Hi everybody it's Sam here, thank you for watching today so I've got a fun fold card to share with you. This one actually went completely differently to the way I planned, it was meant to be inside a gatefold card and it evolved from the cascading gatefold card but straight and then I was going to cut an aperture into the front here but like I said that went wrong but what did evolve was this here and I'm really pleased with this and then this piece I'm going to change the size in the one that I make in a moment because this one catches slightly but you'll see you get this floating winged kind of cascading concertina accordion card I'm not entirely sure what to call it yet but it's really nice I'm thoroughly pleased with how this one turned out and then on the back you've got space there to write your message and loads of space there to decorate you know however you want and then I like that it folds you just pop that that way folds and fits into a six by six envelope. Now today's video is sponsored very kindly by Craft Label and I'm using the beautiful Oso Sweet Papers to make this card today. If you're unaware of Craft Label I will link their website below but they have heaps of brands over there so they have their own brands and then they also have American Crafts Thermalweb we are memory keepers spellbinders that's just to name a few and they also have Cricut. They have a massive catalog of Cricut products including the brand new Cricut Maker 3 so if there are any digital crafters watching go check it out because there's so much good stuff over there I purchase from Craft Label regularly I love their own brand product and they have really good prices they have very kindly given me a 15% off discount code which is popping up now and it's SAM 15 C D E so that's all the housekeeping done so let me show you how to make this really fun card so this is the first edition Oso Sweet Paper I have used this on a gift bag already and I did do a what did I get video showing this in more detail so I know lots of you would have already seen it but I love the first edition paper they're just always so nice okay so first of all you're going to want two pieces of 12 by 6 now if you don't have 12 inch cardstock you can use your letter paper size or your A4 length if you're using A4 length then I would suggest that you which usually comes in around 11 and 3 quarters I would score along the long side at 5 and 7 eighths of an inch and make sure you cut it so that it's 5 and 7 eighths of an inch and then you'll be able to make this and if you have letter paper size yours would be 11 so I would score it 5 and a half and make sure it's 5 and a half deep you'll still be able to make this card you'll have to change your mats and layers accordingly but that just gives you the basic card shape so with both pieces if you've got the 12 you're just going to score at 6 inches down through the middle and then where I told you to score on those other sizes so I've already gone and scored those ones there now what I'm going to do is I'm going to score you could use a pencil if you want but I think it's fine just to use a stylus you then want to find the halfway mark between the first square so for those of you using those other sizes I've given you just find your halfway because this is the six inch piece I'm going to just score there at 3 and I'm going to score down just over halfway so score all the way down I can see my three inch marker here and I'm just going to go a little bit past it okay and then on this one here because this is just a score line for me to cut up I'm just going to flip it and then I'm going to score at 9 again down just past the three inch markers I've got my three inches there just a little bit past okay so you'll see you've got your center score line and then you've got a score line here just over halfway and then this one comes up just over halfway you want to repeat that on the other piece okay and then you're going to cut up both of the score lines and you want to remove the score line so I'm cutting slightly to the right of this one right the way down there and then to the left and I'm just removing the score line there and just join it at the top so you can see what I've just cut away there and how that piece looks so then I'm just going to flip this one around and do the same and you want to repeat that on the second piece as well okay so now you should have two pieces like this and you'll have that score line in the middle I'm just going to fold and burnish the score line there so you'll have your two pieces like this okay you want to turn one over so they're opposite so this one has the slit at the top and this one has it coming up from the bottom and you're going to slot that one into there and get this one into there as well just get them both in and then you can line them up like so and then when you open it up you have your card okay now if you want to keep it like this and not have an opening then all you want to do now is cover this with your mats and layers your sentiment and