adds her to during the podcast that are not in my voice or placed by third-party agencies outside of my control and should not imply an endorsement by Weird Darkness or myself. Time is a funny thing. There never seems to be enough, yet there is an infinite amount. Time slips through moment upon second into eternity past, yet present to begin the future. Time is thought to be unstoppable in its relentless push towards the future. Humans perceive themselves as bound up in time as an insect and amber, forever imprisoned and forced to reckon as an Azir from Irvavarra. Her man is fascinating as a moth in the unknown. Stories and content in Weird Darkness can be disturbing for some listeners and is intended for mature audiences only. Parental discretion is strongly advised. Welcome, Weirdos. I'm Darren Marlar and this is Weird Darkness. Here you'll find stories of the paranormal, supernatural, legends, lore, crime, conspiracy, mysterious, macabre, unsolved and unexplained. If you're new here, welcome to the show and if you're already a member of this Weirdo family, please take a moment and invite someone else to listen. Recommending Weird Darkness to others helps make it possible for me to keep doing the show. And while you're listening, be sure to check out WeirdDarkness.com where you can find me on Facebook, Twitter, Instagram and more along with the Weird Darkness Weirdos Facebook group. Coming up in this episode. Sadly, the past is gone and cannot be changed. Nor can we see into the future to prepare for what's to come. We live in the here and now and that is a constant. Or is it? We'll look at the mystery of time slips. Edward Munch's painting, The Scream from 1892 is a masterpiece of the macabre and when you hear him describe the piece and his inspiration for it, you'll realize the painting is a lot closer to the artist's life than anyone would want. Have you ever wondered why ghosts in the movies are so often female? What makes female ghosts scarier than male ghosts? Aside from that whole a woman scorned thing. We'll look at some famous and infamous female ghosts and urban legends from around the world.  Time is a funny thing. There never seems to be enough, yet there is an infinite amount. Time slips through moment upon second into eternity past yet present to begin the future. Time is thought to be unstoppable in its relentless push towards the future. Humans perceive themselves as bound up in time as an insect and amber, forever imprisoned and forced to reconcile with the regularity and inevitability of change. The past is gone, the present fleeting and the future is unknown. Or is it? If a mercy side policeman by the name of Frank was asked, he may have an entirely different opinion on the subject of time. On a sunny Saturday afternoon in July of 1996, Frank and his wife Carol were visiting Liverpool's Bold Street area for some shopping. At Central Station, the pair split up. Carol went to Dillon's bookshop and Frank went to HMV to look for a CD he wanted. As he walked up the incline near the Lyceum Post Office slash cafe building that led onto Bold Street, Frank suddenly noticed he'd entered a strange oasis of quietness. Suddenly a small box fan that looked like something out of the 1950s sped across his path, honking its horn as it narrowly missed him. Frank noticed the name on the van's side, Kaplan's. When he looked down, the confused policeman saw that he was unexpectedly standing in the middle of the road. The off-duty policeman crossed the road and saw that the Dillon's bookshop now had the words, Crips, over its entrances instead. More confused, he looked in to see not books, but women's handbags and shoes. Looking around, Frank realized people were dressed in clothes that appeared to be from the 1940s. Suddenly he spotted a young girl in her early 20s dressed in a lime-colored sleeveless top. The handbag she was carrying had a popular brand name on it, which reassured the policeman that maybe he was still partly in 1996. It was a paradox, but he was relieved and he followed the girl into Crips. As the pair went inside, Frank watched in amazement as the interior of the building completely changed in a flash to that of Dillon's bookshop of 1996. The girl turned to leave and Frank lightly grasped the girl's arm to attract attention and said, Did you see that? She replied, Yeah, I thought I was a cloth shop. I was going to look around, but it's a bookshop. It was later determined that Crips and Kaplens were businesses based in Liverpool during the 1950s. Whether these businesses were based in the locations specified in this story has not been confirmed. Frank's experience is not that unusual in the realm of strange phenomenon. There's even a name given to such events. Timeslips A timeslip is an event where it appears that some other era has briefly intruded on the present. A timeslip seems to be spontaneous in nature and localization, but there are places on the planet that seem to be more prone than others to timeslip events. As well, some people may be more inclined to experience timeslips than others. If time then is the unmovable force that physicists say it is, why do some people have experiences that seem to flaunt this concept? Much of ancient Greek philosophy was concerned with understanding the concept of eternity and the subject of time is central to all the world's religions and cultures. Can the flow of time be stopped or slowed? Certainly some mystics thought so. Angeles Cilicia, a 17th century philosopher and poet, thought the flow of time could be suspended by mental powers. Time is of your own making.  The moment you stop thought, time too stops dead. The line between science and mysticism sometimes grows thin. Today's physicists would agree that time is one of the strangest properties of our universe. In fact, there is a story circulating among scientists of an immigrant to America who had lost his watch. He walks up to a man on a New York street and asks, please sir, what is time? The scientist replies, I'm sorry, you'll have to ask a philosopher, I'm just a physicist. Time travel, according to modern scientific theory, may still be beyond our grasp. Yet for a number of people who have had unusual timeslip experiences, time may be easier to circumnavigate than expected. A classic example of a timeslip could be seen in a note from Lynne in Australia. Lynne had read the book Time Travel, A How-To Insider's Guide from Global Communications, published 1999, and she thought her experience was similar to others featured in the book. In 1997, Lynne lived in a small outback town that was built in 1947 and had changed little since that time. I was driving toward the main intersection of the town when suddenly I felt a change in the air. It wasn't the classic colder feeling but a change like a shift in atmosphere. The air felt denser somehow. As I slowed at the intersection, I seemed to be suddenly transported back in time to approximately 1950. The road was dirt, the trees were gone, and coming toward me to cross the intersection was an old black car, something like a vanguard or old FJ Holden. As the car passed through the intersection, the driver was looking back at me in total astonishment before he accelerated. From what I could see, he was dressed in similar 1950s fashion, complete with hat. This whole episode lasted perhaps 20 seconds and was repeated at least five times during my time there, always at the exact spot. I tried to make out the registration plate number but the car was covered in dust. Lynne wondered if there is someone out there still living who remembers seeing a strange sight at the intersection back in the 50s of a weird car with a bug-eyed woman at the wheel. Derek E. tells another interesting time slip story. When he was a child, his father was a taxi driver in Glasgow, Scotland. One day in the late 1960s, Derek's father was driving in the north of the city along Maryhill Road, near Queens Cross, one of the older parts of town and once its own separate community outside the city. One minute it was now, Derek wrote, cars, buses, modern clothes, tarmac roads, etc., and the next thing my dad knew, he was in some earlier time. It was certainly pre-Victorian given the clothes he described people wearing, horses, rough road, lower buildings, people in rough clothes and bonnets, etc. It lasted as long as it took him to be aware of it and then it vanished and he was back in now. Derek also reported that in the 1980s he and his wife were on a driving holiday in the North York Moors in England. They went to a tiny coastal village called Stathis, which had a steep, winding and narrowing road down to the harbour with the entrance to the houses and narrow footway at a higher level of three or four feet. We parked at the top of the village, Hamlet really, when the tourist buses and cars had to stop and made our way down on foot. What I remember is a brilliantly sunny day with lots of other people around, but as we made our way down it just suddenly seemed as if no one else were there but my wife and me. An old woman appeared on the footway opposite us. It became cooler and duller. She asked in what seemed to be an old fashioned and very polite way what year it was. Now lots of old people get confused and it could have been that, but what I remember vividly is her black clothes, handmade, rough and with hand sewn buttons, really big compared with modern ones. Her shoes were very old fashioned with much higher and chunkier heels than you'd see an older person wearing nowadays. In the time it took me to turn to my wife and say, did you see that? She was gone. The sun was back and so were all the people. My wife had also seen the same old woman and felt the same chill. Derek's experience seems strikingly similar to traditional ghost stories. Many ghost sightings are readily explained as individuals who appear out of their normal location or time, but often the ghost also seems to change the surroundings of the witness, giving the impression of a time slip. What is open to question is whether these are glimpses into another time or does the witness or the ghost actually travel in time? Perhaps it's simply different sides of the same coin. Martin Jeffery, co-editor with Louise Jeffery of the website MysteryMag.com, speculates that time slips can be recreated or induced using a trigger factor, which occurs when one is interested in his surroundings but is not concentrating on them. A slip occurs at a precise place and moment and the witness is thrust seemingly into another time. Jeffery cites the case of Alice Pollock, who at Leeds Castle in Kent experienced what could be called a classic time slip. Alice was experimenting in Henry VIII's rooms by touching objects in an attempt to experience events from another time, after a period of receiving no impressions whatsoever, the room suddenly changed. It lost its modern comfortable appearance to become cold and bare. The carpet had disappeared and there were now logs burning on the fire. A tall woman in a white dress was walking up and down the room. Her face seemed to be in deep concentration. Not long after, the room returned to its original state. Later research found that the rooms had been the prison of Queen Joan of Navara, Henry V's