Network FNN headline news update everyone Basil Chapman here on the 9 a.m. Tiger Financial News Network market update that futures up 190 I guess there's some news about some possibly I think it's the Iranian deal where some oil comes onto the market. That's a big relief. So now does up 210 is a big move because I was talking in my show that I did early at eight o'clock tonight Eastern time just finished to be replayed in 10. I was doing about this cluster pattern in the Dow where the fourth the fifth panel after the 24th of January that candle was strong to the upside after the cluster formation consolidation. We've just had a cluster formation. This is the fifth day after that 24th of February low. Now we're going to see if there's another big candle to the upside. That's going to be really important. We're looking at the S&P this go to the futures. The S&P futures are up. As I said, they're up also sharp. They're up 34 at 4,000 416. That's the same pattern right here cluster formation breakout. We're looking at the Q. Can these hold? I don't see any reason at this particular point why they shouldn't hold. But the QQQs they were lagging yesterday. Now they're up 2.91 at 350.12. I'm just trying to check the yeah. So that's a 0.84%. That's going to be good. But they really need to get to the 352 level and that'll say, ah, now we've got something. We're looking at the IWM, the Russell 2000, which actually held a little bit better than the others yesterday. It's up $1.57 at 205.78. This is as good as making the arch pattern that goes from the first arch to the second arch. That's good. Looking at gold. Did gold pull back? We'll see. Gold is up 6. It was up a lot more before, but it's still holding that upper range. And that is a, it's in the upper range. Looking at Crudo, what is happening there? Let's see if Crudo finally, you've got a red candle. Oh, red candle. A red candle where it's down 2.5 and 108.37. Made in all time, well not in all time, but a recent recovery however, 116.57. This is going to be a big deal. This is really going to help the markets. And we're looking at, I wanted to do the TLT. The TLT, that's bonds, is up $1.37.56, still at the lower part of the range. And that's just telling us that yields remain in the higher level. How do they come down? We'll have to see if they do come down. So with that said, the VIX index is now down a little more than it was earlier when I was on. It's down 1.22, down 4% at $39.52. If this holds through the day, this could be a really nice recovery rally. Let's see what happens. Thank you for coming.


So now, I'm going to record the transaction and I wanted to increase the loan. We're going to finance the loan here and the other side is going to go into the fixed asset account. Now the registers, remember that the register is the thing that many people are used to using with like the check-in account and they've seen this like register format which looks like the old checkbook registers. You can have a register for any balance sheet account, however, so if you need to enter a journal entry, sometimes the best way to do it or an easy way to do it is to use the register because you can still think of it as increases and decreases a little bit more easily sometimes rather than dealing with the debits and credits. So if I scroll down, you got a register for all the balance sheet accounts. Now I can choose either of the accounts involved because neither of them are income statement accounts. I need to choose a balance sheet account to work so I can go into either the loan payable balance sheet account or I can go into the equipment. I think it's usually easier to think about the thing that you're purchasing often times. So I'm going to go into the furniture and equipment account, the asset account and say that let's go into there and show the increase in it that for the purchase of the equipment that we financed. So I'm going to edit it. I'm not going to edit it. I'm going to go into the register and then in the dropdown, notice the only forms I have here for transfer or a journal entry. We're going to use a journal entry even though we're entering it in like a register format. So that's going to be that. I'm just going to say that it's going to be on let's say 022723 and journal entry number. That's fine. And then I'm just going to say it's for Bay B of a Bank of America. I'm going to add Bank of America. I'm going to say that it's going to be a vendor. I even know it's not really either because it's a bank that's financing us. So it's not like we're buying it from B of a, but if those are our choices, I'll do that. I'll stay alone for purchase of equipment. You might want to be more detailed in the memo as detailed as we can be because we want to know exactly what we purchased so that our accountant can put it on the amortization schedule as detailed as possible so that in the future when we sell it, we can determine what thing we sold. So not all of people do that are very specific and if you're not, it's one of those things that's not a big deal in the year that you buy it. You won't have a problem. It's going to be an increase by the way. It's going to be a problem in the year that you dispose or sell it and you don't know what you actually dispose on. You can't tie out what you disposed of to the amortization schedule or they're grouped together in like a package of like 20 computers and you just sold one of them or something or 20 forklifts on one line. You don't want that. You want them broken out so that when you sell them, you can see which one you sold and do the proper accounting at that time. So the other side's going to go to the Bank of America B of A, the loan account. There it is picking that one up. What happened? It's going to go to the loan, let's say loan payable B of A. That's the one I want. Okay. I think they got it. So that's it. So that's the one. Let's go ahead and save it. What's this going to do? It's going to increase the equipment. The other side's going to go to the loan. Let's save it and see if that is indeed the case. We're going to go back on over here and we'll run it, run it, and then down below. Nothing happened to the cash, but we have the furniture and equipment go up. So if I go into that, notice we've entered two months of data input, very little activity in the furniture and equipment account. That's what's going to happen in fixed assets. That's a good thing because it allows you then to give that detailed information that those few purchases and disposals, if you had any, to your accountant so that they can then populate those into the tax software producing the amortization schedules and hopefully being able to help you or make any of the adjusting entries for accumulated depreciation. But when you give them this information, you might give them the sub ledger and you might want more detail than just it was a journal entry. You want something more like this, right? I got sofas. I got chairs. I got office equipment. I bought three forklifts or whatever. Here are the numbers of them. Here's how I can tie out what's on this schedule exactly to what's on my books. Not because it's a problem for me to figure out this year's taxes, but because it will be a problem if I can't figure it out in future years when I dispose of or sell of one piece of equipment. Okay, I've emphasized that enough, but still, it's kind of annoying when that when you hit it, it could cause problems, okay? So I'm saying. And then down here, we've got this collapsing of the loans payable can be collapsed to one for external reporting. Then we've got our two loans broken out in here, which is great. And we can break out the short term and long term portion according to the amortization schedules periodically at the end of the month or year and then reverse the entries back into one account so that it's easier for bookkeeping, which we'll do in future courses or sections on the adjusting entry process. So that looks good. Let's go into that. It's a journal entry, entered with a journal entry. If I go into the actual journal entry, doesn't take us to the register that we use to do the entry, but it gives us the debits and credits, the journal form, the default form, the last form to fall back on for QuickBooks if no other form will fit. Closing this back out and scrolling back up and back to the report, nothing happened to the income statement. When will stuff happen to the income statement? Why didn't anything happen to the income statement? Is it because we didn't pay cash? No, even if we paid cash, nothing would have happened to the income statement. When is stuff going to happen to the income statement when we depreciate the equipment allocating the cost to the period and time that we used it in order to generate revenue in accordance with the accrual matching principle? It's just an estimate. However, it's not a perfect thing. That's why we use depreciation instead of like equipment expense.