decorate it however you want one little tip I would suggest if you're going to decorate with anything that's going to overlap into you know either space remember that when you close this flat it might poke out the side and then it wouldn't fit into your envelope so just be mindful of however you're going to decorate this now I also think it looked really nice with some of my edge dies so you could have your decorative edges here and you can imagine when that's folded like this you'll see that lovely decorative detail but what I want to do is I want to cut an aperture into here so first of all I think it's best to decorate so first of all you want to decorate the two panels in the middle on the front so that for me is these ones here so I'm going to have this lovely pearlized pattern paper and I'm going to stick this down using my all-purpose Kalau glue and then I'm going to cut the aperture into this okay next I've got my circle dies you can use any circle dies I just liked the little dot detail that these had so I'll give you the measurements so I'm going to do that one first and then I'd already gone ahead and cut the next size up with the original one and then that gives me my frame here okay this circle is roughly something with a diameter I've got four and a quarter there so I'm just going to lay this down in the middle you can have it a bit higher up if you want but I'm going to pop it in the middle lay a bit of take down and just run that through my machine so that's cut away perfectly and now I'm going to attach my frame so I'm just going to run a little bit of my quick grab glue around here and then just sit that one down so it lines up perfectly like so and then you can fold it in half and just pinch the fold there it's never going to lay flat so it's always going to be now in that position because even when it folds flat you'll have the other one over there that's how it'll be in the envelope and when it opens up it's only ever going to go to about there so it works really well with the frame stuck on it next you need to start thinking about where you're going to have your other pattern papers so it might be easier if you pop it kind of back together and then you can kind of start laying the other pattern papers in you can see it starts to look really good there so I then want the striped pattern I just need to mix these up a bit but I did have it so that the pattern there we go so those two sit you know they were from that original piece so they're going to go in the back here so I'm going to now take this off and I'm going to stick those two down in here need to trim them actually you can see now how that's going to look and then again just pop them in here so I next I want for me I'm going to have another stripe here because I want that stripe to continue on the kind of the back pieces so although this isn't the back piece it will go on to the back so I'm going to have that one here again I need to trim these obviously miss these ones that one's going to go on that side and then this one's going to go on that side so I've stuck those down just popped it back together again so you can see now I've got the stripes all along the back and then I want to add the polka dot now on to the front so those are going to go there so you can see now how that's all starting to take shape next you want to add your piece on the back for your floating sentiment so you want to cut yourself a strip that is half an inch by five and along the five inch side you're going to score half an inch two and a half and four and a half so you can see that half an inch two and a half and four and a half you then want to fold all of the score lines so they're all mountain folds and then you'll have something like this make sure you card all lines up and you're going to stick this into here now it's easiest if you fold it flat with those side ones folded under and you want to line up that score line with the middle of the card and then and make sure it's in the middle of your circle or whatever shape it is that you're using so I'm just going to grab some of my quick grab glue pop it on each of those squares and then again line up the score line and just fold those you can wiggle it around a little bit if you need to like so and now when you open up the card you can see that piece pops out now that's not going to stick onto there and pop out how we would want it to so I've then cut this piece here which is how I always like to add my sentiments if I've got a corner that I'm attaching it to so this piece here is half an inch by three and you want to score at half an inch one inch two inches and two and a half and then you're going to fold the two outer score lines so they're valleys and then the two inner score lines so they're mountains what will happen is these pieces will be able to fit behind that section there that's the section we're going to add glue and then add our topper so what we want to do is pop glue onto the backs of these squares and then you want to stick you want to kind of keep it closed like this