stepmother, who had been accused of witchcraft by her husband. It could be that the witness triggers time slips, whether they blank their mind at a precise moment and the slip occurs or the witness touches something that holds the memory of a previous time. The simplest explanation is probably the psychometric hypothesis noted Colin Wilson and John Grant in the Directory of Possibilities. In the mid-19th century, Dr. Joseph Rhodes Buchanan of the Covington Medical Institute performed experiments that convinced him that certain of his students could hold letters in their hands and accurately describe the character of the writer. He became convinced that all objects carry their history photographed in them. Buchanan wrote, The past is entombed in the present. The discoveries of psychometry will enable us to explore the history of man as those of geology enable us to explore the history of earth. Clearly, psychometry may be seen as a form of time slip. The classic of time slip tales occurred in August 1901, when two English women on holiday, Annie Moberly, principal of St. Hughes College in Oxford, and Dr. Eleanor Francis Jordane visited Paris. After a short stay in the capital, they went to Versailles. After visiting the palace, they began searching for the Petit Tryonon but became lost. As they wandered the grounds, both women began to feel strange as if a heavy mood was oppressing their spirits. Two men dressed in long grayish-green coats with small three-cornered hats suddenly appeared and directed the women to the Petit Tryonon. They strolled up to an isolated cottage where a woman and a 12- or 13-year-old girl were standing at the doorway, both wearing white kerchiefs fastened under their bodices. The woman was standing at the top of the steps, holding a jug and leaning slightly forwards while the girl stood beneath her, looking up at her and stretching out her empty hands. She might have been just going to take the jug or have just given it up. I remember that both seemed to pause for an instant as in a motion picture Dr. Jordane would later write. The two Oxford ladies went on their way and soon reached a pavilion that stood in the middle of an enclosure. The place had an unusual air about it and the atmosphere was depressing and unpleasant. A man was sitting outside the pavilion, his face repulsively disfigured by smallpox, wearing a coat and a straw hat. He seemed not to notice the two women. At any rate, he paid no attention to them. The English women walked on in silence and after a while reached a small country house with shuttered windows and terraces on either side. A lady was sitting on the lawn with her back to the house. She held a large sheet of paper or cardboard in her hand and seemed to be working at or looking at a drawing. She wore a summer dress with a long bodice and a very full, apparently short skirt which was extremely unusual.  At the end of the terraces was a second house. As the two women drew near, a door suddenly flew open and slammed shut again. A young man with the demeanor of a servant but not wearing livery came out. As the two English women thought that they had trespassed on private property, they followed the man toward the petite tryonon. Quite unexpectedly, from one moment to the next, they found themselves in the middle of a crowd, apparently a wedding party, all dressed in the fashions of 1901. On their return to England, Annie Moberly and Eleanor Jordain discussed their trip and began to wonder about their experiences at the petite tryonon. The two began to wonder if they had somehow seen the ghost of Marie Antoinette, or rather if they had somehow telepathically entered into one of the queen's memories left behind in that location. As if to confirm their suspicion, Moberly came across a picture of Marie Antoinette drawn by the artist Workmueller. To her astonishment, it depicted the same sketching woman that she had seen near the petite tryonon. Even the clothes were the same. Intrigued by the growing mystery, Jordain returned to Versailles in January 1902 and discovered that she was unable to retrace their earlier steps. The grounds seemed mysteriously altered. She then learned that, on October 5, 1789, Marie Antoinette had been sitting at the petite tryonon when she first learned that a mob from Paris was marching towards the palace gates. Jordain and Moberly decided that Marie Antoinette's memory of this terrifying moment must have somehow lingered and persisted through the years, and it was into this memory that they had inadvertently stumbled. What can be concluded then from these anecdotal tales? Did these people actually travel, albeit briefly, into the past to glimpse scenes that once were, or were they caught up in a form of haunting where, like an old movie, they saw a scene that had somehow been implanted in a location and allowed to play back again for those sensitive enough to pick up the lingering impressions? However, if time slips are a form of haunting, what explanation can be offered to the experience of a Mr. Squirrel who in 1973 went into a stationer's shop in Great Yarmouth to buy some envelopes? He was served by a woman in Edwardian dress and bought three dozen envelopes for a shilling. He noticed that the building was extremely silent, there was no traffic noise. On visiting the shop three weeks later he found it completely changed and modernized. The assistant, an elderly lady, denied that there had been any other assistant in the shop the previous week. Even though the envelopes disintegrated quickly, Mr. Squirrel was able to track down the manufacturers who said that such envelopes had ceased to be manufactured 15 years before. How can a haunting produce such physical evidence? Time slips are often accompanied by feelings of depression, eeriness, and a marked sense of silence, deeper than normally experienced, posits author Andrew McKenzie in his book Adventures in Time, Encounters with the Past, drawing this conclusion based on the precise time slip accounts as well as his own interviews with people who have experienced the phenomenon. It is interesting to note that on August 10, 1901, the day of Annie Moberly and Eleanor Jourdain's experience, electrical storms were recorded over Europe and the atmosphere was heavy with electricity. Could this have led to an alteration in the local temporal field around Versailles? Perhaps there is a natural phenomenon that under the right conditions and location can produce briefly a doorway to another time and place. Even though this may sound outrageous, this natural time machine could show that modern concepts and perceptions of time need to be seriously reconsidered. It may be that the past and even the future might be closer than thought with current scientific theories. With the right frame of mind and the right natural conditions, the barriers of time and space that have traditionally kept mankind locked into place may finally be broken, allowing the mysteries of the world and the universe to be finally revealed. Coming up, have you ever wondered why ghosts in the movies are so often female? What makes female ghosts scarier than male ghosts? I mean aside from that whole a woman scorned thing. We'll look at some famous and infamous female ghosts and urban legends around the world. But first, Edward Munch's painting, The Scream from 1892, is a masterpiece of the macabre, and when you hear him describe the piece and his inspiration for it, you'll realize the painting is a lot closer to the artist's life than anyone would want. That story is up next on Weird Darkness. Are you a member of the Darkness Syndicate? The Darkness Syndicate is a private membership where you receive commercial-free episodes of the Weird Darkness podcast and radio show. Behind the scenes, video updates about future projects and events I'm working on. You can share your own opinions on ideas to help me decide upon Weird Darkness contests and events. You can hear audiobooks I'm narrating before even the publishers or authors get to hear them. You also receive bonus audio of other projects I'm working on outside of Weird Darkness. You get all of these benefits and more, starting at only $5 per month. Join the Weird Darkness Syndicate at WeirdDarkness.com slash syndicate. That's WeirdDarkness.com slash syndicate. I was walking along a path with two friends. The sun was setting. Suddenly the sky turned blood red. I paused, feeling exhausted and leaned on the fence. There was blood and tons of fire above the blue-black fjord in the city. My friends walked on, and I stood there trembling with anxiety, and I sensed an infinite scream passing through nature. In describing the sensation that inspired his iconic masterpiece The Scream in 1892, Edward Munch might well have been talking about his own tragic life. Not only was his childhood marked by the death of his mother and his favorite sister from tuberculosis, but Edward was often sickly himself. His father, Christian Munch, raised his surviving children in an extremely religious environment, including telling his children that their mother was looking down from heaven at them whenever they misbehaved. There was also a history of mental illness in the family. One of his younger sisters was diagnosed with mental illness and spent much of her life in an asylum. Edward would eventually comment that I inherited two of mankind's most frightful enemies, the heritage of consumption and insanity. Starting from adolescence, Edward's art came to dominate his life. He disappointed his father by becoming a painter, which his father considered to be an unholy trade. Over the next several decades, Edward Munch's artistic talents were increasingly recognized. Unfortunately, the troubles in his life increased as well. The death of his father left his siblings destitute, and Edward went into debt to support them all, including his sister in the asylum. As he grew more prominent in art, he became more self-destructive as well. In addition to his chronic alcoholism and tobacco use, he also began taking a bizarre cocktail of nerve and pain medications to keep himself going. His health was never good, so his drinking and hard living sent him into a downward spiral. Munch's relationship with his mistress, Tula Larson, ended after an accidental shooting that permanently damaged two of his fingers. He was frequently given to public brawls and drunken binges that alarmed his friends and family. Although he was getting frequent commissions and public honors, Munch hit rock bottom by 1907. Actively delusional, he initially checked into a clinic in Copenhagen but fled during the admission interview. Due to Munch's worsening condition and failure to seek help on his own, his friend, Emmanuel Goldstein, forced him into the private clinic of Dr. Daniel Jacobson in Copenhagen. Although his medical reputation wasn't the best, Dr. Jacobson ran a successful clinic that catered to well-to-do patients. On admission, Jacobson diagnosed Munch as suffering from dementia paralytica, linked to his alcoholism. Nowadays, he'd probably be diagnosed as either delirium tremens or warnex encephalopathy. As it was, he was lucky not to get a diagnosis such as general paracys or neurosyphilis, which might have led to him being locked up