventory went up. There I said it because I said I was going to say it. We're going to say the inventory went up. The inventory went up. There. I do what I say I'm going to do. So there it is. $100 bill inventory goes up. The other side went to the AP accounts payable. So there's the accounts payable double clicking on it. It's going up. It's going up. We can see if we had the sub ledger for the vendor vendor. We could see the AP vendor balance detail. We can see the bill here if I find that customer because I should have numbered it. There it is. That's the same as normal. So nothing really new with because we're really the new thing has happened on the customer side, not the vendor side. We can also see that of course in the vendor center. So now we've got the bill and we would have to pay the bill later. But we're not going to do that right now because that's not our point of focus. We're on the customer side. So now if I go back to the homepage, we now have made the estimate sales order. We've got a down payment and then we use that possibly to help us purchase the custom surfboard, which we now have because it shipped to us. Now we're going to create an invoice and we're going to apply that $50 to it. And then the remaining balance will still be due. So we're going to say, all right, this is the critical moment here because we have to apply that credit out. So if I go into the customer center, now I can see over here, it looks nice from the bookkeeping side because I can see that $50. And I can see that I would apply that to the invoice just like we did with the negative accounts receivable method. So let's go ahead. I could go into the sales order and say, let's make an invoice from it. Now I'm going to create the invoice from the sales order. And I'm going to say, make a, oh, no way. Yeah, that's right. Make the invoice and then create the invoice for all. Yes. And that's what I want to do. So then I'll tab it through. This is going to be 0609. Let's say 27 tab, tab, tab, tab, tab, tab, tab. And so now the invoice pulls in and we're charging 175. We bought it for 100. Sales tax is going to be charged for 1356. What's this going to do when we actually record it? It's actually kind of complicated. The invoice is going to cause accounts receivable to go up by the 188.56. The other side is going to be revenue 175. The amount that we charge the different sales tax 1356 is going to be going to a liability account and inventory is going to be going down by $100, which is not on the reports. But is driven by the item and cost of goods sold is going to go up by $100. The effect on net income will be the sales price 175 minus the cost of goods sold $100. And the sub ledger for accounts receivable will be impacted for customers as well as the sub ledger for inventory tracking the items. So actually a lot going on here. And so we're going to say, let's check that out in a journal entry format. And let's check that out from a journal entry format. That's what I'm going to say. That's what I said. So we're going to say that this is going to be accounts receivable is going to go up. Wait, let's do it this way. This is going to be an invoice. And then a to the R is going up accounts receivable for the sales for the sale. And then the sales is going to go up or income. And that's going to be for 175. And then we're also going to say that there's going to be sales tax payable sales tax payable, which they're charging us apparently 0.0775. So this should be a negative because it's a credit that should be equal to this times 0.0075. No, too many zeros. So 1313 and negative sum for the plug here is going to be then that means we're going to charge 188 13188. 188 hold on 0.0775 sales tax 0.0775 188 56. Is that right? Okay. Good thing I checked. All right. And then we're also going to have then the cost of goods sold for the $100. That's the cost of the inventory. And we're going to have the inventories going down by the unit of inventory that we sold. So let's record all that starting with this one. I'll make it green so we can see what in the world is happening around here. Let's actually make it full screen so it's so I can put more stuff here. So I'm going to go then to the AR up top R and this is going to be equal to the 188 56. So accounts receivable first time it's impacted as opposed to the other method, which would already have that negative 50 in it. And then the income is happening here. 175 is going up in the credit direction. And then the sales are going to be, I'm sorry, the sales tax is going to be here. That's a liability. So there we have that. And then our cost of goods sold is going to go up. So that's an expense. It's going up in the debit direction. So the effect on net income is 175 minus 75. And then the inventory, which was at 100, because this is the only thing we recorded in it, is now going back down by the hundo. And so there we have it. All right, let's go back on over and see if that is what happens over here. Let's save it and close it and then we'll check it out. Save it and close it. This customer has available credits. I should have applied the credits first, but if I don't do that, notice what it does here. It says, do you want to apply the credit out? Would you like to apply the credit? I'm going to say yes. Now it's pulling