and where they join they need to sit either side of that score line so I'm going to sit this down and then I'll hold it up so you can see like so can you see now that when that pops out that piece is like that so again if I try and bring that up there you can see so just the two squares are stuck onto that bar that sticks out so now I've already stamped and embossed my sentiment have a sweet birthday which is from my baked no my sweets and treats um stamp set and I'm going to pop some foam and then back that onto this one these were some old dies that I've had for a while and then that will stick onto there just make sure you've got a nice equal frame okay so that's stuck down and what I did with this one is I've made this bar bigger just slightly so that when this closes it doesn't catch because on that one that I showed you before it does slightly catch next I'm going to decorate my side panels so I've fussy cut these lovely images from one of the pages so the good thing is when you buy the 12 by 12 pads you get the images much bigger so they're nice for fussy cutting and then using as a decoration so I've got the bowl there and I've done two of everything I've got the little whisk so I'm going to have a bowl on either side I'm going to pop these all on some foam so there's a bit of dimension we've got the little oven curve there and then we've got the heart and then the whisk it's going to be outside the bolts you see it and then that one there so I'm going to get that all stuck down okay so that's the front all decorated and then you just want to decorate the back so I've already gone ahead and stamped this one here again this is from my sweets and treats stamp set keep calm and eat the sweets that one's going to go there and then I have these spare pieces so I think yeah it was the floral ones because I had three of those so I'm going to pop that one there that one there and that one there so that's that all stuck down next you want to push your circle to one side and fold the card flat this is going to be the front for me so then I want to cover it with the other pieces now again let's make sure I get this the right way because I'm sure I cut them ah there it is so I just need to trim that one down a little bit and then flip it over and I've got my other one for here oh oh no that one's going to be that's the back so we're just we'll pretend that one you know you don't see that one but just get those both stuck down again they will be the two and three quarters by five and three quarters like I said you may want to decorate and do more with the front but I deliberately am keeping mine plain so that then it encourages them to investigate the card more and then start to open it and then you might just have to kind of move that so it pops back out to the front but you get that really cool design with that floating element in the middle you could also have a spinning piece if you wanted to have something maybe hanging from the front you might have a scene you could do the bars could be further down along the bottom and you can have little animals in there you may want to make you could do it as an underwater scene so you know if any of you've got my kit you could definitely do that this could be like the porthole that you're looking into you could also do the woodland scene so if you've got any of my woodland animals I'm plugging all of my collections here of course but you get the idea you could really you know do a lot more with the inside of that I could see this working really well for a christmas card it's definitely got the showstopper feel so I'm going to add this to my showstopper playlist so if you're new to the channel check on the playlist that's popping down now because there are heaps of those real big special cards mantle pleasers perfect for sweet sixteenths 21sts and all your other ages as well as weddings you know anniversaries engagements and things like that but I think this has turned out really nice like I said just push one side and then the whole card will fold flat and that's now ready for me to pop in the envelope and then you have that space on the back you may want to have playing panels on all four again if it's maybe for a work colleague it's a wedding card from colleagues in work you've got all that space for everybody to be able to you know write their name and their message and they could also you know do the back to here it's entirely up to you and like I said again just pop that in there and it will fold flat so I hope you've enjoyed this fun fold card from me today check out craft label again I'll share all the links in the description box below remember you get your 15% off that's valid for two months that code which again is SAM so SAM 15 C D E and be sure to check out all the other fun things that they have also that discount code is only valid on own brand product full price only you'll know if it doesn't work because it won't work when you go to check out just make sure it's the own brand product again I'll list all the kind of like tees and seas in the description box below and yeah enjoy using your discount code thank you as always to craft label for sending me this wonderful paper pad it's so nice really enjoyed making these ones thanks for watching and I'll be back again soon bye