for life, which was why Munch had been afraid to seek help in the first place. In many respects, the rest cure that Jacobson prescribed for Munch was, if you'll pardon the expression, just what the doctor ordered. On admission, Jacobson had Munch placed in a locked room for eight days until his hallucinations and other symptoms came under control. Jacobson took Munch off the cocktail of drugs and alcohol that he had been taking for years and gave him no other medication except for sleeping drops, probably chloral hydrate. During his stay at the clinic, Munch was given ample bed rest, good food, fresh air, and regular sun baths that helped him immensely. Some of the other treatments that Jacobson prescribed were a little more bizarre, however. In addition to electrification, which basically amounted to running mild electrical currents through the patient's body using a special generator, the Jacobson clinic also specialized in special treatment baths. These baths involved diluted carbonic acid with extra ingredients including, among other things, iron fillings, salt, soda, potash, sulfur, fur needles, oak bark, malt, and bran. For patients suffering from hallucinations, the baths could also include milk or bullion and even blood from freshly slaughtered animals, and I'll bet you thought that blood bath was a figure of speech. Munch was fortunately spared the blood baths but otherwise had the full course of treatment that Jacobson's clinic had to offer. Munch actually enjoyed the electrification sessions. At one point he drew a cartoon of himself wired up to the electrical apparatus with the caption, Professor Jacobson passing electricity through the famous painter Edward Munch, changing his crazy brain with the positive power of masculinity and the negative power of femininity. While he was fond of the female staff, with whom he often flirted, his relationship with Jacobson was always lukewarm. When Jacobson suggested that Munch paint his portrait, Munch complied by representing him in the painting as a somewhat domineering figure, though Jacobson actually didn't like it that much, although the portrait is now considered one of Munch's best. Along with other paintings, Munch also completed a journal of his stay at Jacobson's clinic which was later published as The Mad Poet's Diary. While Munch had initially planned to stay only eight months, he didn't actually leave the clinic until 1909. It was an expensive stay for him, no socialized medicine back then, and he needed to borrow money to cover the costs as well as continue caring for his surviving family members. Still, when he finally left the clinic, Edward Munch made quite a spectacle of it. He dressed up in formal wear and made his elaborate goodbyes to the other patients, stating that, Peer Gent bids farewell to his fellow lunatics. Daniel Jacobson offered to accompany him to Oslo and capitalize on some of the publicity over his star patient, but Munch refused. After leaving, Munch never returned to the clinic and rarely referred to it in later years. When Jacobson later sent him a number of sketches that Munch had drawn at the clinic and asked him to autograph them, which would have raised their value considerably, Munch kept the drawings instead. Edward Munch spent the last two decades of his life in relative solitude at his estate in Oslo. He followed enough of Daniel Jacobson's lifestyle recommendations to avoid a repetition of that terrible breakdown of 1907, including avoiding tobacco, alcohol, and poisonous women. Despite a bout of Spanish flu in 1918, he remained relatively healthy throughout his old age, but was overshadowed by the Nazi occupation of Norway in 1940. Ironically, while the Nazis denounced his art as degenerate, many of his paintings were confiscated and some of his great works, including The Scream, had to be kept hidden. When Munch died in 1944, he received a state funeral, organized by the Nazis, which gave him an unfair reputation as a collaborator. Today, many of Edward Munch's paintings still invoke themes of life, love, angst, death, and depression. He probably wouldn't have had it any other way. Have you ever wondered why so many ghosts in horror films are female? What is the reason for this? Do they appear to be scarier? If you try to think of two famous film ghosts, you'll probably come up with Samara from The Ring and The Old Woman from The Shining. Female ghosts have far more interesting stories than male ghosts. They're grieving the loss of their children. They're a wrathful darling. They're mourning the loss of their energetic excellence, or they're attempting to resurrect themselves by engaging in sexual relations with a living person. But before we look at the famous female ghosts and urban legends from around the world, let me tell you a quick story of unfinished business. There's a ghost in town, you know? And not one of the harmless ones either. She died of a broken heart after the loss of her daughter. If you're sensitive, you can see her walking the streets, screaming and rending her clothes.  And she means it. Her daughter's boyfriend, thrown out of the window over and over. Her school rival's face pressed against an iron. Her father, the ghost's husband, nearly drowned in a bathtub. She appears hurling accusations and hurts you until you confess. It usually doesn't take long, but she still doesn't move on and realizes it's a lie, so she leaves and finds the next person on the list. Sometimes her screams become sobs. What if it was some wandering vagrant who left town weeks ago? Some serial killers who picked a random target they have no connection to. What if she never learns who took her daughter away? I try to tell her. She does know, of course. I point to the note. I tell her over and over. No one killed me. I took my own life. You don't need to keep hurting people. It was all my fault.  Of course you didn't. I know my daughter. I always accepted you. I did everything I could to make you happy. You wouldn't do this. Someone faked the note. I know it. I was a good mom. You wouldn't have done this. I try to explain over and over, but she's not listening. The suspect's the local priest now. She never quite trusted him anyway. My guilt is no match for her rage, so all I can do is watch as she floats away. Shortly, I hear screams from the church.  Some of the scariest ghosts and urban legends are female, from Bloody Mary to the White Lady. Have you seen any of these women? The Vanished Hitchhiker This one appears to be straight out of terrifying stories, and it is one of the most well-known urban legends of all time. The story tends to differ from teller to teller, but the basic premise is that the vanishing hitchhiker is an urban legend in which people traveling by vehicle pick up a young, beautiful hitchhiker. They drive her home and notice that she's vanished when they park. The person who answers the door informs them that the girl died many years ago. There's a similar story, which is about two travelers sitting next to each other on a train. Normally, a man and a woman, one of them is reading a book, the other person asks what the book is about, the first person says that it's about ghosts, and then they have a conversation about ghosts. The second person then asks if the first person believes in ghosts or has ever seen one, to which the first person says that they've never seen or believed in ghosts at all. The second person then says that this is doubtful, and with that the second person vanishes. This was the version used in the Scary Stories to Tell in the Dark book series. La Llorona or La Llorona, weeping woman, the wailing woman or the crier, is an oral legend about the ghost of a woman who steals children to drown them. La Llorona is always crying when you see her.  There are multiple versions to this story as well. The legend states a lady was unloved by her husband, but the husband adored their two children. She caught her husband with another lady and drowned her children in a river. Out of pain and outrage, she at that point drowned herself. She was denied passage to paradise until she found the spirits of her two children. She cries and moans and takes youngsters and suffocates them in the stream that she and her children suffocated in themselves. The legend represents La Llorona as an individual or as a ghost. In one variation, the lore states that after giving birth to and raising two sons, an aging wife felt that her husband fell out of love with her and only loved their sons. After catching her husband cheating on her with a younger woman, she was consumed by grief and anger, so she drowned her sons in a river to punish her husband, then drowned herself as well because of what she had done. She was tricked by a demon that told her her son's souls were lost, but she'd be granted entry to heaven if she found their lost souls and brought them to heaven where they belonged. The demon knew that her son's souls were already in heaven, so the woman would be stuck in the land of the living trying to find her sons forever, crying constantly for the sins she committed. After having spent a long time without finding her sons, her grief and her desperation to just be able to die and be at peace caused her to start taking other children's souls by drowning them. The Slit Mouthed Woman This famous Japanese ghost is a woman who targets children. She's usually wearing a mask over her lower jaw. According to the legend, she asks her victims if they think that she's attractive. If they respond with no, she will kill them with her weapon. If they say yes, she will reveal that the corners of her mouth are slit from ear to ear and she will then repeat her question.  If they say yes, she will cut the corners of their mouth in such a way that resembles her own disfigurement. While as horrifying as she sounds, there are some methods to escape from the Slit Mouthed Woman, methods including answering her question, am I pretty, by saying average, or by distracting her with money or hard candy. As per legend, Kuchisaki Ana, the Slit Mouthed Woman, was mutilated during her life, with her mouth being cut from ear to ear. In certain variants of the story, she was the double crossing spouse or courtesan of a samurai during her life. As disciplined for her unfaithfulness, her better half cut the edges of her mouth from ear to ear.  