in this credit in a similar fashion as we saw when we had the negative receivable. So the process looks much the same from an internal bookkeeping standpoint. Once you apply any available prepayment credits to this invoice, you won't be able to make any changes. Now that, well, so that's okay. We could delete the invoice possibly if we had to and then do it again that way possibly. But we're going to say, okay. And so then it recorded it. If I go back into that invoice, you can see now it applied that $50 payment. Now the other way we could have done that is we could have said apply the credit up top before we said save and close. And I believe we could have applied the credit in the same fashion as we did before. So similar process as the negative receivable, but now it's properly tying out to that under and revenue account. So this is the 138.56 that is still owed at this point. Notice up top, I'm at 188.56 because I need to do another step here. What's the next step I need to do? I also need to say as I recorded this invoice, I'm going to reduce the customer deposit needs to go down. Customer deposit needs to go down, man. You need to go down. You're going down customer deposit. And then the other side is going to go into the accounts receivable for the $50. And so now I'm going to say, all right, customer deposit goes down. I'm going to double click on it. It's going to go down with a debit. Boom. So it's back down to zero. And so we're back at the normal. And then this one AR is going to go down. And so now it's at 138.56. So there's our 138.56 on the invoice. This $50 is just a reporting thing. It doesn't change the actual transaction we saw with the invoice that would be recorded for the invoice. So I'm going to save it and close it. So in other words, if I look at the transaction that was recorded, balance sheet, we're going to say that what happened, the accounts receivable goes up by that 188.56. The full amount of the invoice. Notice it's not going up by only the 138.56. It's going up by the full amount. This is just an informational thing down here because that 50 has already been recorded. So I'm going to close that out. The other side is going to the P and L profit and loss. And so there's the 175 that got recorded there. That looks good. The sales tax payable back on the balance sheet. Back to balance sheet is going to the sales tax payable right there. And so there we have that invoice here. And then we have the inventory side of things. Inventory is going down, dude.  Inventory. What are you talking about with dishes? I don't know. It's got a lot of Ds. So it sounds cool.  Whatever. So then we've got the inventory went down. Closing that out. And then on the profit and loss, we've got the 100 costs of goods sold down here. You can see the impact on net income 175 minus 100. It's the same as the other scenarios. This one, we didn't complete that scenario because it was a subscription model and we're back to the same point that we were at with the equivalent model, which was like the second one that we did here. And then on the balance sheet, if we look at our accounts receivable sub ledger on the customer center, no, not in the customer balance detail. Notice in here, all I have is an invoice and then we have this journal entry. Now that's a new thing, right? Because we had to have this journal entry to pull in the fact that we had the owner and revenue. So that's just like basically this journal entry that I made down here. Now notice, so that's another thing that's kind of weird because usually, and it's something that again, it's not as nice as the negative receivable from a bookkeeping standpoint, although not a customer center. Now I've got these two journal entries down here. That's kind of weird. It's kind of ugly. It's kind of messy because in the last one, when I did it this way with a negative receivable, I don't have that, right? So from an internal bookkeeping standpoint, it's kind of ugly to see these journal entries, but it's not the biggest deal. Also, if I go to my list dropdown and I go to my chart of accounts and I look at my inactive accounts here, they have an account for prepayment transfer. So this is, they made it inactive so you don't post stuff to it accidentally, but we still have this added account and these journal entries which give potential for people to mess things up, right? Now you could also say, well, why do they even use this account? Because you would think that you could just do this journal entry, right? It should just be a debit to the liability, customer deposit, lowering it and then a credit to the accounts payable. What did they do instead? They made this clearing account and then took it in and out of this clearing account. So right here's the customer deposit on this side and then the receivables, but it's going in and out of this new account which is a clearing account. So they kind of added another step. I'm not exactly why they did that because you would think they could have done it with one journal entry that looks like this without that added clearing account, but these are tricky accounts here because the accounts receivable has that sub ledger which QuickBooks usually kind of nicely actually restricts you from posting to a lot of times and of course the other account that they