Just a little view of what the piece looks like currently through our DNA fun. Can you see me now Clara? I'm hoping. I'm looking. Okay, we're good. Cool. So let me hook you guys up into my handy dandy this and we'll get going. So how are you guys doing today? Hope you had an awesome one. So I'm running late, so I'm still mixing resin. So me three minutes before I start the excitement. Hello everyone. Clara, Megan, Nancy, Cam, Shane, Christie, Carrie, Denise, Joe. How's everyone? I hope you all had an awesome day. Our day was fairly busy. Jeff's working on some new clothing merch for the shop. And I worked on trademarks all day, exciting stuff. Today I'm going to be doing a flood coat and some wispy design work in the resin for this piece. And we may make it a multi-part adventure by inking on it after the resin is cured. But we're going to have to wait until after the resin is cured and see how we like the design to make that call. If you're new here, welcome. Hi, Sup. I'm Erica with Artist Till Death. Bo is barking at me because he's not in his director's chair slash throne. You cannot get up on the table. Jeff is working on signage and we're Artist Till Death. We go live everyday teaching art to all of y'all for free. And it's usually resin, but it's always art. Sometimes it's acrylic, sometimes airbrush, sometimes alcohol ink, sometimes crystal, sometimes glitter. It's always art. And it's usually at 6 p.m. central, except for on Tuesdays it's at 2 p.m. central. So I hope you guys come in and check us out every day. Subscribe if you haven't. If you are, check and make sure you still are because reasons. And don't forget to hit the bell so that you can get notifications. What's up, Marcy? Thank you so much. A little bit of hype because Marcy tipped the channel. Everything that comes through the channel goes right back into the channel and allows us to go live for you guys every day. I really appreciate that, Marcy. How are you doing? Aren't you coming to Texas soon? I feel like that's a thing. If you guys haven't checked out Marcy over at Mix Media Girls Channel, she does all kinds of awesome artwork. She definitely check her out. Sometimes she has me guest spot on her channel. And she's pretty awesome. So highly recommend. Hi, Catherine. She is awesome. Marcy. Oh, the 18th of this month. Yeah. Hello, Jessica. Sue, Pamela. I appreciate all of you guys coming in. Yep, she is awesome and fun to watch. Her whole family is talented. So I'm almost done with the boring part, which is mixing resin. And then we're going to mix a couple colors. I think I want to mix just a pinch of abalone into the clear. And I'm going to mix a white. And then also I have a floating copper that I might add on the surface to see how we like that. So you guys, we are on our way to 50,000 subs, which I'm blown away by. Thank you to everyone who has subscribed to the channel. If you'd like to help us continue to grow, it'd be awesome. If you could interact with the channel, leave your thumbs up, leave a comment, share a video. And don't forget to subscribe. It really helps. I'm going to get more of Marci's Mix Media Girls acrylic paints to do another bunch of stuff that I'm very inspired to do. As you guys know, I am an epic fail at acrylic pores, but with Marci's premix formula, I get pretty rad results every time. So if you haven't checked out her products, do it. Thank you, Christy. I'm a fan too. All right, it's been three minutes. I always mix for a couple seconds a minute after I get the all clear from Clara because I'm definitely afraid of under mixing because I did that once. And I never cured. It was my first one. Scarred for life. I'm triggered. Marci, if you have to call in sick for that, let me know and I will stand in. Let's have Johnny. That is Marci's ultra-talented husband. You guys need a jingle or a recipe and anything in between. He can probably help you out. We'll Marci next time around then if you need a substitute, I'm here for you. So I'm going to pour out just a little bit of clear into this other little cup. So I can add some white to it using a white paste because that gives me all the awesome things. I may actually do two cups of white so that I can do like a faded white and then also an opaque because why not? What I'm going to do is just mix this up and then take what's left over on my stir stick and put it in the transparent white so that it's just a soft version of my opaque. Really kind of a ghosty, milky color. And the other one is opaque so I can't see through it, which is the idea. Cool, cool. All right, now I'm going to take resin arts, not bling it red. Nope. I'm going to take Abalone. It's a bling it. It's super sparkly. It sparkles in every color of ever. I don't even know if you guys can see how awesome that is, but you'll see later in the show. I'm not going to put a lot. I don't want it to get taken over. I just want it to be like, oh, hey, is there sparkle in that?  What's up, George Ray? You got to love Abalone. Well, Marcy, if they need future people, hit me up. I'm here. I'm here for it. Okay, so we got just barely sparkle in our resin. Beautiful. I don't even know if you guys can really see the sparkle. It's so faint, but you'll be able to see it once everything's down. So I went ahead and sprayed it with our UV archival spray. Very important to do that before you add resin over your alcoholings. Make sure it is in matte. It's the Krylon UV archival varnish in matte. It has to be matte or it will mess up your inks. Just put that in your brain and expect. So for this 24 by 36 alcohol ink piece on our alcohol ink board, I mixed 20 ounces because math is hard, hoping that that's enough. But we'll find out. Definitely better to overestimate than underestimate how much resin you're going to need. Particularly if you're working with a resin that has a short working time. I'm working with stone coat. Art coat has two hour working time if you're working in ideal condition. So it's really awesome. That's awesome. Marcy will definitely be tuning into that. This is not a commission piece. It is available for purchase. I just got inspired to do a large alcohol ink. And this is what came out of my brain. All over the canvas. Not canvas. Cradle board. It's actually a lot nicer in person. You guys know inks, resin, sometimes acrylic pours. They just don't look as good on camera as they do in person. They certainly don't look as good in photos as they do in person. I just love it. And I think that amount of abalone that we added was just the right amount. Resin definitely has a way of brightening colors, making them more vibrant, deepening your dark colors, highlighting your light colors. Especially if you're working on a white background or a piece that you have predominantly white, you need to use stone coats. You don't want to use a black coat because it has the best UV resistance of ever. I think 20 ounces was the perfect amount of resin. You really don't want to make some more, let me rephrase, you don't want to put down too much more than an eighth inch because that's where resin self-levels to. And anything beyond that, you risk breaking your surface tension and it flowing off the piece. I think everything's nice and covered. Awesome. I would be honored Marcy. Claire, she's going to be here on the 18th, I believe. Okay, let's heat this bad boy up and then I'm going to create some whispies out of some floating copper and two depths of white. I'm using heat right now because I want to make sure I don't have anything floating in my surface that might interrupt the flow of the whispies, like a hair, if I'm accidentally shedding. Sorry about it not being really in focus. I'm going to bring camera guy in and I start doing the art. Doing this one. So I do ship everywhere around the world. Okay. So now that my surface is free and clear and fully coated, I need to figure out where I'm going to add these whispies. And now that it's coated, I'm not even sure if I want to add the whispies, but if I don't like it, I'll just scrape it off and fill it in with more resin. But you can borrow your face. Can I borrow your face? I'm going to take you guys down and give you a close-up of where we're at right now. I put abalone in it and I'm like, it looks so fun like this. But it doesn't look as fun on camera. It would be a nice piece. White whispies. Highly recommend having a person you can bounce ideas on though. I wouldn't mind it because it's just, there's so much here. And then this is, it's hard to tell because it's a great piece. It looks great with resin on it. All right. Both Jeff and myself are not sure. So what we're going to do is a little test area. See if we like it. And if we do, I'm just going to kind of follow the flow that I already have. I'm going to, I'm going to just add some of this translucent white and I'll just trail these. Light or something? Well, I have, this is my, probably only really seeing the shadow. So