Hi everyone, Joe for jaspyscasewrakes.com coming at you with 2020 Panini Mosaic football hobby pack number 57 at the end We're giving away eight spots in that leaf ultimate football and hit parade mixer. It's pretty fun If you're watching live, I think we still have to sell out a bunch of spots and do one more filler pack And then we're in breaksville. All right, so now Show you who got involved in this. Thank you very much everybody here appreciate it So as always we're gonna do the break itself first and then we're gonna see who was gonna win those spots at the end All right, so for the names and teams three and a three hard six one two three four five and six six times the teams one two three four five and Sixth and final time after six We got the Saints down to the bangles. All right, so here's the first half of the list right here Then there's the second half of the list right there. No trade windows in these little filler packs Let's just just get right to it. So We've just been taking packs out of this that same box that we opened up so now Use the power of the dice roll we use that one to see which pack we're gonna do So we'll go one two three four on the dice roll if I roll a five or six, I'll just roll it four One two three four. All right. Good luck. Let's see if we can find anything Special in this little filler pack break. What do we got here? We got Jalen Régord rookie there's Terrell Davis Eli Aaron Rodgers fitman jr. A and an FL debut Justin Herbert and a Justin Jefferson. That's not too bad So Justin Jefferson is a Viking for Mark the Jalen Régord We'll go to Aaron and the Eagles and a nice NFL debut Justin Herbert for PJ and the Chargers Nice All right Not too bad of a pack, but really the whole point of this is who's gonna win those spots. So let's grab everyone's names again new dice new list and It's gonna be the top eight top eight after seven top eight after seven Good luck one two three four five six and seventh and final time Now from nine on down Jose very close Close, but no cigar. I appreciate you giving it a shot though. Everybody. I appreciate it Thank you. So Congrats to the top eight So sad times for this group Unfortunately, but happy times for the top eight and that's gonna be Sean Oh Ryan Sean Jose. I don't feel so bad for Jose anymore. He's in PJ Ryan Zach and Aaron There you go gang. Thank you very much. I'm Joe for jazzy's case race calm I'll see you next time for the next break


SCP-084 appears to be a large radio tower, positioned in the center of a large open field with two small outbuildings. Direct observation and sample collection from SCP-084 is impossible due to the effect that is emitted around and from SCP-084. SCP-084 appears to emit a form of wave or radiation. The most pronounced aspect of this is the alteration of local space within the active area of SCP-084. The active area forms a rough dome shape of 200 meters in diameter. SCP-084 appears inside this area at random points, appearing to jump at random times, sometimes even appearing in multiple locations at once inside the active area.


Our shiny new studio is being built right now. Look behind me. That will be a state-of-the-art studio with professional lighting, cameras, soundproofing, acoustics, the whole works, and that will be the new home of the George show when it is ready in two months. Are you going to come to the Philippines to film in this brand new studio to get the highest production value for your shows, for your short form content, for your comedy, for anything you want to do on camera? That is what we are building for everyone who's coming to the Philippines and if you want to join us what are you waiting for? Head on over to jobs.freedom.tm and apply to come to Eastwood City. We can only pick a few people right now and we will be bringing in over a hundred people. That's my personal goal this year and if you want to apply tell us exactly why we should pick you and why you should be among the first to join us in Eastwood City for an all-expense paid trip we cover all the housing, the food, as well as anything you need to be able to live and work here in the Philippines. Isn't that great? Isn't that awesome? Here's the video of the space before we started renovations and you can see how it looked when we first took it over and now we are in the process of breaking it all down and rebuilding it into the shiny Freedom Studio that I promised we would a few months ago. This is Freedom and who am I? I am George, CEO and founder of Freedom and you've been watching and we will grow together as a family because this is the Freedom family. You are part of it, we are all part of it and we're all growing together. So grow with us and partner with Freedom. That play now button right there on the video bar is all you need to click to get started.