added that we added should only be used, this customer deposit account should only be used for this process. So maybe for whatever reason then to restrict the transactions to those two accounts they had to make this clearing account. So that's the added level of complication. It's pretty easy from a bookkeeping standpoint but we've seen that the added level of complication is that of course we need another account. You're going to have to have the liability account down here. That adds a level of complication and potential for people to mess things up and then when we take it out of unearned revenue and apply it to the accounts receivable that's another journal entry which is another step and then within that journal entry they actually add a clearing account which shouldn't cause a problem but it's another potential area where problems could be caused and when you look at the internal bookkeeping system then you have these two extra transactions because there were two journal entries instead of just one if they could have just done it with one journal entry now there's two journal entries which is kind of ugly but you know not a big deal because you're like okay I see what's happening those two are just netting out against each other that's a quick books thing and from my side on the bookkeeping side I would just basically say okay I'm going to ignore those as just part of the process basically but it's not quite as clean as this process over here now then of course the final step would be that if we go back into the home page that we would receive the payment receive the balance that is still due so I can go back on to the customer's center here and say now we have the invoice let's open the invoice and let's say that we're going to receive payment from it let's go into the is that the right invoice hold on a second am I in the right place I should be in this one so I'm into this invoice and then I'm going to say receive payments and it opens up the receive payment notice it's not a prepayment this time so it looks like the prepayment form we used before but it's not because we didn't make it from the purchase order and so there's no prepayment thing here so it's just a normal payment it populates the amount that's still due not on the prepayment but on the invoice now we have it normally what it looks like normally it has an invoice down here and it normally populates the whole amount of the invoice that is still due the whole amount of the invoice was for 188.56 but we already collected as a prepayment $50 of it so this is going to let's say this is as of 06 let's say 15.27 what's this going to do well it's a customer prepayment or a customer payment which normally decreases the accounts receivable then it will this time the other side is going to go into a cash account in our case under revenue let's check it let's make a journal entry for that I'm going to I can't see my format painter let's just try to copy this down because I don't want to show my ribbon up top let's go boom and then I'll delete this and then I'll say this is going to be received payment what's going to happen in essence cash is going up and the other side is going to bring down the A to the R for the amount is still left which is the full amount was 188.56 minus the $50 deposit in essence the 138.56 still there negative of that cash double clicking the cash plus cash is going up to 188.56 and the AR would go back down at this point A to the R going back down and there we have it so now our cash has been collected let's check that out on this side to see it I have to make the screen a little smaller so I'll bring it down bring it down to 125 so I can just see the button save it and close it and then I'll bring it back up to supersized supersized I have to I like to have it supersized but then I have to unsupercise it in order to tie my shoes otherwise I can't see my feet when I'm supersized I can't see my feet and I can't tie my shoes but otherwise supersized okay what was I doing so then if I go to my balance sheet then I'm going to say that the unearned revenue here has now going up with the prepayment looks good the other side is going into the accounts receivable accounts receivable so that looks good and then if I go to my customer balance detail you can see what is in here so now we've got the invoice that was then tied out to the prepayment which looks like a journal entry because that's what was pulled in from from the unearned revenue type of account and then the other side so it looks pretty good in here but it's probably not quite as clear as the other method where you can see kind of the payment you can see it as a payment here but not bad the journal entry is a little messy but and then if you go into the customer center then again you can see the whole process pretty clearly and it looks almost the same as the negative AR process almost the exact same process here from an internal bookkeeping standpoint but you just got that added messier thing of these two accounts that are journal entries and you have some added potential for causing havoc with another clearing account and another account for the liability account and another kind of phantom transaction here that is happening so those are some of the pros and cons