it is hard to see currently. I'm going to now add the opaque white. See if we like that. It's so difficult because I'm having to start from the center and in my artwork. There's big no-no to start anything other than off the piece. So I'm just softening and smoothing out my wispies just with my finger. It's another reason why it's great to have a resin that has a long working time. Because sometimes you want to do a whole bunch of stuff like this. And that's not really possible if you have a working time, that's very short. Now your working time can change depending on what your ambient temperature is. The flow of this piece reminds me of those few that I did and our friend Sue in Australia owned that I actually used yellow. Subtutor, don't jump Bowie. So when you're doing embellishments like this and it is largely dependent on the under design, it's important to make sure that wherever it is that you are, it's important that you... Okay, it's important that you have a surface that's very level because if all of this shifts, it's not going to really make much sense after it shifts. Yes, tutors in the house. So I'm just going through and softening everything. This is definitely creating a lot of depth for sure. Hello everyone, that's just now coming in. I'm so happy you guys are here. Looking forward to know what you guys think. I think that's the way to get around that initial blob is to have it coming in in two different ways. What do you think, Tutor? Abalone? Oh, that's alcohol. Initially, I was going to blow out the wisps but now I'm thinking I kind of like them being just smoothed over. So I'm going to bring all of you guys down for a close-up. Y'all let me know what you think. Actually, I'm going to pop some bubbles first. Grab hairs. That was a whole plump of hair. I think I'm pretty sure.   Also, if you torch bubbles and they don't pop, then they're not bubbles. I'm going to give you guys a close-up. Today it's Titanium by Megan. You should have gotten it by now, actually. They have very soft little wisps. The specs are alcohol inks that I've licked onto the piece. If you guys didn't see how the first part of this was done, just check out yesterday's video. I really wanted soft, smoky, ethereal wisps. I'm going to learn how to say that word one day. You can also see the abalone sparkling. I did not use any Milky Way in this, so all the sparkle that's in there is the abalone. Just that little bit that we added added all of that awesome sparkle. All right, now the question is do we want to add floating copper? With everything that you put on a piece you have to evaluate if it's going to detract from what your vision is. It's going to add to it in a positive way because if the answer is no, that it's not going to add to whatever it is that you like on the piece, then best to just not add what you're thinking of adding. I'm already saying that I'm going to have to add a flood coat. There's just more hair than I have time to pick out of it. I'm going to go ahead and add some lines. Yes, yes. Hey, Carol. Okay. So let me get some copper. So have some right here. Let me see. Let me see. All right. I really love this piece. You guys need to stock the boards. Jala, I'm going to open one tonight. I'm going to open a code tonight to be on the lookout for code. I'll add that into the system as soon as I'm done on the live feed. All right. Let's do a roadside test. It appears that I need to let the dispersion ingredient in here find its way into this piece of paper. So I always I always do this when I want a controlled line. When you use a spray paint based paint there's a propellant in it so that it stays liquid. Makes sense. But that also makes your lines bloom. So if you want to have the most control, you need to put your spray paint based paint on a piece of paper and let that propellant soak into the paper. I always do what I call a roadside test. The resin that's just falling off. I'll put a line and see how much it grows and it's still blooming quite a bit. I'll just keep working this paint around on this little piece of paper until enough soaks in that it's not it doesn't do that anymore. It usually doesn't take that long. However, it's very important to me that it is soaked up so that I have more control. It's still not ready. You have to put just a little bit of resin in it. You just fold it in. Yeah, you just fold it in. Yes, the resin is already down. The ampoule may be right that the copper has extra because it's taking way longer than normal. I'm just putting more epoxy on my paper and it is still blooming. I'll work more resin into it. Hopefully counteract that propellant a little bit without taking the shine. I would just mix this color into a bunch of resin but that tends to be the shine of these floating pigments in my opinion anyway. That may be good enough. We're going to do one this is the same. Let me bring you guys down to where I'm going to run a copper line. I have some on this little pedal stick. Just follow that all the way out. You can see how it's floating on the top. There's something with this side. I'm just going to pull it into the piece. That way you don't have a hard stop. Alrighty. Let's add a few more of those. I like how it looks. These are going to create excellent shadows. Since it's a floating color it's going to catch the light way different than everything else on the piece. It'll be even more visually interesting. I think I love it you guys. We have a dot. I may leave it. I'm going to finish these last little lines here. You guys let me know if you think I should leave that little dot of color. Let's do a close up one more time. You guys can see what goes on. That's the floating copper. Of course it's a onesie. I live in the winter in a onesie.  I have this dot of copper. I can make that a wisp or I can have a couple more of those dots incorporated. What do you guys think? More dots or make it into a line?  I agree. Agreed. Tutors in the house. So let's just I'm going to use the end of a paintbrush to add a few more dots so they're not all the same size. I would just splatter them like I did the other ones. But I mixed a little bit of resin in this and it's just not going to splatter like that. I don't want to just do like raw floating copper because I haven't worked all the dispersion out of it. It will bloom and it will really not look right. It will look like a flower for a minute and then it will not be fun. These little dots are blending in really well but when you're looking at it from different angles you'll be able to tell that they're floating on the surface. I'm going to do a couple more of these give you guys a final flyover and you can let me know what you think. One moment, one moment. Right. Let's get you guys down for close up. So because the piece is shifting and that makes just a little bit of resin into it it's taking some of the copper down and what's floating is just shifting. It's moving. So that's what's making this look right here as opposed to it just being more solid like these. So we got the dots more floating dots focus. So they're real small that's a floating dot but when it hits a different kind of light source it lights up. So this is how the piece finished. I really love the additions we did to it. It doesn't look quite so pinched in the center as long as it doesn't shift will be good to go. So I have to definitely babysit it. I'll be watching it. I'll check on it every hour make sure it doesn't need to be rotated something put under the piece to shift it back on this table right here you can see already that everything's moving this way because there's a gap right here and this right here is overlapping. We have better behave right. So really excited about how this piece turned out. Let me know in the comments if you would like to see more alcohol ink integrated artwork what colors you would like to see and if you ever are interested in a commission piece from me hit me up on the website shoot me a text wherever and let's discuss anyways thank you guys so much for watching seeing what we're up to today and you guys are amazing we appreciate each and every one of you please take a moment to subscribe share videos tell your friends if you didn't like the video share it with someone you don't like ruin their day a little bit okay also billy wants to say hi you saying hi boop-o I know it thank you to all the fabulous mods for always being in and having my back you guys are the best and I couldn't do it without you boi agrees and be kind to one another you never know what someone's going through but you don't have to I don't know if you guys could hear him but he said we do the test and I said so you don't have to and we will see you guys manana bye okay now I just have a sticky hand can you end the speed for me can you end the speed for me in the top right X


Transition Statement is one way for the school and prep teacher to get to know your child and family.