Ann Bolin Ann Bolin was famously beheaded on the orders of her husband, Henry VIII, when he was frustrated that she didn't bear him a son and heir. The ghost of Ann Bolin is said to haunt the Tower of London, where she was imprisoned before she died. The king divorced her and beheaded her for not giving him a male heir and accused her of black magic and incest. Ann's ghost has her head, thankfully, but she is still said to frighten passersby as she wanders through the halls. She's even been seen in other historic buildings. She's probably looking for justice, poor Ann. The ghost of Sir Thomas Ann Bolin's father is also believed to haunt the Tower of London, having been cursed for taking no action to prevent two of his children being executed by Henry VIII. La Planchata La Planchata in Spanish means the ironed lady, assuming that I am saying it correctly. La Planchata is a well-known ghost legend in Mexico and the southwestern part of the U.S. It's a story of a ghostly nurse who was seen in hospitals in central Mexico in urban areas. The nurse is seen wearing an old-fashioned nurse uniform. Here's the backstory. In the 1930s, a nurse named Eulalia worked at the hospital. She always wore a clean, crisply ironed uniform. She was an excellent nurse and her patients were lucky to have her. Soon this changed when a handsome doctor entered her life. They got engaged and started living a happy life. Shortly after the engagement, the doctor left to attend a seminar and, to Eulalia's concern, he did not return the following week. Several weeks later, she found out that he found another woman while there and married her. This left her heartbroken and she lapsed into depression. She was so distracted by the pain that she became ill herself and died in the hospital where she worked. After her death, multiple staff members started experiencing strange things in the emergency room. Some believed that she glows and floats in the hospital corridors, while some believed that she walked normally but her footsteps are not heard. Hospital staff started to call the ghost Laughlinchata because she always appears wearing a clean, freshly pressed uniform. And there are various versions of this story as well. In one of the versions, Eulalia was a cruel nurse who didn't treat her patients right and due to that she was being punished to take care of the patients for eternity. Kate Bats The legend of the bell witch is probably one of the most famous pieces of Southern lore. It's a story of a spirit who tormented the bell family. In 1817, a man named John Bell and his family began experiencing ghostly happenings in their Tennessee home. The poltergeist like activity, things being thrown, strange sounds, sugar being taken from the bowls, ghostly laughter, spooked animals, it was all thought to be caused by a witch named Kate Bats. However, it was later found that daughter Betsy was probably causing the activity. However, the bell witch lives on. The Blair Witch Project was based in part on the bell witch legend.  Bloody Mary is a folklore legend consisting of a ghost phantom or spirit conjured to reveal the future. She said to appear in a mirror when her name is chanted repeatedly. Bloody Mary appearances are mostly witnessed in a group participation play. Bloody Mary's story originated with Queen Mary the First being childless, and thus she was replaced by her husband with another woman. When you dim the lights and repeat her name in the mirror three times, she thinks you are taunting her for being childless. When Weird Darkness returns, I have a story from one of our Weirdo family members. If you or someone you know is struggling with depression, dark thoughts or addiction, please visit the Hope in the Darkness page at WeirdDarkness.com. There, I've gathered numerous resources to find hope and solutions. For those suffering from thoughts of suicide or self-harm, there is the Suicide and Crisis Lifeline, as well as the Crisis Text Line. Both have trained counselors at all hours to help those in need, and the page even includes text numbers for those in the U.S., Canada, United Kingdom, and Ireland. Those struggling with depression can get help through the Seven Cups website and app. And there's information for anyone to read more about what depression truly is and how to identify it through our friends at ifred.org. There are resources for those who battle addictions, be it drugs, alcohol or self-destructive behavior, along with help for those related to addicts. The page has links to help you find a therapist or counselor, to find help for those who have a family member with Alzheimer's or dementia, help for those in a crisis pregnancy, and more. These resources are always there when you or someone you love needs them on the Hope in the Darkness page at WeirdDarkness.com. One of our Weirdo family members sent this one in, and they only wanted to share their first name for credit. It's titled Something Above Us, written by Norman. When I was around 10 or 11 years old, I went on a road trip with my mother, her close friend, and her daughter. Jenny, the daughter, and I were about the same age. We grew up together and were childhood friends. My mother and her mother were close friends, that's how we met.  I remember one day my mother told me, we're going on a trip with Jenny, and I was pretty excited about the news. The trip was from Cairns to Townsville, which was around a four-hour drive in far north Queensland. We were going to stay the night with some friends of my mother's. I slept for most of the drive, and remember being woken up by Jenny. We're here, we're here! I remember looking through the front windscreen of the car from the back seat. I saw a driveway leading to a very modern looking house with large trees to the side and behind it. We got out of the car and made our way inside the house. I didn't know anyone who lived there. I was introduced to a couple who had a daughter around the same age as us and also a baby. That night our parents all went out for dinner. Jenny and I stayed home to watch movies with our new friend and to also babysit the baby. It was getting late and we all decided to go to bed.  She seemed to have lost all composure. There's something above us, she told me. I wasn't fully awake when she told me. I sat up on my bed and wiped my eyes to try and understand what she was really saying. When I gathered myself I was in shock. What I felt and saw was nothing I have ever experienced in my life. The room I was sleeping in was shaking like a small earthquake but it seemed to be vibrating rather than shaking. We both were too scared to leave the bedroom. We laid on the floor and hid beside the bed away from the window. We could hear a buzzing sound. We could feel the buzzing sound through our bodies. The buzzing came and went in intervals. When the buzzing got louder, we saw a light outside illuminating the backyard, like it was daytime. Jenny and I both saw it and were puzzled. It must have been around 11 PM at night. When the buzzing went quiet, the light disappeared and it was nighttime again. This happened for quite some time. We had enough. We both ran out of the bedroom to try and find the other girl and the baby. When we opened the door, we could see the living room. There was a window next to the front door overlooking the front yard. What we saw was the most frightening thing ever. We were standing right in between our bedroom and the front door window just across from the living room. We noticed that when the buzzing sound got quiet from our bedroom and the blinding light was gone, it actually went from the backyard to the front yard. It was like the front yard was daytime and the back yard was nighttime and it kept on switching back and forth along with the very disabling buzzing sound going through our bodies. We didn't believe our own eyes. We went to the other room where the girl was sleeping in. She was crying and didn't know what was happening. She was worried about the baby in the other room. All three of us went to the baby's room to make sure the baby was safe. We opened the door to the room and couldn't believe our eyes. The baby's cot was swinging back and forth by itself and the baby was crying. We were frozen with fear. Then we all lost time. I woke up in bed. It was the next morning and I couldn't remember the moments after I went into the baby's room. I could still remember the buzzing sound and the blinding light shining over the yard. Jenny and I didn't tell our parents about what happened. We were too shocked and we couldn't describe exactly what happened that night. We went outside to the back yard to see if we could see any changes or any signs of what happened. As we were walking around, we saw the lawn was burnt. It was a black circle and the green grass had turned brown and dry to the touch. We were freaking out. We knew something happened and it wasn't just our imagination or some dream. The house next door was being built and basically was a construction site. It had the walls up but only the framework. After we checked the backyard, we decided to go and have a closer look at the construction site next door. There was a weird feeling coming from this site. We thought maybe there could be some evidence from what happened last night somewhere here in this half-built house. We started walking towards the house and then I stopped. I saw something run from behind a wall to another wall. We ran back to our house as fast as we could. I didn't look back. It looked like a small human, skinny and white, no clothes on. Jenny and I never really talked about this as we got older. I'm 35 now and I will never forget that night that we had something above us. Thanks for listening. If you like the show, please share it with someone you know who loves the paranormal or strange stories, true crime, monsters or unsolved mysteries like you do. You can email me anytime with your questions or comments at Darren at WeirdDarkness.com. You can find me on Facebook, Twitter, Instagram and the show's Weirdos Facebook group on the Contact social page at WeirdDarkness.com. Also on the website, if you have a true paranormal or creepy tale to tell, click on Tell Your Story. All stories in Weird Darkness are purported to be true unless stated otherwise and you can find source links or links to the authors in the show notes. On the edge of time was by Tim Swartz for UFO Review. Curing Edward Munch is by Dr. Romeo Vitelli for Providencia. And infamous female ghosts and urban legends was posted at BuggedSpace.com. Weird Darkness is a production of Marlar House Productions. Now that we're coming out of the dark, I'll leave you with a little light.  And a final thought by Eleanor Roosevelt, no one can make you feel inferior without your consent. I'm Darren Marlar. Thanks for joining me in the Weird Darkness. Horrible Henry and Mad Marty are presenting 1950s Quick Sand, starring Mickey Rooney and Peter Laurie. In the film, a man takes $20 from his employer to go on a date, planning to replace the money the next day. But he falls increasingly into more disastrous circumstances and further in need of more money, and it spirals out of control. Did you ever hear anybody say money talks? Join us Friday, February 9th for Quick Sand. It's free to watch online, and you can chat along with the rest of us weirdos as we watch the movie together. The show begins at 8 p.m. Eastern, 7 p.m. Central, 6 p.m. Mountain, and 5 p.m. Pacific. You can watch a trailer for the film and watch horror hosts and schlocky B-movies anytime, day or night on the Weirdo Watch Party page at WeirdDarkness.com. And I'm going to get it for $2,000 for whatever it takes. 1950s Quick Sand, starring Mickey Rooney and Peter Laurie. Friday, February 9th on the Weirdo Watch Party page. Hey Weirdos, be sure to click the like button and subscribe to this channel, and click the notification bell so you don't miss future videos. I post videos 7 days a week, and while you're at it, spread the darkness by sharing this video with someone you know who loves all things strange and macabre. If you want to listen to the podcast, you can find it at WeirdDarkness.com.