card number 28 the mob the mob let's check out the mob the mob Rossellini, Trefacanti, Giancana, Giancana, look at those faces, look at the sunglasses CIA mafia plots let's check it out let's see if the text is the same so in the last month yeah mob okay so there's a paragraph break we're looking for what are we looking for the Kennedy brothers mob members hmm don't see that looks like these end differently yeah looks like this was reworded the revised edition looks to be majorly reworded relative to the original edition right so we're gonna read the revised edition again let's read the revised edition let's read the revised edition the mob there's gonna be a lot of names in this that I'm not gonna be able to pronounce card number 28 CIA mafia plots in the last month of the Eisenhower administration secret meetings mediated by ex FBI agent and Howard Hughes a Robert Mahu were held between CIA agents and mafia figures for the purpose of plotting to kill Fidel Castro in 1960 the Cuban leader had nationalized US corporation corporate interest closed casinos shut down drug labs and deported mob members the Kennedy brothers did not know about the CIA mafia anti-Castro plots until 1962 when Robert Kennedy found the CIA interfering in Justice Department prosecution of the first mobster contacted contacted by Mahu Chicago boss Sam Gian Gian can canna participation in CIA mafia plots wasn't Gian canna's only protection against prosecution his girlfriend Judith Campbell and president Kennedy had been lovers for two years in 1963 the Justice Department ordered the FBI to curtail surveillance of Gian canna Judith Campbell who's that the gangster with the most to gain from the elimination of Castro was Santos traficate traficante junior former mafia boss of Havana who with his partner casino developer mob financial wizard Meyer Lansky had inherited that lucky Luciano's international heroin operation traficante financed terrorist raids in against Cuba run by CIA agent Frank Sturgis Sturgis is Miami based international anti-communist brigade in 1962 traficante told Cuban exile and FBI informant Jose Alman quote Kennedy is is in trouble and he will get what he what is coming to him Kennedy is not going to make it to the election he's going to be hit and quote West Coast mobster Johnny Rossellini another CIA mafia plotter later alleged Castro was warned of plans to kill him by a double agent possibly traficante and that Castro assuming the plots were official US policy killed Kennedy in retaliation that part we know is not true and who was claiming this West Coast mobster another CIA mobster later last year West Coast mobster alleged crazy crazy the mob the mob the mob which is really CIA mafia right CIA mafia


I'm Salvatore Bobonis and today's lecture is the structure of the contemporary world system. Levels of income inequality in the contemporary world system are so large that they are hard to comprehend. For example, national income per capita, GDP per capita, ranges from around $500 in the poorest countries to around $50,000 in the richest, a factor of about 1 to 100. To get some idea of the structure of this global inequality, the countries of the world can be organized in the three broad groups, core countries, semi-perforable countries, and peripheral countries. More than just levels of GDP per capita, these categories also represent structural positions in the global economy, the structural positions that generate the income levels we observe. Core countries are the rich, post-modern, post-industrial countries of the world. North America, the United States, Canada, Western Europe, Japan, Australia, New Zealand, Korea, and Taiwan are all, or together, form the world system core. GDP per capita in these countries is greater than $20,000 per year, running up to between $50,000 and $60,000 per person per year. And nobody in these countries really has to suffer the kinds of life-threatening material hardship that are pretty ordinary in some of the poorest countries of the world. The semi-perfor of the world consists of middle income countries that are still dealing with the challenges of modernity and nationalism. They're either industrial or industrializing. These are places like China, Eastern Europe, Brazil, Russia, places that are dealing with serious problems caused by the fact that these countries straddle the rich world and the poor world. The periphery of the world system is composed of poor, traditional, culturally poorly integrated countries, places that have not yet modernized and are not yet characterized by a coherent nationalism. Many of these countries are former colonies where the borders were drawn by colonial powers without reference to ethnicity or national identity. And so many peripheral countries don't have the kind of national cohesion that core and most semi-perfor countries do. These countries are largely agricultural or very simple industrial countries. To give an example of a typical industry, in Bangladesh one of the major industries is ship-breaking. Ships are brought to tow to Bangladesh at the end of their working lives to be torn apart with sledgehammers by workers in a very labor-intensive process of just taking apart the ship to use it for scrap metal. Those are the kind of industries found in peripheral countries. GDP per capita in peripheral countries is generally less than $5,000 per person per