Continuing our conversation here on HBCU Digest Radio with leaders from the Atlanta University Center on today's announcement of the extension of online learning through the fall semester. We are privileged to be joined by another friend of the show, my dear brother, Dr. George T. French, the president of Clark Atlanta University. And Doc, we were just saying before we got on air, this thing changes and moves every day. But can you, for as much as you can in sharing how you work with your constituents, your board, your faculty, students, alumni, how does Clark Atlanta reach a decision like this? And more importantly, how do you work with the AUC consortium to say, you know what? We got shared space and shared interests. Here's how we're doing it and here's how we put it all together. Well, you hit it on the head. And let me first thank you for your leadership within this space, this sacred space of historically black colleges and universities. To be informed in making decisions is vitally important. And you, Mr. Jared and HBCU Dodgers for years have been a credential, a critical and vital source of information for this sector. So we appreciate you and what you're doing. That is so kind.  So that, you just, you just really made my day. We all did that too. You made my day with that, but I appreciate you, brother. But I'm serious about that. Okay, now I appreciate you brother. So, so I'm in a unique role because not only do I have the opportunity to serve as president of Clark Atlanta University but I'm the chair of the Atlanta University Center Consortium of course, Morehouse, Spelman, Clark Atlanta University and Morehouse School of Medicine. So as the chair, I had to be fair and balanced and objective in these deliberations and considerations as to whether or not we should reopen on ground for the fall. So I had to do that while taking into account all of my constituents from Clark Atlanta University. We conferred with faculty, staff, students and alumni as to which direction we should go. The good news was unequivocally, there was not just consensus but unanimity in the decision that for the health of our students, faculty and staff we should be fully online. There was also consensus though that the main consideration would be financial. And to be very honest, we will lose millions of dollars because of this decision. However, it was the right decision. And Jared, when I think about this decision and being at the AUC where Martin Luther King walked those grounds, I think about what King said. He said, there comes a time when you must make the right decision because it's the right thing to do. He said that expediency, he said that he said that calculus asked the question, is it safe? Expediency asked the question, is it politic? He went on to say that at the end of the day conscience asked the question though, is it right? And this was an opportunity where we just had to do the right thing. That's what we did. And you hit it right on the head. I didn't mean to cut you out brother but when you talk about the millions, that's something we have to underscore. And I think that the students and the parents have to hear that. It's the position of the boards and the presidents like yourselves that yes, we're doing this thing to maintain safety. Yes, it may be something you don't like. Yes, you may think, oh, I may wanna go to another spot, but we hope that you will stick with us because at some point this is gonna come to an end and we still need a customer base back in the fold giving philanthropically students enrolling and pursuing degrees and changing the fortunes of their family. We still need communities to be behind us. That's correct. And how much work do you have to do to let your constituent base know stick with us?  That's what, and that's the good thing about that's the unique thing Jared about this brand. This brand has Clark 11 University and the other AUC centers. It's such a strong brand. I think we had over 19,000 applications for admission for this incoming class. So the brand is so strong that we're in a solid position that those students are going to come back. I mean, I'm just, I just have no doubt about it. Now, some of our other HBCUs may have more of a struggle, which is why I'm working with UNCF, NAPIO, and Thurgood Marsher to get additional stimulus funds to help them because some of them may have more challenges on the financial side than these AUC center schools have. But yeah, we have to let parents know this is a decision that was difficult because we are going to lose millions of dollars, tens of millions of dollars. And, but I have confidence that number one, there'll be additional stimulus funds coming down. And number two, that our alumni bases are going to respond with additional giving to support us. Let's talk about, and I know this is, this is a little bit uncomfortable and I hate to put you in a position, but I think it's relevant. All right, all right, here we go. I don't know. It won't be too tough, I promise brother. So Clark Atlanta is obviously in the center of Atlanta. And I asked Dr. Thomas about this, and he was, you know, he was honest. He said, yeah, I mean, maybe the politics doesn't touch us and push us directly, but politics is a part of how we consider this. Do you agree with that? The politics of reopening, mask wearing, the legislation, you know, the lawsuits going around the state and the city. I know you see all of it. You're politically astute yourself and have been for a long time.  And do they, how much do they matter because Clark is private and doesn't have that much resistance to the kind of plans it wants to make? Well, so I'm chair of the SIC council president of football sports conference. So I had to, in having the same conversation, the privates, we were like, we are going to make up our own minds whether or not we're going to have a football season. Some of my colleagues who were presidents of the state schools, however, were between a rock and a hard place because they couldn't make that decision. When Governor Kemp says, we're going to reopen the school system and we're going to have sports, it's just done. So politically, it really, like you said, it affected the state schools more so than privates, but it influences our decision because people from Arizona and California and Wyoming, they come to Atlanta, they're looking at the politics. And those are concerned that Governor Kemp is not as aggressive as Mayor Lance Martin is on safety measures and social distancing. So that actually affects our enrollment and those students who are willing to come or not come. But again, as you noted earlier, the good thing is we are private, so it's our decision whether we play football, whether we open, whether we close, whether we're hybrid, that's totally our consideration. And I'm thankful though, that on the politics side of it, on the federal level, that there was strong support from Congress in this CARES Act and additional stimulus money, which has really helped all HVC users of nation tremendously. Do you think that it's fair that at least in the higher education industry that black colleges really, really have taken the lead on saying we got to dial back fall sports, we got to think about online learning through the fall because we're not close to, or at least at this point, not close to a vaccine and these numbers are going up. Do you think that that is an opportunity for HBCUs or do you look at that as a burden for HBCUs because we have to do what so many larger, more well-resourced institutions won't do or can't do, which is say, you know what, we're gonna protect all students and more particularly black bodies who are suffering disproportionately from this virus? I think that conferences like SIEC and MEAC were both in coming forth and saying, listen, we care more about our students and their health than we do about finances. Yes, it's going to take a hit on the activities for the fall, on alums returning to our campuses, for homecoming and football games and making donations. We're gonna take a hit, but you can't social distance as between someone tackling a man trying to get into the end zone, breathing through his face, you just cannot social distance that. So we're putting our athletes at risk. Now, we're division two. We're not making money off sports. So I fully understand the distinction as between the University of Alabama and Clark Atlanta University, University of Alabama, and they can still have televised games with no one in the stadium and make tens of millions of dollars. So I totally understand that. So our opportunity as division two, though, is quite different because we're not making money. Most HBCUs actually lose money. I just break even with football being the variable that allows them to just break even. So we're not really losing income with this decision and we're protecting our athletes and our students. And I asked you this question specifically because you come from an entrepreneurial background, you did it with Miles when you were in Fairfield and you thought a lot about economic development and workforce development in and around with a campus being the anchor for a way that a community can grow. That's not the same thing in Atlanta, so to speak, but you could say that it's the same thing for the West End in a lot of cases. Do you have to work with communities and the business community around the AUC when you make a decision like this to kind of brace them or to prepare them like, hey, you know that student traffic you're used to every fall and that won't be here. Is that a conversation you have to have before you do this or you just gotta do what the institution does and you will work with the municipal partners after it's done? Well, and I have a great relationship with the business community here in Atlanta. As a matter of fact, Clark Atlanta University, we are the largest land owner in West End. We are working on a $1.1 billion development which is going to be a mixed use, private, public partnership is going to bring up our whole area. And let me say again, $1.1 billion, that's a huge project. So we have great relationships. So formally, I don't confer with the business leaders about decisions like this, but informally I do. I get phone calls, I make phone calls, this is what's about to happen and just kind of be braced for. So you're right, and it's important that we have those relationships. Now that being said, we have to realize though that we're in the middle of a food desert. There are businesses that need to come into the West End and they're not there now. So as far as businesses that will really be directly affected by our decision, there are honestly not many, not many at all around us. And then the final question, man, and this is more on a personal note. To transition from Alabama to Georgia and more specifically the economic episode into the South really. And to deal with this, a historic global pandemic. Obviously nobody saw it coming. Obviously you take this with a very optimistic view and you couldn't have predicted it, but do you look at this as an opportunity for you and for your personal leadership story? Or do you say, you know what? My story so to speak is on pause. Not that you're pausing your work, you're still leading your institution in your community, but you're saying all my focus and all my love at this point is to keep these babies and these faculty and staff healthy. And then we'll get on with what I want to do with Clark Atlanta University. You know, you were very perceptive. You really are, you're very perceptive.  And when I say around the clock, I mean, we're on the phone at midnight often. We'll call Saturdays and Sundays always. And I emphasize to them my appreciation for them because I had to depend on, I have cabinet meetings when we're on ground once a week, 10 o'clock on Monday morning. Had I had just 10 o'clock Monday morning meetings once a week with this team, we would be nowhere near as close as we are as dependent upon each other as we are because we had to meet every day, day and night, all day. And now I was stronger as a team. So while it was a crisis and is a crisis, it was an opportunity for us to really jail. It was an opportunity, quite honestly, for them to depend on me and allow me to quarterback. Had this situation not happened, I'd still have leaders on campus determining whether or not they were going to support me and let me lead. But since it's a crisis, I did. And this is really the third. We had a, before I even arrived in Atlanta, in August, August 18th, that was shooting in front of the library, not on our campus, but in front of the library right there by our campus. So I had to quarterback that from Birmingham. Then I arrived and we had the tragedy of a lecture class of one of my precious students that was murdered. And I actually performed her eulogy, ministered to the family and ministered to the campus. They depended upon me right away for that leadership. So these crises had caused the campus community to allow me to quarterback, to do what it is that I do, that I love, which is to quarterback and orchestrate because I've got a great team here. But no matter how great your team is anywhere, if they don't succumb and willingly support your leadership, it does not matter. But this crisis has allowed them to view and support my leadership and my compassion for my community and my university.