there we go so thank you everyone for being here all right on time today I'd like to talk to you about the Godot game engine and Python and why the two can really get along nicely my name is Emmanuel by the way I'm French maybe you heard my accent so what is Godot I guess most of you know about Godot the people we don't know okay so I can skip this slide yeah really fast Godot is an incredible game engine fully open source which ships to a plenty of platform mobile web etc there is a 2d 3d graphic sorry physical engine you can export you can do plenty of things basically it's the best game engine ever except one or two like you know unity and unreal and all the others but whatever so what can we do with Godot sorry there is so if you if you're not familiar with Godot you can see the game engine is both around the scenes so here we have the 2d platformer demo for Godot I want it originally to show the 3d one but basically this computer is a potato so it won't run so you can see there is here in small what we call the graph scene so basically our scene is made of plenty of nodes for instance the player is the node the enemy or node platformer node everything is not so you can from here from here edit all your thing you can look from here yeah the reservation is really small so you can see anything but just trust me you can edit plenty of things from your game engine and then when you're ready you can just press one key and then you can start playing you can start tweaking you can send like this thing on your mobile phone to debug remotely etc so there's plenty of thing you can do one real cool feature about Godot is the node I was talking to you about sorry I can't find my cursor here it is the nodes they are themselves scenes so you have scenes nested inside scenes so it's pretty cool because it means you can just if I click here here it is you have the scene of my my enemy for instance which is here nice little guy okay so you cannot see but it has its own scene tree and so you have plenty of component like for example this guy has animation it has sound emitter in order to do a special specialized sound you have physical hitbox etc so you have all those things re-put nicely together inside Godot and each of those nodes you can plug them script so try to click it's getting harder okay so you still can't see a thing and I cannot zoom so sorry you have to trust me basically these things it kind of look from where you are it kind of looks like Python it's not Python it's a language called script language called gd script it is loosely loosely based on Python and from now on you may be wondering why why this language why didn't they just took one existing language like Python or Lua I just shipped with the game engine it would have been much better according to the bug tracker of Godot there's plenty of people who think it would have been the best idea ever and yeah spoiler alert it's not the case so yeah okay so the game engine is great but we're here for Python right so but be for Python just we should just have a look at why gd script is in fact a great idea and so to do that we have to just have a look at how works the nodes I was talking to you about so Godot is the C++ game engine so every node is implemented just like a regular C++ class but you have a bit of additional stuff which are those things and so basically what you are what you are doing by doing these things is you are adding a runtime introspection to your class so what does it mean is you can use your class like this so this is the C++ traditional boring way and just like you use your new keyword you create an instance of your class and then you just use it and you can use the fancy dynamic way so it looks like much more complicated it is it is much slower but it's cool because right now you can see there is plenty of variant thing and there is this class dv structure class dv is a component which remember which register every every one of your script sorry not your script your node and all its method all its property etc so at runtime you can ask a class dv give me the way give me a new instance of this this node give me the the the the method for this this node and then you can call things and you can see you use variant everywhere so when you call a function you give parameters variant you you you get back a variant and etc it looks like a lot more a lot like Python in Python when you create a function there is no typing it's dynamic typing so you can give the function an int and tomorrow you will give it a string and it will work or maybe it will blow up but blowing up in Python means you get a nice error blowing up in C++ means anything people might get killed so that's why variant is much better because it means that you can take this thing and basically you can write it like this and this is gd script and so now this is very the same but it means now you got you can have end user which write easy gd script and this code it won't crash if there is a problem you will see a nice error and etc so put it another way we can see that out in two parts there is the big the big main part which is a call which contain this variant structure which is a combination of all the bolting type all the good or not that could be an etc and you have this this nice class db system which all of you to to at runtime a query your your node method and property and on the other side you have this really small module in the code base is something really small and it's it's not even in the core of the engine and it's basically two things one is the compiler and another is the interpreter so basically you just compile your user readable gd script into bytecode and then you just interpret one by color at a time and basically you're doing this one by color time so that's why gd script is a great idea because it is really tightly integrated into Godot and so yeah it basically seeing we should have removed gd script and use a lua instead it means we have to fight against all these things but basically that's what I'm doing in Python so it's painful but I really love Python because it has a huge ecosystem and for instance if you're like me and every time you play a game you say all the AI of the this game is repool maybe one day some guy will use this mining to use to use machine learning to create a really great AI I hope so and so that's basically one use case you can use by bringing Python together basically you give a really huge ecosystem nice language and plenty of possibilities know how to do that the this is a basic like every Godot game looks like this so on the left side you have your Godot binary so it's basically what you will download from the Godot website and on the right side you are you have all your assets so you're like your sprite so your script etc and what we are going to do is this so basically we just drop the the gd script to replace it by Python and then you have this shared library which will contain the Python interpreter so it can talk to interpret your Python script and now it has to talk to the main Godot binary so to do that there is this C API which is called gdnative which owes you to access basically everything from Godot how this how this gdnative works basically just like what I told what I show you with the variant stuff it looks pretty much the same except well you're from outside of Godot you're just like in shared library and you can do that and it's much faster than the variant stuff for reasons we don't have to talk about and so it's much more dangerous anyway so what I have to do to to give to Godot the Python the Python language is there is a function inside a gdnative which owe you to register a new script language language inside the game engine so once you've done that Godot will know that everything has to load a .pi file he has to call your library and so you can do the work and on top of that there is another thing you have to do is provide to the your Python world all the gdnative function because now you want to access all your nodes modify your node etc. now for how to do that first we use a syson in truth I've used basically every possible tool you can use to plug Python and C together so if you have question about this after that you can talk to me I guess I can say a lot about that but anyway the best is syson just kidding there is also CFFI which is a really great but for your use case syson is really cool if you don't know syson basically is a tool that's all you to compile Python into a shared library which will be seen from Python just like a regular module so this is give you like a 50% boost but the really really great thing is you can inside syson mix together C and Python in a really elegant way so in the end it means you can go as fast as C and you can integrate really really nicely with external third-party C library just like what we need for Godot so it just worked great the little complicated thing is basically we have plenty of templates everywhere to generate this code so for instance we have our Godot binary so once again we use class DB to generate a JSON which will show us all the class all the methods of property etc and so then we can generate this by which is basically a siton version which also you to access every class method etc so it's pretty big so six point three megabytes but after that you have to compile this and the siton it the code so siton can compiler start by compiling your your siton code into C and so now it's 87 megabyte and on top of that you're 60 second older but it's only the beginning and so compiling is 200 seconds and it's also six gigabytes of RAM on GCC so this computer cannot do that so Travis cannot do that also so you have to use Clang which it will be less RAM but GCC is great also great anyway so that's what you end up with and there is all the template I won't talk to you about but you have templates everywhere and you end up with a nice thing that can use Python you can use Python from Godot from this the basically I'm the I've been doing this for like since 2016 we are still in beta this is a bit sad for me because I gave a talk about this like in 2017 for your Python and the first bullet point was exactly the same so yeah shame but no because this is not the same beta it's much better beta like before it was leaking RAM now it's no longer the performance is better I'm pretty confident we can release something nice in a short time so I promise we will have a stable version before star citizen for instance I hope and after was that if someone here knows about macOS I'm not a macOS developer and there is trouble with the build right now so anyway I ask and yeah one really important point I think is the possibility given all my system is writing is written in site and it means we can provide all the Godot API in site and to and we can make a user use site and so what did it mean is like first you just write your game in Python like a really fast you can debug your stuff etc. and then when you need performance you can slowly write the hot pass in site and to get performance so it's like the best of the whole world so I'm really excited about it and on top of that maybe you've seen that the Godot 3.2 has been released so now there is a 4.0 and there is plenty of compatibility breakage which are ongoing for instance I was working on this tonight and that's why I'm late so there is plenty of nice stuff coming along performance boost and so on so yeah I'm slightly and yeah you don't have to forget that it's a game engine so I should be writing games but yeah damn it and yeah that's it so question everyone okay so maybe