Okay folks, listen, I'm back at it again with another budget friendly meal, right? Today we doing a beef ramen. Listen, these type of meals right here, they inexpensive and they feed six to eight people. You cannot beat that, right? So if you guys look, you can see we got a few ingredients right here but I'm gonna tell you what's gonna be your star. And that'll be this right here.  You know what, I don't wanna have all of the, I usually do 90.10 and if you really ask me if I can really find it, I like to do 80.20. You know what I mean? It's gonna leave a lot of grease and everything inside your crackpot. Listen, I'm not finna over talking, we finna get right into this. All right, so listen, we got some heat in our cast iron, right? I'm gonna go ahead and just add a little bit of infused olive oil to it. Then we're gonna add, again, I'm letting you guys know this right here is 93.7. That's 93% beef, 7% fat content. Now, while we browning that, I've been asking you guys to get yourself one of these because listen, everybody doesn't have a cast iron. If you don't, I'd suggest you save up some. You can get them on Amazon, they're fairly, fairly cheap. You can get the Lodge brand, which is a great brand, right? But when you get yourself one of these meat mashers like this, look, if you're using anything other than cast iron, it might have a coating on it. And if it does, this right here, this plastic material or neoprene material right here will not scratch up and you won't have to ingest under that non-stick stuff, right? Now look, I'm gonna be using my B, right? This is for like the heavier meats, but this right here goes great with this recipe here. Now, you notice like when you guys go to my website, which is smokingandgrillingwithab.com, right? You're gonna see that I don't, on the recipe, I usually don't put no seasoning on there. That's probably new to you guys because we wanna marry all of these flavors together to make it a little bit more on the authentic side, right?  Because you know, don't forget, we're gonna be cooking this in the slow cooker, right? So I just didn't wanna see no pink, give it a little swirl, get some of these seasoning to get on here. But I want you guys to trust me, don't put no seasoning in there or do, you know what I mean? But if you want it to be a little bit more, you know, authentic, no seasoning, just trust the marriage. Now, what you wanna do is you wanna go ahead, let's go ahead and peel this carrot. Now you guys know how to peel.  Let me just get this peeled and I'm gonna show you.  Okay, so once we got it peeled, right? This is what we can ready to do. I'm gonna go ahead and take it, cut it here. And I'll cut it here. Just really cut it into thirds, right? So this is what I'm gonna do. I'm gonna take it and I'm gonna cut a little flat spot out on this. The reason I'm doing that, because I want it to be able to stay this way while I cut it. Right? So I'm gonna make something out of that too. So what I'm gonna do is I'm just gonna take this and just cut these down like this, right? You guys got it? Now we just finna, if you can imagine a mat stick, look at this and this is what you want. Okay, so now we finna work with these scallions, right? I'm gonna be using the green part. So I'm gonna cut them here. Give you guys a little pro tip. If you guys got a mason jar, if you just put some fresh water in there, set this in the inside and set this outside. You know what I mean? You can grow all new tops. To be honest with you, once you have enough of these, you should never have to buy them again. Then you can like plant them outside and then you got a lifetime of these.  That's enough right there, right? Now I brought this over here because I want to show you guys something, right? So we just cut these, you know what I mean? Just like this, right? To go along with the diced, right? So we take this and now we just put this in here like that.  Yeah, you did hear me right. To do it the right way. Don't add any seasonings to it. I just do this right now because I'm just doing me, you know what I mean? But I'm gonna give it to you. Don't forget it's on my website, smokingandgrillingwithab.com. And that's W-I-T-A-B.com. Go ahead, print it out and make this.  Let me make room so you guys can see.  I just pushed all of the ground beef up against the one side, right? Listen, there is no certain way to do this or nothing like that. Let me move this out the way. Let me bring this a little closer to myself. All right, and now I'm gonna do this where it looked pretty. You don't have to do that, right? You can just sit it all in here just, because listen, we gotta mix it anyway, but I'm gonna give you a visual. Next, I'm getting ready to bring my green onion, scallion, right? Then I'm getting ready to put in my mat sticks out of my carrots.  