year and in some of the poorest peripheral countries much of the economy is still non-monetized meaning that people are working merely for subsistence. They may be growing their own food or working for favors from others rather than actually producing for sale in a market. Some pictures might illustrate what life means in different zones of the global economy. I mean here are some pretty typical core office workers in Sydney, Australia. You can see these are people who are generally well-fed, who aren't suffering severe physical stress in life. They have problems. Everybody in the world has problems but these are not people whose life expectancy is reduced by the sheer physical difficulty of living day-to-day. These are people who are all well-dressed, who again may have financial problems but don't have the kinds of financial problems that would lead to their children not being able to eat on a daily basis. If we move to the semi-periphery, the classic semi-peripheral image is that of the Chinese factory worker. Now these women on a factory assembly line in China again are not living lives where they're unable to eat enough to survive. They're not suffering from malnutrition. But nonetheless they're leading physically stressful lives having to stand for 10 or 12 or 14 hours a day in unpleasant conditions with extreme supervision. And these kind of conditions are fairly typical of the semi-periphery. Of course there are many people in semi-peripheral countries like China that have perfectly good lives. But the typical person in a semi-peripheral country has only a primary and maybe some high school education and has a job that is highly routinized and requires very low levels of skill. Here's a picture of life in the periphery. These are cocoa farmers in Ghana and West Africa. These people are producing for a market. Cocoa is a cash crop sold on world markets. It's not a subsistence crop. Many other farmers in the periphery are growing food for their own consumption, their subsistence farmers outside the cash economy. Life in conditions like this is characterized by widespread malnutrition. People live day to day depending on market prices for their produce or depending on the weather. A bad harvest can mean that families simply don't eat resulting in serious malnutrition and extreme cases in death. The global public intellectual Andre Gunter-Frank famously argued that these three zones are linked in what he called the development of underdevelopment. Now I call Andre Gunter-Frank a global intellectual because he was born in 1929 in Germany, fled Hitler's Germany to live as a refugee in Latin America, was active in Cuba and Chile under leftist governments in both countries, eventually fled to Canada and spent his later life teaching in Canada. So it's difficult to say what country Andre Gunter-Frank is from. He was born in 1929 and died in 2005. Frank Gunter-Frank argued that today's poor countries are not merely undeveloped or not yet developed. Their underdevelopment is part and parcel of the development of the world system as a whole. His example was poverty in Brazil. Northern Brazil is one of the poorest areas of the world. It is highly racialized poverty. Black Brazilians who are the descendants of slaves who were brought to Brazil in the 1500s, 1600s, and 1700s to work on sugar plantations form an underclass in Brazil that are heavily concentrated in northern Brazil. Now these are not people who are part of a traditional society who simply have not yet decided to join the modern world. Black Brazilians are people who are only in Brazil because of the modern world. That is, modern production networks, cash cropping of sugar in a plantation system that was highly capital intensive, this economy brought them to Brazil, made them slaves there, and ultimately led to their current status in the world system. So they're not yet developed or part of a traditional society. They're actually the negative side or the negative face of the same development that led to great wealth, especially in the Netherlands, which owned many of the slave plantations, sugar plantations in Brazil. These low income zones of the world like northern Brazil are part of an integrated political economic system. They're not places that were left out of modernity. They are the negative side of modernity. This basic observation was further developed by the sociologist Immanuel Wallerstein into a coherent framework for what we call world systems analysis. Immanuel Wallerstein's a contemporary of Frank. He was born in 1930 and is still alive in publishing as of 2016. Here's Immanuel Wallerstein and Andre Gunter-Frank. More than just income levels, core semi-privary and periphery are structural locations in global value chains that connect together the world economy. High value added activities are concentrated in the world system core. Things like design, development, and marketing, the ownership of intellectual property, banking, finance, and of course, corporate control. The archetype of this is Apple. The Apple iPhone is designed and conceived in California. Marketing is done in places like California and New York and London. The intellectual property is owned in developed countries that is the patents behind the iPhone and that protect its proprietary systems. And of course, the financing is all done in the United States and other developed countries. Corporate