maybe they're already told you but I will told you again like Monday and Tuesday there is Godot come and so if you're interested in Godot so you should really go and come and have fun with us it's nice people are nice and I'll be there yeah that's it yeah so the question is what kind of help do I need first I need friend because yeah it's kind of funny but it's like when you're working alone on this kind of project and it's being complexity so there is a lot of people will come we'll look at the code and they say oh it's nice I give a star but I don't know how to what to do what to work so basically that just disappear and when you're developing this kind of thing you just feel lonely and you have to work for months and months and you're like oh why I'm doing this anymore so just people coming and just adding an issue and seeing oh from something it's nice so this is the first thing and for instance if you want to make me happy you should go to Godot come on top of that I think there is so as I said the old the platform things because there is a line up there is windows there is macOS if you look at into the code base there is plenty of sarcastic comment about windows and how complicated it is for basically nothing so if you want to make me feel happy just don't let me write sarcastic comment about how macOS is complicated and so on on top of that there is for instance packaging packaging is like 90% of the work once you have learned 90% of the other work so this is another stuff which is not that complicated but plenty of small thing which to add up on top of that I think the code base right now it's about stable which was not the case like two months ago so people can come just have a look asking question and yeah we might figure out what we can do thank you for the question


Well, welcome to the new age indeed, where you can make money through beauty. So, for all of you who love makeup and beauty and to look all glammed up, today we have started this Entrepreneurship Tuesday morning with you. Please make sure you do participate in the conversation at Y254 channel on Twitter. The hashtag is Entrepreneurship Tuesday, hashtag Y in the morning. On Facebook, we are at Y254 and on Instagram, we are at Y254 underscore channel and on DSTV, we are channel 376. Now, with me in studio, I have one Sophia Wichengar, who is the founder of Zena Glam Kenya. Say good morning to the Y254 family. Hey, good morning. How are you? I'm happy to be here and thank you for having me. Yes, so we'd like to understand from Sylvia herself. This company that she has is two years old now, but she has styled the top of the top. So we just want to know what did she do? What was the secret? We want to know the story, so make sure you do participate in the conversation. So Sylvia, let's talk. How did you discover your passion in beauty? Actually, I think I have always had a passion in beauty from a very young age. I used to love staring at myself in the mirror. I used to love magazines. I used to love runway shows. So while I was still in primary school, one of my aunts gave me lipsticks and my mom gave me a mascara.  So she just gave me her lipsticks and my mom gave me a mascara. So when I went to home, I used to be so soft and quiet. So for me to make friends that ask someone to come, I put some mascara on them and lipstick. And that's how I started loving makeup because it made me feel like I was able to socialize with other people. It gave me confidence. Yeah, that I never like thought to give you confidence. Yeah, for some reason, I don't know because it made me feel like, yeah, because everyone would be like, yeah, I like your lashes. I like your lipstick. So yeah, I felt like it made me relate with other people. Then I never thought of it as a business. So after high school, I went to college and started doing accounting. Accounting? Actually, I did a bit of accounting. Yeah, but I used to love doing makeup every day. I'd wake up like two hours earlier. So that's why I'm on fleek all these. So even in the office, people used to ask me to do their brows, and I used to enjoy doing it. But I never like thought of it that I could do it as a business. So in 2017, I got into an accident and broke my leg. So I got into like a depression and whenever I do makeup, I'd feel like something has been lifted off me. So I started wanting to know more about makeup. I started getting a lot of information from you too. Yeah, we'd like to know. Because most people, do I really need to go to school to learn this? No, no. And how long did it even take you for you to get confidence? I think, actually, I just, I just dived in. I just, I think I just watched like a few, a few videos. And I was like, yeah, I can do this. I can do this. Then I started calling my friends, come, come home, visit me. I'll do makeup on you. And I started, immediately did makeup and posted, someone called me and I was like, wow. Business already started? Yeah, and I actually, at that point, I was still in crutches because I had broken my legs. I was like, yeah, I got some money and bought some few products and went and did makeup on them and it actually, and the feedback they gave me was actually a very good feedback that makeup was so nice. Everyone loved it. It stayed throughout the night. And actually, that's how it started makeup. And that's how it began? Yeah, that's how it began. I can imagine in the course of these two years, you have interacted with all sorts of skin types. So I would like to know as a makeup artist, how do you prepare for a particular skin type? So, for me, I know there are three types of skin. Yes. There's the oily skin and the dry one. The dry, the normal and then the combination. So, for oily skin, you... Okay, most people think that if you have oily skin, you don't need to moisturize, but it's actually the opposite. Oh, so when you have oily skin, you moisturize? You need to moisturize because when you don't moisturize, your skin will overcompensate for the oil that is not there. But when you moisturize, you see, the skin will know that there's oil, so it will not produce more oil. So, yeah, you need to moisturize, you need to use a primer. So, the primer and the foundation is what's different, what you will use differently. Because the primers that are suited for oily skin, the primers that are suited for dry skin and normal skin, it depending on what look you want to achieve. So, do you carry for all skin types for every time you go for a particular session? Yeah, unless I know like the client I'm going to meet, I just carry everything. You carry everything. Okay, interesting.  How do you deal with an unhappy client? First of all, before I start doing makeup on a client, I have to ask them, what look are you going for? What colors do you feel confident in? What colors are you comfortable with? So, for some that will be like, you just do you. For some that will be very specific.  But for some reason, it's not possible to look like a certain person because we are made differently. Our skin types are different. Our face shapes are different. Our eyes are made that is different. So, yeah, but I try to achieve that. So, it's not been like a very common occurrence. But there are people, yeah, you still do makeup and they're like, I can't see myself. I've lost myself. I need it to be toned down. So, you just tone it down. Okay, so let me find out. Since you have styled the best of the best. I feel celebrities here. How did you get yourself on the map? I've been being only two years old. Like, I was surprised. Actually, I think just straight was on my side because... Oh, you were lucky. Yeah, I was just lucky. I think it's just God. So, that was our time. I first started working with celebrities when I worked with Kotua magazine. So, it was only I was sleeping. It was very late at night. Someone just called me. We have a shoot tomorrow. Would you be available by this time? This place? Hey, I was like, huh? It was around one in the morning. So, I was like, okay, let me... Because it was like a pro bono. I was like, okay, let me just try it because I'm still building my brand. I went and it was, yeah. It was a shoot for like, I think, Vivo. So, from then we used to work together. And that's when I used to meet up with a lot of celebrities and most of them liked my work. So, they'd call me back later for their own personal makeup sessions, yeah. Then after that, every TV reached out. I worked with them for almost a year. Then later on, Katie and reached out. So, yeah, that's how... Okay, interesting. So, when you decided you wanted to start now the business and you are now Xenaglam officially. How did you arrive at that particular year? Xenaglam. I fused two names, yeah. Because both my grandmothers, one of them is called Fena and the other one is called Esna. So, I matched them up to come. But then, of course, it sounds Kosterian and you know, Kosterians love makeup. And I love Arabic makeup. So, I was like, yeah, it's a cool name for her. So, it's handsome Arabic. Yeah, so most of the people actually think that I'm so hilly or... And most people think so hilly's know how to do makeup. So, they'll be like, yeah, she's so hilly. She must be good at her. So, the name actually works for you? Yeah, actually works for me. It's interesting. I wanted to understand for me, what do you think is the most important quality a makeup artist should have? Personal hygiene. Oh, personal hygiene. Oh, a hair. Yeah, I think personal hygiene and interpersonal relationships. Yeah, and you need to be very patient and very understanding. Yeah, think. Patience and understanding. Yeah, because you sent... You know, we men, we are all over the place. One minute you are happy, one minute you are no, one minute. So, you have to be like very patient and very calm. Yeah. There's some sort of calmness that you find in this. Okay, so I'm guessing for me that also how you were able to get on the map is that you referrals. Yeah, most of my jobs are referrals. Because I rarely like post on the clump pages. Because I'm kind of shy. So, I'm not out there. So, most of my jobs are referrals. So, what other techniques did you use aside from referrals? What other means did you use to market yourself? Of course, social media. I opened up a page. And networking, I did a lot of pro bonos. Yeah, I did. Oh, you had to do a lot of pro bonos. Yeah, I've done pro bonos. Wow. Actually, people really don't like to hear. Yeah, I've done a lot of pro bonos, especially things like, whether maybe fashion shows, mini, what are they called? So, you have to be willing to... Yeah, you have to be willing. You have to sacrifice. Yeah. Both resources and time. So, because that's the only way you'll network with people. But if you keep just posting, everyone is posting their work. Everyone is good at their job. So, you have to put more effort. So, what would you say is the most unique thing about Xenaglam? And as of compared to other makeup lines that we have in Kenya right now? The most unique thing about Xenaglam is that, okay, my makeup, most of it is... If you notice, it's not... It will still be the same person, but you'll be like a prettier version of you.  