So, yes, that was amazing and the artist we have for you today goes by the name Monaja. So he's telling us about himself, what he's about. Na, metulata ni nile, usindio. Welcome to the show. Shukran. Hawaii. Nkupo, you know, just liking the place, liking the vibe, nice show you have here. Thank you, thank you. So tell us, who is Monaja? Before we even get to that, what does Monaja mean? Okay, what inspired that? Actually, it was a long call. It was a what? A long call. Okay.  You were taking stock of your life. Interesting. At what point? So it was some years back because I've been in the industry for a while. But in and out, in and out, na yon Nairobi. Akunagakitumodyo na futu fanya. Yeah. So like, because I think I burst into the industry as far as like performances around 2003. But around 2008 was when I was like, hey, okay, this is really for me. So I had a name earlier on, but then I was like... Which one? My elder brother used to call me Mungi. So he was the one who performed F2 and Mungi. There's something that Kuna Kitu na Fakongezeka. Aekwena. Tikachi. Aekwena leta shangwe. Monaja. And it has some kind of Swahili feel to it. So yeah, so Monaja. Yeah. Okay. So you've been in the industry for quite a minute. I have, I have. What has changed over the years for you? I think what has changed over the years is of course there are many more radio stations, TV stations. TV stations I know. Yeah, because it's a sequel. Chana it's a sequel, it's a CD. Kuna payana CD ako. So... I have several in my heart. If we are talking about compact discs. Compact discs. Yes. Yes. I have several in my heart. I have tapes. I have tapes. I have tapes. I have tapes. I have tapes player. Because she used to say old relatives. No, no, no. At my father's place. We used to use this when we were children. Yes. And those big disc, the round ones. Vinyl. Yes. We have others. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Exactly. Thank you for the money. It's the Genzi. Me ni Millennial. Millennial. Umeji toa. Umeji toa. Iwa raka. Genzi awana siwa poa. Aa. Kumbaya. Yes. They are just, you know, living life. I know, yeah. Okay. Okay. Na jotmezo ya ku judge generations. I know, yeah. Kuskama sasa our parents. They judge us. Yeah. You know. And us, we are passing the judgment down to the others. Yeah, exactly. Yeah. So, yeah, but when I see two, we are feeling the cuts that were dealt. Yeah. So, yeah, so, yeah. So, we were truly, you know, these things can have more radio stations. We have multi-p stations. We have, yeah. Yeah. So, so that's like, there are more radio stations. That's definitely something that's a game changer because it's just a couple that are just countable. You know, like this radio station, this, but now you have so many places in town and the distribution itself. The industry has grown. Yeah. So, I mean, there's always been this argument of the older artists who sometimes say like it was hard for them getting things off the ground because they were just starting out. Like no one used to, earlier on, like maybe late 90s, but now, so it begs the question which one is harder. When guys are starting, I guess it's one of those debates that will never really like understand. It's true. So, yeah. So things have changed. Sound has changed. It's no longer genge and kapuka. It's only gengetona. So now it's now moving into something else. Something different. Yeah. So you're rumba, kujana trap maybe. Yeah. So, yeah. We have drill. Drill, yeah. So, yeah. Okay, okay. So you, how have you changed as an artist over the years? How are you adjusting to all these things? Yeah, yeah, yeah. I mean that's a good question. Like I, I never used to, I was actually a rapper. I was freestyle rap. I was a freestyle back, let me see. It's only later on that Nikanza Kwingi is a melody zapa na pale. Yeah. But now later on, because I think the more you grow, you're like going back to your roots. I think even music aside, even as a person, you're like, eh, meaning kamba, meaning baiter, meaning nini, let me go back to my roots. Yeah. So, yeah, I've been going back to my roots. Back to your roots. Like if you listen to some of my songs, kuna some sort of African touch, fluta pa, drama pa. No, kaza enyatumesia tu sayi. Yeah, exactly. Yeah. What instrument is that? So, there's a flute, there are shakers, what we call mbo in Timeru. And then there's a, basically those are the two two instruments that really kind of give the song like that flavor. Yeah. And I don't think we are hearing so much of that, especially with the new generation kind of music. Yeah. It's not so something we are getting a lot? No, it isn't. It definitely, I think kaza alia on, I think it's sometimes in a kujakama in the end like that afrikanes, because piya genge tune is also based on genge. Like najiwa, that's why they called genge tune, yo genge, najiwa. So, so there's, but as far as instrumentals is concerned, like I don't get many newer artists using those kind of najiwa. It's very there. Actually when I was listening to the song, I was like, the kind of that sound, the instruments and everything is something I have heard from another artist who does kikuyu music. Yeah. Yes. See what? It's a rare kind of sound. Yeah. So does that make you feel okay, is that what makes you unique and stand out? I think it does. Like it, of course there's what, how I write, but there's also the instrumental. And I mean, for me it's because I've not just lived in Nairobi, in Meishimeru. So it's like I have to, I feel that both of, both walls must be represented. So, that's where I come in. Yeah. So, that's why I feel strongly about that. Yeah. You have also incorporated your native language here. Yeah. Yeah. So this is that song that you have done with people from the Meishimeru site. Tell us a bit about that. Is that something you are planning to do more of? Yeah. It was actually interesting. I'm also, because I'm also a research consultant. So 2017 I was doing some research around the elections. And, you know, some of my friends who come from Meishimeru, I also come from Meishimeru. So, although I've spent most of my life here. So, nila design, kwongi anawa, we can't we do a song. But now, kind of reinvent the approach and now just go back to the singing of, in Meishimeru, the same, same rhythm. So, yeah. So it's, it was more or less informed by, by also the times, informed by some of the things I was seeing. I was seeing like, because there are two songs we did with them. There's a song that we did that was more traditional in the sense that asking people to come together, let's break down these boundaries as Africans, the different subethnic groups among the Meiru, asking people to come together and now exporting that throughout the continent. So that was, that was informed by a memory that I had in, in 2017 when I went to, when I visited the border of, of Isiolo and Meiru, a place called Kenna, where there's parts where Meiru's a mo, parts where Burana's a mo. But there are places where I would see like, they were just seated together, drinking, find a Meiru guy, making Injera, which is more or less Burana.  It's not the case. So I was like, kwa ground, some things are different. Exactly. So yeah, so that's why I wrote that song and it was kind of, to kind of show people that as Africans and as even different ethnicities, like we should really like, focus on the, on the commonalities, on the similarities we have and that kind of brotherhood, sisterhood, that oneness. Yeah. Okay. You talked about your writing. Yeah. So I particularly like how you wrote the song, Sina. Inetwa? Hauna kismat. Hauna kismat.  So is that how you do all your songs? Do you like tell a story with your music? Most, I have a bias to storytelling, definitely. Why do you have a bias to tell a story?  Nadia, mtunela kakuni. So what's your story? Nadia, so when you two men you listen, like so tell me about Nadia. So I definitely have that, like I I like writing stories, but I like also including human men music, not all of my songs too. But ya, Hauna kismat li toka na you know, there was a friend of mine, alikwame piti amengi, alikwame piti amengi, so he lembaka any kyu boys, kyu boys na jewa say waga, say waga na penda kutche keleana. It's a very weird way of showing like, you know like, I still, I still you're showing love. You're showing love. You're showing love. Ya, you're showing love. Ya, ya by the way, Nadia, international men they may pita too, say easy, but you need to show love to kiku tse keleana. So you need to show love. I'm making fun of your situation. Yes.  