Now check it out. Now you wanna get yourself like a bowl, right? Because we're gonna do a little mixing. We wanna mix everything right here, right? So I'm gonna start right here. I need to have two cups. Let me check this out. Need to have two cups of chicken broth or stock. All right, so we'll add that here. And now I wanna have a half a cup of soy. Look right here, that's that low sodium soy. You guys can use whatever you would like, but I like to cut back wherever I can, right? So we find a half a cup. So now we pour that inside of here, right? Now for the best part of the whole thing for me, I get to mess with this. I don't know why it does that, but look, you wanna talk about having a big guarded clove. Look at this, I almost don't wanna fit, but we get it in there, right? Take it, all we gotta do is get it started. I mean, it's so big. There we go, see that? Now I'm gonna bring it like this so you guys can see. If you ain't never really seen how these work, right? So, got that. Now we take it. I don't know how my grandmother had me mincing all this time, but I'm gonna put it right here like that. Now use the back of my blade, right? Now we just wanna add two tablespoons of brown sugar, right? Now I know the proper way is to pack this down for all of us bakers out there, you know what I mean? Actually, if I wanted to, I could take the back of my knife and go across this, but this is good. So we wanna add just two tablespoons. Now we're gonna whisk everything together. All right, so once you got it all mixed, come on in here and now I'm just gonna go ahead and just pour this in here just like that, right? And that right there is what you should have. Now, being honest with you, listen, this should only take you about 10 to 12 minutes to go ahead and make it, even from pulling all the other ingredients out of your refrigerator, you know what I mean? And just getting everything going, that's all you need.  Then we just mix it up, right? This is it. Now we keep our ramen out. We don't wanna put that in there right now. That's why you guys haven't seen it, right? That's gonna come into play in, you know, in just a minute. You know what I mean? But we gonna need a little time. Once you got it all mixed up, right? Next thing I'm gonna do is put this top on here and we finna set it. Now it's gonna go like this. If I do it on low, I can go anywhere between four to eight hours. And then, you know, you just double that time. You reduce it by two, right? So you can go anywhere from two to four hours on high. So if you look at my timer right there, look, we got about 30 more minutes left to work with, right? So now it's time to add our ramen noodles, right?  So I'm gonna open this up, right? And I'm just gonna go ahead and put the content inside of here. Oops, I dropped my ramen packet. I'll save this later for a spread for those of y'all that know about that. All right, so put that there. Now I'm finna open up another one and we'll put this in here like that. All right, I'm gonna take this out and I wanna get all of the contents in there. All right, now you wanna take, you know, your spoon and you wanna make sure that everything is like completely soaked because we wanna make it cooked, right? We wanna have it cook the ramen. So just do your best to work with it. You shouldn't need no more, you shouldn't need no more chicken broth or nothing like that, but you just wanna make sure this is completely submerged. So I'm gonna work with this until I can get it in here. And then once I get it down at the bottom, I'm gonna put this lid back on there and I'm gonna let it continue to cook for the last 30 minutes. Okay, folks, look, it's been 30 minutes so let's take a look at it right here. Just what comes up off of that is fire, folks. Now I changed, obviously, you know, I changed from my squares to this right here so I can get a good stir, all right? But you see that right there? All right, so if you guys come in here, you see it all mixed up, look at it right there. This is what you wanna have. Look, still got a little bit of the liquid. Now you guys can add a little bit of, you know, chicken broth or chicken stock to it. After it's cooked, you know what I mean? If you wanted to have it more like soupy, but if you ask me, this is it right here. So let me go ahead and put some of this in a bowl. You know what I mean?  Okay, folks, look, after doing everything I needed to do with it, I go with you guys to pay attention to it. Look at that, right? I put sesame seeds on top. I didn't toast them. I just used, you know, the regular sesame seeds, right?  Just, it's more of a garnish. That's exactly what it is. Then you can put a little bit of green onion top, the green part on there, right? So I'm not gonna fake around and move these and try to act like I can use these chopsticks. I can hear y'all now down in the comment section below telling me, hey, you gotta do them like this. I just, you know what I need to do? I need to practice. But one thing I can tell you is I can get out with this fork. Now, if you ain't never had this, this is good right here, folks. Check it out.  If you got one of them little lounge chairs, you know what I mean? This hot is nice and those of you guys that love that ramen, this is the only way I eat ramen. I don't do it no other way, folks. You know what I mean? Just beef ramen. Now, don't forget, the full printable recipe is on my website, smokingandgrillingwithab.com. That's W-I-T-A-B.com. This and many, many more recipes that you guys can, you know, print. Now, if you're new to my channel, let me take this time to say thank you for watching this video. Don't forget to like, subscribe and tell everybody out here. There's a channel out here to simplify these recipes and take it a mystery out of cooking. I'm finna pour myself in Kool-Aid, folks, and I'm out.