Yeah, I'll just enhance what you have. All right. And people will be like, yeah, I'm still me, but I'm still pretty. So, you maintain some form of originality? Yeah, I still maintain you. All right. So, there's a lot of natural... Yeah, natural vibe. Transforms completely. Yeah, like those at least one minute you're you, the next minute you're someone totally different. Yes, I've seen boy child complaining a lot. So, I can see we're on your page. I can see you vote to Dan Helen Tawali's makeup. It's one of the celebrities I can see here. Oh, interesting. Can we scroll? Can we scroll down and then we can see some of the pictures so that we can also see some of the ladies that you... Oh, wow. Mm-hmm. I can see Thandiwe here go. They are looking so nice. Yup. I can see Dwee guys in that. Yeah, yeah. That's Dwee got the right design. That's Mui Kali. Thandiwe, of course, I don't know. Thandiwe is Miko. That's DJ Melo right there. DJ Melo? Yes. Okay. Even the DJs are doing makeup now. Yeah. Oh, you've got a sling. Have one. So, let me ask you. I can see Carol Lynn, can you see? Yeah, yeah, Carol Lynn. So, let me ask you, how do you keep yourself abreast with the new beauty trends? How do you keep yourself so they know? Because it's always changed. I'm always on YouTube. I think I'm always... Because every day I have to learn something new every day because there are new makeup trends every day, there are new products every day. There are new ways of doing different things every day. There are new life hacks every day, makeup hacks. So, yeah, I'm still learning. I'm still a learner. I never settle. I never feel like I'm the best. I always want to learn, learn, learn every day. Yeah, I never get tired of learning because there's more to learn. There's hallways. You can always do it. Yeah, and there's a lot of information, especially on the Internet. Especially on the Internet. So, it's a place people can go and pass out here. Yeah, you can be anything with YouTube. You can be a cook. You can be a tailor. YouTube schools say that they should start giving degrees now. It appears so many people actually have come and say they learned a lot of their craft on YouTube. There's something you said about when I asked you about the qualities that a makeup artist should have. And you talked about personal hygiene. So, there's a question here that has popped up that I find very interesting. When and how do you clean your tools? Okay, for brushes especially, you should clean them after every client. You should always have something like to clean alcohol or something. Or you should have lots of brushes like me. I think I have hundreds of brushes. Because when you keep a brush, even when you're doing makeup for yourself, you should always clean your brushes. Because the bacterial, they are not in the brush. And when you use it on your face... You mean they multiply in the brush? In English? Some of the brushes, we don't know any. I know. When they multiply in the brush and you use the brush on your face, you end up being infected, you end up breaking out. Because I'm seeing like there's a lot of that issue. People don't trust a lot of makeup artists because they don't know whether they've cleaned the brushes. But a clean brush will always look clean. Clean? No, there's nothing like it looks clean. No, it's because you want to use a brush because most brushes are white. It will look brown, so you can't use it on someone else. So also the trick is the color. If I see someone with a lot of black products, I'll be like... Actually, I don't see a lot of black brushes or brown brushes. Most of them have like white, white fuzz. I can see a video here of someone. Is this one of your clients? Yeah, yeah, actually for last Saturday.  How about it? It has to be an interesting story to hear. Not really. Okay, not for makeup, but with other things, yes. But for with makeup, I think... No, because me, I'm so chilled. So I'm always scared of drama. I'm like, God, please let this be a nice day. Let me not encounter dramas, dramatic people. But now when it's there, what do you do? Imagine, I've only encountered one. And I think she was not like a bright zilla, bright zilla. She was a very emotional bride. And I think she's not used to makeup. So when I did her makeup and then she looked at herself in the mirror. I had put lashes. She started crying, oh my God, this is not me. This is not me. And then so I had to remove the lashes. Then she had to chill for a minute. Then when she looked at herself, she was like, oh, I look nice. That's why she's like... But I was like so scared because she was one of those public figures. So I was like, my goodness. This one can go and ruin my name now. I'm about to be posted on B-Wen. But I'm about to find yourself on a blog. But actually, she eventually liked it. I think she was just emotional at that time. Maybe it was other things, maybe not even Jilly, the issue of makeup. She felt like she's not her... Yeah, because I see there's a lot of perception of... And that's also the issue about confidence, which you talked about in the beginning, that some people don't have any confidence. Like when they don't have, they make up on. And what do you have? What are some of the stereotypes you have encountered in this industry that you can let us know before we talk about the highlights of your career and the favorite celebrity that you did your thing on?  No, it's so fine. Like you're lying.   But I'm like, you know, we're not born with purple eyes. All you look at me, see me with purple eyes and think like, wow, she has purple eyes. Of course that's makeup. Or maybe red lips. No one is born with red lips and that's your... So yeah, makeup is just there. For us ladies, I think, we just put on makeup for fun. Yeah, when you feel like you want to have... Yeah, you just want to look nice. It's like carving a haircut. It's like making your hair. Yeah, it's the same thing. I don't feel like makeup is there to like lie to people or... So people should stop imagining... Yeah, or hiding imperfections or... Let's talk about hiding imperfections, by the way. If somebody who has a break out, like a lot of pimples or acne, there's even adult acne, I discovered the other day, what do you do? What procedures do you do? How do you hide everything? Concealers. Concealers. No, actually you can actually minimize. Because you see, when you use something dark on the skin, that like on a pimple, it will recede. When you use something light, it will bring it forward. Oh, so it's the same on the back side? Yeah.  And then it actually recedes. Interesting, I didn't know that, but at least now I've learned that feeling. So now because you've talked about break zillers and the tough experiences, let's talk about your favorite experiences. Was it a celebrity that you glammed up and they were like, Well, I think most of my innings are my favorite ones, because sometimes someone just calls you and you're like, ah, maybe it's just someone's I want there.  I think everyone, I mean, I've met people that I've admired and that has just made me feel so humbled. Yes, I can see Thandi here looking very happy with the way she looks. Yeah, actually I think if there's something I live for, it's for someone to feel like their best self with my makeup on there. Okay, so let's talk about this industry now in general, even now in Kenya as this particular country. What can you say are some of the changes that need to be made when it comes to this industry? Some of the changes are, I think for makeup artists especially, every face has their own kind of makeup, not all makeup, as in all makeup techniques work on every face. Because you'll find a makeup artist, the way they do their makeup and the way they do their clients makeup is the same way, so all of them end up looking the same. Looking the same, twinning? Yeah, they all twin, I'm like, wow, their eyebrows are different, their face structures are different, but they'll end up looking the same. So for me, I feel like you need to study your client's face. You need to study what works for them and what does not work for them. Don't just do it because it's done like that. Yeah, just be creative, because most people follow what's on the book. If you're supposed to put this highlighter here, you put it there. If you're supposed to put this lipstick here, you put it here. Yeah, you should feel free and try different things. Be creative, yeah. I think creativity, most people like creativity. So there's a niche of creativity in this industry. People are busy twinning their makeup. Yeah, that's twinning thing. I am like, wow. It gets you all different. Because these people are two different people. How are they looking the same after makeup? Interesting, so for someone at home who is maybe interested in joining this beauty industry in line, what words do you have for them, aside from the ones that you've already told us? Number one. Creativity, what else? For makeup, I think don't take it as a hobby. Take it as a business. Because it's so easy. Yeah, take it seriously. And number two, invest in your products. Make sure you have genuine products. You have genuine tools. You have things that... Because such little things will affect the quality of your work. Yeah, just be honest. Especially makeup artists. Because sometimes you have like, especially around the wedding season, there are so many clients. You can end up like booking for brides in a day. Just be honest. Tell them I have these brides already. So, no. Instead of like, overbooking, then when that day comes, you can't hack. Because you know Nairobi is in traffic. So maybe you have a wedding with Kian Bu Road and another one is on Gong Road. Also it's important for you to tell the truth. You just tell that. Because you'll end up messing. You'll end up being late. And that really affects your work. Because as makeup artists, you need to be calm. You can't work under pressure. I can imagine you take a lot of time. Sometimes I just block people's voices. If someone talks to me, I'm like, yes, you're talking to me, but I am not listening to you. So, yeah. I think honesty. And just be willing to share with other makeup artists. Maybe you have so many jobs and maybe you know other people who don't have jobs and they do a good job you can't share. Because for me, I've gotten referrals from other makeup artists and we've never met. I give jobs to other makeup artists we've never met. I feel like when you share, yeah. Because what do you mean? You're like, yeah, these are my clients. These are my clients. You end up losing them. Because maybe you'll not always be there for them. Yeah. Maybe you're someone else. Yeah, share knowledge. Have you taken anyone under your wing? I think I'm always teaching people. I love explaining things. Do you like to explain? Even when I'm doing makeup on my clients, I'm like, you need to use this. Your skin type is this. I feel like the more you explain, the more you internalize, the better you become. You want to know. So, the more you share, the more you also learn. Yeah, you also learn. Interesting. That's a very good message that you have left us with here today. And I wanted to know, if the fans wanted to reach you, just in case they have just slide into this interview right now. Where can they find you on social media? At Xenaglam. On Facebook, I'm at Xenaglam, makeup artist and hairstylist. I also do hair, but I major in makeup. And yeah, I'm just on IG and Facebook. On your social media. Thank you very much for coming, Sylvia. Thank you for having me. It's been a pleasure. Thank you for sharing your story. I hope you have learned something. If you're interested in the beauty industry, the interview is coming soon. Please follow on Twitter. You can find us on the hashtag Make sure you let us know your hassle and what you're doing. And on the STV, we are on channel 376. Just in case you are not aware. So, thank you very much. My name is Hilda Wadibi. Please do not go anywhere. My God, I was getting...