control is in California. On the other hand, the actual manufacturing of the iPhone occurs in semi-proferral countries like China and Mexico. Low value added activities are concentrated in the world system peripheries. And when I say peripheries, I mean both the semi- periphery and the periphery of the world economy. These are activities like assembly work or dirty manufacturing. We may have kinds of clean manufacturing in the world system core, super advanced manufacturing of video cards for computers, but dirty manufacturing, steel production, aluminum smelting. I mentioned earlier, ship breaking. These kinds of manufacturing activities occur in the peripheries of the world economy. On the very periphery, the edges of the world system are countries that rely heavily on foreign assistance just to provide the basic necessities of life. The value added of activities that occur in the periphery of the world economy, things like cocoa farming and ship breaking, the weaving of textiles and the sewing of textiles into clothing, these activities provide so little value added that they don't even generate enough income to provide the basic necessities of life. And as a result, countries like much of Sub-Saharan Africa, countries like Bangladesh and the countries of Central America depend heavily on foreign aid just to keep schools open in public health systems running. Now, there are plenty of rich core-like places that are in the semi-periphery of the world economy. But from a structural standpoint, they're not part of the core of the system. The best example of this is Singapore. Singapore looks like the most modern city in the world. It's certainly a very rich place. This is the new Marina Bay Sands Casino and Hotel Complex in Singapore, one of the richest places in the world. Yet Singapore's prosperity depends on the labor of 1.4 million guest workers out of a population of 5.4 million. So if you're going to Singapore, one third of the people working there are not actually Singaporean. They are the people who mow the lawns, who work as maids in people's houses, who do all of the construction work, all the dirty jobs. So in a place like Singapore, there are lots of poor people. They're just invisible or below the surface. Many of them aren't even in Singapore itself. Singapore is the pinnacle of an economic system that really extends across the borders into Malaysia and Indonesia. That is to say that the top value-added activities, the banking and finance and port services for the entire area, are done in Singapore. Singapore used to be part of Malaysia and only became independent of Malaysia in 1965. If Singapore had remained in Malaysia, we would now just be talking about it as a rich city in Malaysia as opposed to thinking of it as a rich country in the world. And that difference is really illustrated by other cities like Moscow and Rio de Janeiro and Shanghai. These are cities that all have very rich central districts. But of course, they are surrounded by poor countries. Because they're surrounded by poor countries and they're part of those poor countries, no one would call Shanghai or Moscow or Rio de Janeiro part of the world system core. They're simply the tip of the iceberg of poor and middle-income countries in the world system semi-for-free. There is no standard accepted list of core semi-for-free and for free countries, though you can find lists like that on Wikipedia. Common sense notions of what core semi-for-free and for free are usually pretty close to correct. Core parts of the world system are places where everyone can live a decent life. Now, it doesn't mean that everyone does live a decent life. There are problems everywhere. And all countries have problems of distribution, of getting everyone the resources they need. That said, in countries like Australia, the United States, Germany and Japan, it's very rare to find anyone who's suffering from outright malnutrition. It's very difficult to find people who just can't find enough food to eat. There are serious challenges in these countries and especially challenges to human dignity. But core countries are countries where social systems basically work for most people most of the time. Semi-for-free countries are places where the rich, skilled and educated can live a core lifestyle but where many people are left behind. You can live in a core type bubble in cities like Moscow, Singapore and Rio de Janeiro, never coming into contact with people who are truly needy. You can shop in Western-style supermarkets, you can dine out at fancy restaurants, you can go to refined coffee shops and bars and pubs and clubs and never have to deal with people who are not living a core lifestyle. But when you live that way in a semi-for-fro country, you live inside a bubble. Anyone who lives in that kind of bubble can just drive a few miles out of town to find other people who are living in shanty towns, other people who are living on refuse stumps. In semi-for-fro countries, the rich and skilled and educated may live in a core bubble but it's definitely a bubble in a country that is otherwise not up to core standards. Peripheral parts of the world system are countries where even rich people can't live in a bubble. They have to confront the fact that they live in poor countries on a daily basis. In part, that means no matter how rich you are, when you walk out your door, you see poor people, beggars, people who are crippled and sitting in the streets begging for money. You're confronted by poverty and the sights and smells of poverty every day no matter what you do whenever you go outside. But part of this is that the services that we take for granted in core countries just aren't there. Roads are not paved, airports don't function properly, electricity is not on and reliable 24 hours a day. You can't drink the water. In most countries there is no public water supply. So in peripheral countries, it's impossible even to live in a core bubble.  