Come on. Come on. Hey y'all. So what we're going to do, I want to talk just briefly on our new iFAST beta program, because we're actually looking for people that want to participate, that are looking to transform in 2023, kick off their health. And is iFAST with ketones. This has been five years in the making and people can participate right now. And we're really excited about it. We have literally the top coaches in the world. We have top researchers in the world, top formula is putting this together. We have a community of thousands, I mean seven or eight thousand people doing it with us so far. And we're just going to bring more and more and more pieces to the pile. So first off, if you've already committed to the iFAST with us in the beta test, go and put me down below. But if you haven't yet and you're looking to get better and people ask me like, what's the benefits of fasting? Okay, so you have number one benefit of fasting is anti-aging relationship with food when fasting properly. So you have a better relationship with food. Awesome. Look at it. Meas are coming up.  Performance. We see a heightened level of performance, natural detoxing. And of course, my favorite anti-aging, which is my favorite. Come here, Charlotte. Come up here. Get up here. Get up here and say hi. And anti-aging, which is by far my favorite. We can look at cognitions because you elevate ketones. You actually get into a zone. I mean, it's remarkable. Isn't it the most amazing thing? Yeah. Yeah, you tell them. You tell them. Say come fast with us. Come fast.  Join us. All right. So this is a beta test. You can get started right now. But this is what you need to do. If you really want to transform your life. I'm going to get passionate in a second. I'm going to talk about something really quickly.  So get on there. Grab your kit. Grab the, I would tell you the best or the better bundle.  And I was just talking with the CEO a second ago on a call. And one of the things that gets us is that people try things. And we don't really believe in that. We believe in doing things. If you want to change your life, let's go do it. We already know we have the recipe. We have the products. We have the company. We have the community.  And so the most important thing is to commit and go for it. And so I was writing on that board right there. And so that's what we really want to, the message we want to get here is that like to build confidence, you have to have confidence in the program, the people you follow.  I'm trying to be as nice as I can.  They're selling things that shouldn't be sold for your health and your benefits, but you're buying them anyway. Your people are paying 400, 500, 600, 800, $1300 on these programs that are going to metabolically mess them up. That's going to give them a bad relationship with food and they can't sustain that they're not going to be able to maintain. They're going to get short-term results and then they're going to gain other way back. This is the vicious cycle that I've seen continuously for 25 years. We want to stop all that. So what we're going to teach you to do is how to have a better relationship with food, how to mentally have a better relationship with yourself, right? These things are more important. This thing up here is so important. At the same time, we're going to provide the tools, ketones, fasting. Fasting is, humans have been doing it our whole life. We should learn how to fast. It's important. Longevity, everything about it is normal for us. So let's learn how to do that and then develop a relationship with food, use high-quality food so that you can feel your body and use ketones as the bridge to maintain health and vitality, which ketones are really just a food anyway. We're just going to give them to you in a simple way to get them. That is sustainable. That's why we have people down. My sister's been down 100 pounds for seven years. Seven years she's maintained it. Jen's down 70 pounds for two years. Kate's down 70 pounds for five years. If you committed this, you don't gain it back, right? I'm in the anti-aging world. I'm in the performance world, right? So I'm like, I want to stay young. Y'all, I think I'm doing it. Most people at my age do not act, think, or talk like I do. I'm just telling you, right? They don't. If they drink ketones and they fast with us, they seem to. They always have something looking forward to, something that they're doing, something they're excited about. They're moving in the right direction. They're actually committing to their workouts. They're not stopping. They're not giving up. They keep going. So that doesn't get passionate for a second.  