بس ملہ احوان一些ییم. ہارہا ہم بھاکسان notion ، لہذا ہوں کہ ہم کہرسار مرکشتے ہیں. اور ہم آپ کو بہت میں بہت بارہا ہے کہ کوبرٹ گوارننز کے بارے میں بھی زیورہ دائی ، جو ایرے کے مرکشت پر ساتھ گزماعہ ، اور انمیابہ میں ایرہ ہے ، کیونکہ یہ آپ کا حồiیتا کہا ڈان بہترائے ، کیونکہ یہ آپ کی ایرائے ، جو آپ کے حالا مرکشتے کے بارے میں کھٹو ، ایک سوال پرسیپشنم a کنرائی مورد گوک لیگی لیگی اور سوال چاہتے ہیں اور سوالی کے سوال مورد گوک لیگی مورد گوک لیگی۔ اس لیگے سوال اپنے ایک اوپنی وجہ پرامل دیگی اور سوال سوال دیگی لیگی باہارت یہاں لیکسے تک کہ لوگ انک کا بہتمار سے بہت وقت بہت مقصر تھاinge کی بہت مقصر تھا ایک دوارگ کے ا کے لئے ایشہ اپنے مقصر اس کے لئے ایشہ کی بہت دوارگ کی ف�ہ اپنے مقصر پر مقصر کرنا لے لیکن بہت اےشہ آپ کے لئے اپنے مقصر شخص کی مقصر کی بہت مقصر ہے اور ایک اپنے مقصر کے لئے اپنے بہت بہت بہت پیش ہم جو دسپتیف ہوتی ہے اگر ح MOM ایک مچیہ لیے گئی ہے اس دہر شاہی کی مہارسی انگیارت کیجا entsاہیت اٹھا ہے اس لئے دسپتیف سے ایک ساتھما ہوتا ہے لیکن میں ہم خوبصورت ہے جس طرح ایک لئے ایک反ی لئے کامیٹا پاکلی کے لئے ی گے رکھ کوئی مجھے آج کے مجھے مجھے بہت اگر مجھے آج کے لئے ہوتا ہے لہذا یہ جو دسپتیف ہے لی because because even though they were using the word ice cream but it was not ice cream so it was basically an ice dessert so they had to based upon a quote order they had to eliminate the word of ice cream on their advertisements and on their products because it was more deceptive similarly when we are talking about many milk brands which are in Pakistan they are not 100% milk but they are labeled as milk and again they are deceptive because the proper wording is not given and they could have other elements within it with some component of milk but branding it as pure milk that is also wrong and similarly when we look at juices we look at other products so there is a lot of deception which tends to take place and there is a great need that they should be a regulation and laws implemented against such things because the customer is being deceived the intent of fear appeal is to create anxiety in the minds of the consumer fear provokes him or her to make use of a particular product to alleviate the fear in him or her and this is what has been seen in covid I mean just see how sanitizers have sold I mean they have sold like water in the past 2 years everyone has become an addict of using sanitizer all the time using it multiple times see how other related products like mask have sold how we have seen that other medicines have sold and wrongly being sold because through those fear appeals people have been blocking towards all of these products and all of these services and therefore through that fear of covid we have seen that how a multi multi multi billion dollar industry has basically flushed across the world and through multiple products which basically are countering that fear and that fear is of covid advertising to children most of the advertisements such as those for chocolates and ice creams are directed at children children between ages of 2 and 11 spend at least 3 hours a day watching television they do not understand the selling intent of commercials and cannot distinguish between fantasy and reality and so because they have very soft minds and therefore they can be psychologically swayed these advertisement companies and these different institutions are catering to their needs and are basically bombarding them with different psychological aspects of their product and therefore are swaying them and actually misleading them so one has to be very careful especially in that context because it can lead to many illnesses and ill health and also a negative consequences for the children in their later years also so that is a very important that must also be controlled another aspect is materialism materialism is defined as a tendency to give undue importance to material interests and objects the message of television advertising that the acquisition of a few things will gratify basic needs an aspiration so what is done is that the need is being created that without that we cannot do something is being done for example and digital games I mean the new generation just cannot live without it so they basically are selling or it is being done in mobile phones so so expensive mobile phones because they are marketed and advertised in such a way and similarly in other household products so even though it is not a need but through the advertising it becomes a need and again a material comparison between different segments of society and it becomes a status symbol which again has its own negative replications at different levels then promoting stereotypes there is an accusation that advertising has contributed the role of stereotyping of women really 90% of the advertisement show woman as a housewife so again their stereotype and they put a particular segment of society in one particular place and just like I was mentioning women unfortunately are stereotyped in that in most advertisements and besides that we also see based upon color a very famous a very famous product of a very large multinational company that cream used to cater to to whiteness and that was also stereotyping the fact that a white person is superior so that perception was there because of a backlash that that product had to change its brand name and also do away with the white color stereotyping so these different type of examples are there competitive advertising is basically when two brands are compared compared to where it was in a lead consumer confusion and is ethically questionable that should this even be allowed or is it or is it that we can compare both products but it should be done through a justifiable and honest approach and most of the other products could be cloaked so that there is not a direct comparison but there is actually an indirect comparison increasing cost advertisement that provide information to the consumers about the existence of certain products indirectly increase the final cost of the product so the advertisement cost is loaded on the product and therefore the ultimate burden of the cost is passed on to the consumer and therefore something which might have costed let's say a hundred dollars would eventually end up costing a thousand dollars and that has been seen in many products whereby organizations are having phenomenal profits which again is very unethical that they should be rational and they should be some limits to profitability and through advertisement they make a simple product sell at a very very high price which again has its own implications exploiting visual appeals well in that we see that men basically succumb to visual appeals the using of barthing beauties to attract men's attention is ubiquitous and that can be seen everywhere we see on the billboard we see on magazines we see on the TV we see on social media that how again women are stereotyped and are projected as visual appeals and television advertisements strongly influence both sex so again the TV ads are affecting both and these visual appeals and to sway the decision of the customer of the consumer then there's another approach which is called I'm the best nearly all advertisements contain some measure of exaggeration the buyers get carried away by these tall claims and make purchases so again the product is not that effective but the advertisement is being hyperbolic and therefore tends to influence the customer to buy their particular product absence of full disclosure is again a form of deception and we see that not everything is written on the product and it can lead to misconception and misguiding the customer and consumer and for example we can see it in all the cooking oils that all the information is not being provided and only the positive side is being provided not the negative one and therefore the customer gets paid to buy that particular product celebrities are used and again the celebrities tend to sway the perception of the customer and consumer because the person is influenced by that particular celebrity and therefore when the celebrity is using their product then they also tend to buy those different products a better approach would be ladies and gentlemen that no offence to generally accepted norms of public decency truthfulness and honesty in claims and representations no discriminated use of advertising for products which are hazardous to society or to the individual no references to eminate personalities or political figures and the use of national emblems should be permitted respect for the principles of fair competition generally accepted in business during comparative advertisements so these are the things which can be done in a better way and we can regulate advertisements of different organizations so that they are not abused or misused and customers are not misguided or are led to purchase things which they don't even need so that is extremely important that would create a more healthy business environment and a better corporate environment within that particular institution Thank you so much


Hello guys, this is Billy the internet has geek, I'm here with everyone at JS Food Channel is Half Night. So let's see what's happening and let's see what everybody's up to. Right now it's 9.20 so let's see what these guys are up to. Let's do this. Who are you and what are you doing? I'm Sundar. Right now nothing. Before coming here I was just doing nothing. So what do you plan to do tonight as in what time? Yeah, we are still talking about it and sit and work on it. Okay, we as in UN? Yeah, we are all four of us. All four of you, who would be introducing yourselves as? Wesley. I'm a UI designer for the team. Okay. I'm Ramakanth, I'm co-founder of Ludi.com. I'm Sandran, I have a newspaper called Tech Bot but right now it's in the whole stage. Awesome. So what ideas do you guys have? What ideas do you guys have? What are you thinking about happening tonight? I'm not very sure but... Suddenly going to be in Node.js and more? Node.js huh? Yeah. Any idea about like... I mean like anything, can you give any hints as to what you're thinking about? Something small, something like fun, something like you can do in a very small... So technically there are some ideas. The idea is to share the client side code and the server code. We use the same code in both the places. That's kind of something which we want to demonstrate to you. Okay, cool. Come back to you later Chaitanya. Who are you and what are you guys working on? Okay, my name is Abhishek. And you are? Pawan. Okay. And what are you guys working on? Nothing. What do you guys hope to be working on? We're trying to write something that can destroy half the website. I would destroy it. So basically you don't want an event to be there. So essentially what you do is you come for the hack night and ensure that we don't have another event after this, huh? Yes. Okay, what do you guys want to do? Yeah, we are discussing a couple of ideas. So right now he's trying to prove that Node is better than Rails. And let's see. Okay, cool. Here we have the chief organizer for this event. Yes, she is. You do have a name, right? Can I raise your camera? No, no. You have to talk. No. What I did with Netroy at the last one is I took a picture of his head and we put it up. We uploaded it. Okay, here we can see our organizer. Busy at work. We'll get back to her later on. Next we have the Nigel. The Nigel? Seriously? Seriously.  What are you doing? I'm working on the billing system for his gig. Okay, cool. Continuing the work I was doing. I don't know how far I'll get. Okay. How much caffeine I have today. So caffeine free will develop in time. Nice. And here we have our chief, Chief Jayce. I'm sorry, Kiran. Okay, after name change. Name change, my God. So what are we working on? We just put up the schedule. I don't know if you can see the sticky notes out there. We sort of spent 50 lines of them out into a logical order. And we made a schedule and you can see it on the website. So the schedule is on the site. Chennai schedule, just announced. Go have a look. And now that this is done, the next thing for me is I'm working on this site. HaskeakTV. This is where we're going to put up all the videos from all the events that we've done so far. So we've got a lot of videos now. We've got videos going all the way from scaling pitch, being the cloud, JSO Bangalore, DroidCon, JSO Pune and JSO Chennai. Plus a lot of Hack Night videos. Plus geek up videos. Plus more videos that we're going to produce where we just get someone into a room and get them to talk about cool stuff they're building. So we didn't place to put all these videos. And dumping them into YouTube stream wasn't being very useful. It's really hard to discover stuff out there because it just lost among so many other videos. So we thought we'd build a nice website where we just show off the videos that are really interesting. And I'm hoping to build that tonight. So I've spent the last about a week or so trying to decide whether I want to be using Zerf Foundation or Twitter Bootstrap as a basic CSS framework. And I've actually built both. So for the sake of testing foundation, we've built an entire production website in it. It's the Katahama Workshop website. And now I'm trying Bootstrap for which I'll build Haskell TV. After having spent so much time with both of them, I think I'm leaning backwards thinking of Bootstrap as being the better framework. It's missing a few things that Foundation has, but they're very easy to fix. Whereas it has so much more that Foundation does not. And it made a lot more sense to say, let's start with Bootstrap and just add the missing parts. So I've spent all this while basically just trying to make that decision. Now it's an actual coding night. So you spend one week making a decision and one night to code it? That sounds very weird. It's not completely true, but... But it was 95% in the font. You spend six days picking a font, one day deciding, and then code it up for the next night. I like the font. Look at it. It's got such nice smooth corners. Let's see. For the people back at home, can you see the corners? Don't look at this. It's nice rounded font. That's all that matters. Rounded font. Six days for a rounded font. No, no, no. I didn't spend that much time selecting it. I still have a lot of time using it. What did I say for that? It's this. Which is? Okay. The latest XKCD about font-kurning. Excellent. So that is your plan for tonight. That it is. Yes. Okay, this is Billy. I am the intern. And as you can see, we have food and drinks. Okay, I didn't actually get it, but whatever. I mean tea, coffee, whatever. I'm sure I'll be getting it sometime soon. So, this is it. This is it for 9.30 update. Let's see what happens later on. Bye.