Sindio. Ya, and so ni that's what inspired the song also, personal experiences. So ya, so ni nga meningi andika nikifiki ria and then of course pay imagination, some of those things like, it's not that one person went through all of those things, but you know like, it's possible.  Sindio. No, sometimes it does happen. Okay, but not if something like what happens to one person, that's so unfortunate. Ah, lakini si badiata, badiata jijenga.  Makes you stronger. Yes. So kismat na wansha ni? Kismat ni bati. Hauna bati, hauna kismat, hauna bati. Okay, interesting. So you are kwanabahati at all. So it is one, it is your latest song. You told me that you are working on an album which is this part of, it's na hauna kismat na chapeana part of the song that you wrote in the album. They are, they are, they are, kengiata, YouTube you're going to find the six songs that I've released this year, six videos. So they are going to be released on a larger album which I hope to release perhaps late January early February. So yeah, Melodies na rap. Okay, right, interesting. Do you have a name for the album? Melodies na rap. Melodies na rap. Oh, okay. I thought kuna melodies kuna, okay. Both. Nadia, it's both. It's self-explanatory. It's both melody na rap. So um, what are some of the challenges you have been experiencing in this industry? Ni noma, say, like I said, like Tengen ni Nyingi, TV station ni Nyingi, so na eh, na zima ni ende uku, na zima ni ende isakik, na zima iku kwa plans, ni ni shonoma ni na nachaza, Kenyan music, eh, big up yourselves. Yes. Eh, na nai. So um, eh, there are so many, like the distribution part of it has now become tricky over time. Okay. Eh, and for those, because you know, sometimes like right now managing myself, you know, and it's a huge, huge thing, like managing is supposed to manage, is supposed to write, is supposed to distribute and then you're also supposed to do your other household.  Find balance. Exactly, exactly. So, so that there's a distribution part of it. There's also, like even the financing part of it, we have to come up with other households for us to finance this. Yeah. Unawana, there's, there's of course, I mean, I wouldn't want to say like keeping up with the trends because I think that that is true that people, at a certain point in time, people would want to listen to, people would want to listen to music that they are familiar with. Unawana, but I think the artist is also supposed to stick to their core. Yeah. Unawana, so you, Unajuliza, I have had this discussion with several artists, you know, the, the, how should we call it? Like, keeping up with the trends, like giving people what they want and sticking true to yourself, what you actually, the music you consider this is good music. You know, it's, it's tricky, right? It is, it is. Unajuliza, what you want to put here, you know, this kind of song, this kind of song, so I'm like, this is supposed to stick true to what you believe in and, you know, give people good music. Yeah. It's a little bit of both because people, the guys who you have, who consider you, the guys who are your fans, if you just change drastically in the name of chasing a trend, they'll be like, why am I believing this? Why do I still have to believe in this guy? Yeah.  I love your trend, Kisha, what happens. That's over. Yeah.  It reminded me of major. Exactly. So nauna. Yes. But at the same time, see major, kwan deende, kwangoma, u nauskezo, shikas. So, it's, but I'm staying true to myself. Like for the past 14 years, I've been an artist who has been putting out music that either is humorous in some way, it has like really good lyrics, flows, I change, I switch. So yeah, so it's staying true to myself and the guys who, who have been loving my stuff for the past 15, 16 years, they still relate with Hauna Kismat, nauna. So, but don't just totally abandon who you are in the name of lasimani sound karma. Lasimani, yes. Lasimani sound karma. I think at the end of the day, but it's balance. You need the balance. Okay. So where can people find, you know, Hauna Kismat to Chapiani and more of your music. YouTube, YouTube, Hauna Monajamonere, check out my channel, Monajamonere, all platforms, Twitter, Instagram, Facebook, Monajamonere, you're going to find all my songs there. Yeah. Hauna Kismat to Chapiani. Streaming platform. Yeah. Streaming badu. Badu. Streaming badu. Badu we're still trying to, because the thing is, I want to put that alongside the album. So the streaming platforms badu have been kind of slow to that. Okay. But possibly by, by Jan, Jan Ali Feb mdakwa nishamban ise yo maneno. Okay. All right. So we are expecting the album as well. So we are hoping to see that and I know your fans will enjoy it and I know you've gathered a few new fans today. Wasi. Yes. Thank you for the platform. You're welcome.  Kismat nibahati. Nibahati. Yeah. So thank you so much for coming through. We do appreciate your time. Thank you. Thank you. And yeah, stay true to yourself. So up next is Hauna Kismat.


Good afternoon, everyone. It is a real pleasure to be here with Prime Minister Karens in Canada. You welcome me, Cristianus, to Latvia just a few months ago back in March, and I'm honored to be able to welcome you here to Canada in such a beautiful sunny day. It was a really good productive meeting. We had it just now. We reaffirmed the strong and deep ties between our countries. We're both steadfast supporters of Ukraine, and we discussed further military support that we can work on together, but also offer. Canada and Lettonia share values based on freedom, democracy, and the sovereignty of the law. Lettonia and Baltic countries feel the shadow of their neighbors in Russia, but they continue to maintain a rampart by protecting their democracy and that of Eastern Europe. Today, Prime Minister Karens and I also discussed how we can continue strengthening NATO's deterrence and defence measures along Europe's Eastern flank. As you know, Canada leads the NATO battle group based in Latvia, which I had the chance to visit back in March at Camp Adadzi. Currently, 695 Canadian armed forces, women and men, are deployed in Latvia. Today, I am very pleased to announce that we will be deploying a general and six staff officers to NATO's multinational division north headquarters in Adadzi. They'll be part of a first-of-its-kind unit in the northern Baltic Sea region to help plan, coordinate, and integrate regional military activities. It'll serve as a continued and important part of our enhancements to NATO's defence and deterrence capabilities. This is something Latvia had actually asked Canada to provide to continue assisting in the region. We talked about it a fair bit just a few months ago, so together, through our collective strength, we will continue to defend against threats to democracy and global stability. Over the weekend, I was in Ukraine, where I got to see firsthand what attacks against democracy and global stability looked like. I saw the devastation of Irpin with homes destroyed, with neighbourhoods battered. It is clear that war crimes have been committed and that the White House is entirely returning to Putin. During my visit, I noticed the resilience and courage of the Ukrainians. They are fighting with a ferocity that inspired the whole world. They are less numerous, but they defend their country with enormous success. The Russians clearly underestimated them. Despite the dark and brutal realities of war, Ukrainians continue to seek a bright, free, democratic future. We will, together, collectively be there to support Ukrainians as they defend themselves against Putin's illegal invasion. We will be there as the country rebuilds afterwards. Christianius, thank you so much for being here today. Thank you for everything you and your partners do to defend Europe, to defend democracy. Together, our countries will continue to defend our common values. It's very good to see you here today, my friend.