Let's commit to the change. Let's commit to the life. So this beta test is out here for right now. I wanted to talk about so many things, but I'm going to go ahead and dinner with the family. I've been doing it. I did it back to back weeks. So one of the things that we're going to do is metabolic confusion. That's important. We're going to do fasting. So you might only fast. You might do five, five, five, um, um, sorry, an eye fast twice a month, once a month, three times a month, four times a month. If you're really pushing it. And so what we're going to confuse our body, we want to teach your body that, that it is in control of your life. And you are in control of it. I hope that makes sense. So it doesn't control you. Food's no longer going to control you.  No, it does not. We've developed this, this program in a way to maintain your fasting state, even when you're utilizing our products. And that's why the results are extraordinary. I've been, I've been pushing hard for pro for a long time. I actually wanted to launch the challenge kit with one, one pro and one that. Um, and I, I, I should have stuck to my guns on that. I love the pro. It's a great thing for people with appetite, but we really want to teach you really healthy food habits too. That's important to me. It's important to us because you need to eat. You need to fuel your body. You can't go forever without food. Right. But we got to be appropriate about our fueling. And if you don't have the craving that you have good energy and you feel good and you're sleeping better, guess what? You're going to make better decisions. You know, ah, ah, so I'm super excited. If you're committing to the I fast pro and water right now, I love it. Jeff, hey, you get those burpees in Jeff. I did a hundred this morning. I got to do, I got to do another, another 50 burpees. I have a little challenge coming along. If you guys follow me right now, you can always check out the challenges I got going on the pages. But, um, if you're committed to I fast right now, if you're committed to this beta test, I want you just to type the word beta. If you're on Instagram right now, I won't see the messages after we close off this live. So message me beta, but more importantly, whoever invited you to follow me. We have a team around the world. We always want to make sure they get credit. Um, you, we work together as a team, but get back to them and say, I want to do beta. So if you're on Instagram right now, RC Robert Cardinus, Cardinus, Cardinus, uh, hit me, hit me a private message and hit beta. Faye, you hit me beta. Faye, you know me. I know you. Um, but RC, uh, Robert, um, wrote Rob. Sorry, Rob. Uh, hit me a private message with beta on Instagram. Um, same thing with you, uh, Margaret Owens hit beta in the, in the private chat. I'll make sure you get yours. I know you can just log in and buy yours. So that's good, but let's get the kit. Let's grab that. You're going to grab, I would tell you the better, the best bundle where you're going to grab your eye fast and a couple, a couple of our variety packs. Get them. I love the best bundle. If you're really committed when you join us, you are going to get guides. You're going to get a fitness guide. You're going to get a recipe guide. You're going to get our hacks or high level hacks out of amplify sleep, amplify performance, brain health, vitality, longevity. It's just, it's just absolutely extraordinary what you're going to get with all this. Um, none of that you're going to get coaching. You're going to get, you're going to get a private preview of our keto education. Um, or I should call it our proven education or performance education. Um, by the top researchers in the world, like NASA scientists are going to be giving you advice and information. So this is cool. This is just being part of our program. I mean, it's just absolutely extraordinary. So, um, I'm super excited as you probably can tell. Uh, I just got off a zoom with a bunch of the leaders and company, um, which I'm excited about that too. So many great things. I mean, just, I don't write, I write this, so many notes that wrote in all of college and I wrote this just today. So you can tell I'm excited when I'm writing notes. Um, anyway, I gotta go by y'all. You guys have a great night. Hey, get back to whoever, whoever gets you to, to follow me and get back to them. Tell them you need ketones. You need the IFAS. You want to change your life forever. And like I said, I can take care of you too. I'm doing it the whole month. Alicia, I don't recommend doing it the whole month. I recommend doing it the five days. You want to do metabolic confusion. That's why it's important to do that. So maybe tomorrow I'll do, hey, stay tuned. I'm going to be doing some more coaching. Um, I'll be setting out a schedule for the month. So I'm super excited about that. So, uh, yes, yes. Oh, Margaret Sony and beta, you're already in Margaret. You got your kit coming. I'm super excited for that. Yo, I gotta go. I gotta go.