Okay so we've discussed principles by which you can make good self-paced materials and in fact our experiences have been that students give very consistent feedback that those are the kinds of things they're after and so we have a high confidence that that's going to work well. When it comes to the in-class time, the time that we've deliberately freed up by moving all our content to self-paced form, then there's a much greater diversity of what students are looking for and what teachers might want to do and so there's a big spread of kinds of good in-class activities that you can do. Now what we're going to do now is we're going to discuss basic principles for what you shouldn't do there, some ideas, what you might want to try and some traps to avoid. When it comes to in-class activities there's no simple recipe you can follow. Really very different strategies work for different teachers with their natural inclinations and strengths, they work for different students with their preferences and strengths and they work for different kinds of material and different classes often have different goals. You might be trying to address some particular common misconception that students have, you might be trying to improve their understanding in general, you might be trying to give them some kind of skills or you might be trying to help the students apply their knowledge in a authentic real-world kind of setting and this diversity of needs and appetites has led to a similar diversity in good teaching styles and there's a lot known about good teaching and rather than try and cover all of that, let's look at some of the differences between teaching in-class activity in a flip classroom setting to teaching in-class activity in a normal setting. So first and foremost we've got rid of all the things that can be best done by students by themselves and put that into the self-paced learning and so the key principle of all in-class activities is that they must be active. Now that's actually true of in-class activities where you're not using flip classes as well, it's well understood that the more active your students are the more they'll retain and the more they'll be able to do later on. And getting students more actively engaged is at the heart of the majority of successful teaching innovations. So look to minimize the amount of time that you speak to the entire group and that means you can maximize the time you spend walking around the room talking to individuals. And listening of course, one of the advantages of this approach is you get more time to hear what students are thinking about, what their questions are, see what they're stuck on that kind of thing. And of course while you're walking around talking with people they're working on a very specific exercise that you've set for the day so you can get very specific information about what people are struggling with in a topic of your interest at the time. So it's very good as a teacher you get a good connection to your student body. Now if you can possibly manage it we've found that it's best to get as close to a 1 to 15 staff student ratio if you can. Although not all those staff necessarily need to be fully expert, they could be tutor level or someone in between the teacher and the student. But we've found we needed something like that in order to have someone coming around and talking to people regularly enough. And I've spoken to other people that found that their ratio was more like 1 to 5 in a clinical kind of situation where they were really doing very high intensity work that needed lots of supervision. And I guess there will be situations where you might better get away with something more like 1 to 20 or 1 to 30 if people are working through large amounts of drill say. So if it's not highly conceptually challenging and they need to be spoken to regularly. Besides choosing a highly active class plan another good thing to do is to start with question time. It's standard to have that at the start of the class because students have come into your class and they've already engaged with new materials. So they've gone through new content in their self-paced learning materials and so they're going to have questions. There's a sort of cultural trap you can fall into at this point especially if you're an experienced teacher. So what can happen is you've got a large number of students that have come in and they've dealt with new material and you haven't seen them do it. You might have perhaps produced those online materials or even written that textbook but you still haven't seen them actually engage with it. So there's a strong tendency to go over that material again. In other words there's a strong tendency to go out of this active student paradigm and into a kind of passive student paradigm where you recover all that material. Of course that gives them less and less desire to actually engage outside of the class and so you end up reverting back to a traditional non-flip classroom model by squeezing out all the time you're going to have doing your exercises. And I've now heard of multiple situations where people have attempted to take on the flip classroom model of teaching but have found that that question time when they lost their courage and they just started devolving into teaching all the material again, they found that they didn't get any improvement in learning. Whereas exactly the same materials and class plans provided a significant improvement in learning in other classes where teachers had the courage to stick to their guns. Now sticking to your guns in this case means use question time in a simply reactive way. If people don't have questions, get into the exercise going hard. In other words, the principle here is you mustn't have any safety net. If students are going to engage in your course, the way they get their information about the new content is from the self-paced learning materials and you should organize your course so that that is absolutely implicit and there's no real other way to get it. If they're having troubles with the content, of course they can ask questions. They can ask you questions individually when you're coming around and talking to them one by one or they can ask questions at that question time at the start of the class and you can answer back to the whole class and you can really clear up any problems with that content and any conceptual issues that students are having. But in the end, you have to expect your students to have engaged with the material and come up with their own questions and be ready for the exercises. And exactly how you do that is going to be the topic of the assessment talk that we'll have in the next video. But for now, we're just going to say you mustn't have a safety net.  On the plus side, I must say that question time at the start of class is usually a fairly effective time. It's a very efficient time because students have had a chance to try to process the material. When they're trying to come up with a question that they're lost when you first presented it, they don't have even enough time really to come up with a sensible question. They can just sort of express their confusion in some way, whereas you often get very good questions in the flip classroom model.


Look at it. Just look at it. Montana beauty. Look at this. Everywhere you look it's just amazing. We're in Missoula, Montana. Starting off our day here. We got here pretty late last night. We got here to vote 2 in the morning. So we had to wait till noon the next day because you have to stop for 10 hours consecutively in the United States before you can start driving again. So today we'll be ending our day in Canada in Surrey, British Columbia, way on the southwest side, almost at southeast. That's no. Southwest side of Canada, just above Washington State, right on the Pacific Coast there. Somebody there needs some American glass. I've got it on my trailer underneath some tarps right now, keeping it all nice and pretty for them. They're gonna be impressed. Tell you what. I think they're gonna be impressed. What do you think? We took good care of their glass. What do you think? Yes, exactly. Speechless. Speechless. That's what they'll be. We deliver their first thing tomorrow morning and then I'm gonna be staying in the area there over the weekend. This truck's going into the shop. Surprise, surprise. Trucker Josh's truck is going back into the shop. It's just been, it's been that kind of quarter. There's been a lot of little issues to get worked on on this truck. So my air dryer, I think I told you yesterday, is starting to go on this truck. So I've got to get that replaced. It's frozen up on me a couple times already, so I've got to get the moisture out of my airlines. The air dryer is old, needs to be replaced. I also need to get the whole truck looked over for some air leaks. Just in case, make sure that's all good to go. Other than that, my engine light popped on. Like for a little bit every now and then.  I've gotten it checked out before and every single time it's the same sensor. There's a sensor that's not connecting properly and so I want to get that fixed. They're gonna go with their computer at the Volvo dealership there in Langley, BC. They're gonna go and take a look at it, see what's going on, and fix it for me hopefully. And hopefully they can all get it done pretty quickly. I might need to get a motel. It's fine if we do as long as my bill isn't too big at the shop. I'm hoping it'll be under a thousand bucks. The air dryer is about a hundred bucks or so, plus about an hour to install it. Then they'll have to flush the airlines, flush the air system. That'll be another charge. They've got to diagnose what's going on with the engine lights. That's gonna be another grab a hundred dollars, plus probably replace the sensor. That'll probably be another go a hundred dollars. Then they got to look over the whole other the rest of the truck. They'll probably charge me for that and another couple hundred dollars. Everything's really expensive. I told you that shops are way too expensive. How are we supposed to maintain our trucks out here and put food on our table? I don't know. I'm not gonna get into that right now because we're gonna make we're gonna make this a happy day. Happy day. I'm even gonna comb my beard. Look. Oh, I forgot to do this after I showered. How do I look? Don't answer that. Don't answer that. Let's go. Got my shades on. Looking cool. Ready to go. Okay, maybe I'm not looking cool. Whatever. Whatever. I don't want to stay here. I love Montana. So they have pilot fuel here. Pilot Flying J. It's a town pump. So it's different than Flying J. I don't know. Montana special. I have to find my... Where did I put my loyalty card? Oh shoot. I had to take that inside for my shower. Where I put it? That's in my sweater. Plus this top portion of the state here, which at the peak we've been climbing up for a few minutes. Look at that snowblower on the left. In the US it's different than in Canada. In Canada we just have the Rocky Mountains. That's it. In the US the Rocky Mountains sort of curve inland and that's the mountains we went over before. I believe correct me if I'm Rocky.  That's the Cascade Mountains. Between those two mountain ranges right now and it's just wide open. It's again just like at home pretty much. A little bit of a different feel to it but out here in Washington. Just right south of British Columbia. Like British Columbia is that way. A few hundred miles. And all of British Columbia is like rugged Rocky Mountains. Look at this. Just a little way south. This is the same gap between the mountains I guess that you would see going all the way south through all the way down to the Nevada Desert. I guess it's the same thing right? Same region sort of. It's just north. Interesting area and opening here between the mountains that Canada doesn't have. It's sort of like I guess the Okanagan Valley. But an extreme big version of it. Still got five hours ago. I'm ready to get over. View Washington? Just sort of right next door to Seattle, Washington. It's all the same city to me anyways. Anyone who's not from here would say it's just another downtown right here within the same city of Seattle. But once again locals would I'm sure disagree. Let's just call it Seattle. We're here in Seattle. I always like this highway. Those right past their downtown here. This isn't downtown Seattle. This is one of the other downtown's in Seattle. Have I confused you yet? I'm confused. Maybe this is Everett? I don't know. Big buildings. I tell you man. Cities. Cubicles that people live in. Got box in the sky. Very well taken care of. Seattle's actually got quite the history. I've been here quite a few times before. I used to come to an annual vlogger fair here in Seattle. I don't think it's going on anymore. But several years ago I came here every year for that. And that's where I met my friend Troy that I was talking to you about before. He's from south of here. I think somewhere around here. He's somewhere in the same city. Really good friend of mine. One of my best friends. And I met him at this vlogger fair. And that's how I got to know Seattle. And while I was here I learned a little bit about the history of Seattle. You know the old Seattle fires and everything.  And all kinds of stuff. Went on a ride the ducks tour. Lots of stuff to do here. It's a very fascinating place. Well there's French on the signs again. I can only mean one thing. We're back home. Well sort of. We're in British Columbia. I'm from Manitoba if you're new to the vlog. Very different place than BC. But same country. Sort of like being from North Dakota but visiting Washington State. And the scale is closed. Now that's a proper welcome home. Thank you.  That's not very nice. This is the way this is a proper welcome. Closed scale. This is the way it should be. A closed scale is always the best scale. So this is. So this is Surrey, British Columbia. Pretty much Vancouver. Same thing. And we're going to be parking at the customer. So we're ready for them. 7 a.m. tomorrow morning. Going to be an early one. Hope you join us then.


I'm the chair of Go On UK. It's a charity that I set up last year, bringing together the corporate sector, the charitable sector and the public sector to really try and address the issue of digital skills in the UK. There are still 16 million adults who can't do a basic set of things online. Four million of those are in work and one million are employed, so it's a big deal for the economy. We did some work to show that there is a potential 18 billion of value to the UK economy if small and medium-sized businesses geared up their use of the internet and were able to do the set of things that what we would classify as a kind of good digital user can do. So Go On UK is trying to bring together different partnerships to address the problem and we're doing it in an area by area approach. We're going to the northeast to the end of this year, bringing all of our partners and local partners together, doing a concerted bit of activity to really try and make sure that particular bit of the country is super connected. 70% of SMEs use technology well, but 30% don't, and we've worked out that if they were to just be able to sell stuff online, buy stuff online, there'd be a huge disadvantage for them in their daily business. I think if you're a butcher's shop, you might not realise that buying your products on the internet for your tools or for your marketing material might save you money. It might not seem far away from the concerns of your daily business, but I would argue that every business now needs to think about digital culture. This is a country that's thinking about the internet, the heart of lots of the design of its products and services, and we need to help move the SMEs on to. We're in 2013, not 1813. We have to move the country on or we won't be competitive across the world and in what we do and how we deliver our services, so it isn't to me an either or. If we stand still, we're not going to have a whole load more jobs. If we stand still, there are going to be no jobs. There's also quite a lot of interesting work both by McKinsey and BCG and others to show that actually, although you do lose jobs from the digital economy, more are created. We just have to skill people up to be able to take advantage of those jobs so that I'm optimistic. I think that the economy moves on. Of course, you might have to get different skills. Of course, some things will become redundant, but macro level, we have to make sure that the UK is able to compete with other countries. We know that children who have technology at home do 25% better in their exams, and actually that's an old number that's probably got a lot more dramatic now. I think that we need to make sure that we are embedding digital thinking across all of the education system, that we're giving kids the opportunity to learn in an interactive, big way where they really are taking advantage of some of the staggering improvements in technology. If you're a teacher with many children in a class and you don't even have computers in that classroom, then you are going to be at a serious disadvantage, especially if you were to compare us with countries where they put that at the heart of their education system. I'm less militant about what we should be teaching kids. I think teaching kids coding is fantastic, and if it opens up their eyes to a different set of things, then brilliant. But I don't think that's what will mean we create a brilliant digital economy in the future. I think we need to have a robust sense of digital tools, and we've got to teach children about all kinds of aspects of the digital world, not just focus on one bit of it. We're not a delivery organisation. We're a small team of eight people. What we do is work through our partners and encourage them to make big, bold commitments to help get people the digital skills they need. So we have on our board the CEOs of the BBC EE talk talk big lottery fund. We've got the post office, and we've got others. So we hope that by working with them and influencing their teams, the work that they do in their communities with their workforce will spread out triple beyond just the people that we know are already online. So we're working through our partners, but we're also working in local areas, and that's where we can bring our partners together to try and create change on the ground that perhaps wouldn't have happened before.