In the semi-periphery, people can live an acceptable life in a bubble but whenever they leave that bubble, they're confronted by poverty versus in peripheral countries, it's impossible even to live in a bubble. That pretty well in a common sense way defines these three zones of the world economy. The general structure of this world economy has been stable for at least 200 years. Things have not changed very much. This graph shows GDP per capita on a logarithmic scale for 1820. A logarithmic scale is just a compression of the scale so that for instance two would equal 103 equals $1,000 and four would equal $10,000. GDP per capita in 1820 versus GDP per capita in 2008, again $1,000, $10,000, $100,000. As you can see the correlation is near perfect. The places that were poor 200 years ago are still poor today. The places that were rich 200 years ago, Western Europe and the British offshoots of the US, Canada and Australia are still rich today with other areas of the country, other areas of the world falling in the middle. This pattern has probably existed since the beginning of the modern era around 1500 but it has certainly existed for at least 200 years. As a result, many of the important global social problems that are generated by the wealth and power differentials existing in the structure of the world economy are generated by the same structure as they were 500 or 200 years ago. The problems of the past are different from the problems of today but they're generated by the same underlying structure of the world economy. So in the past, the massive differences in power and wealth between Europe and the Americas created a catastrophic genocide in the Americas. It created slavery of African slaves being brought to the Americas. It created colonialism, it created world wars. These historical social problems were generated by the big wealth and power gap between European countries and the rest of the world, especially Africa and the Americas. Contemporary social problems are generated by this same gap. It's the same cause, just a different problem resulting. So for example, terrible working conditions in factories in the semi-privary and periphery of the world economy are generated by the fact that people in the core don't have to be confronted by the problems of factory work in places like China or Southeast Asia. Severe poverty is generated by the power differentials that result in African cocoa growers gaining only a few cents for the final price of a chocolate bar in the developed world. Irregular immigration is generated by these massive differentials because there are enormous rewards for people like the Rohingya who want to get, who are migrants ultimately from Bangladesh who now live in Myanmar. So they're moving from a very poor peripheral area to an emerging semi-peripheral area. There are strong incentives to stay in Myanmar as opposed to be expelled to Bangladesh. But in the same way, Syrian migrants who are seeking refuge in Europe have a very strong incentive to get into Germany rather than be stuck in Jordan or Turkey in the semi-peripheral zones of the world economy. Global warming of course is generated by the massive over-consumption in core countries where people in developed countries are consuming anywhere from 10 to 100 times as much as people in the peripheries of the world economy. Key takeaways. First, core semi-periphery and periphery are structural positions in the contemporary world system and they're structural positions that go back a very long time, perhaps as much as 500 years. The relative positions of regions of the world in this structure of the global world system have been stable for centuries. And global social problems are generated by these wealth and power differentials in the global world system. There are different problems every year and there are different problems in this century from the problems of previous centuries, but those global social problems nonetheless are still being generated by the huge differentials between rich and poor in the contemporary world system. Thanks for listening to this lecture. You can find out more about me at salvatorpebonus.com where you can also sign up for my monthly newsletter that brings together all of my popular writing each month on the world system and its problems.


Hello everyone and welcome to Blackstar Potential. My name is Lee Fuge and I'm here today with MusicTeacher.com and in this video we're going to talk about open e-tuning. All the tones you're hearing in this video today are coming from the Blackstar Studio 10 6L6 which is currently mic'd up with the Luit Audio LCT 440 condenser microphone and I'm using my Tokai Telecaster for this which is tuned to open e-tuning. So if you've already checked out some of the other videos on the Blackstar channel about open and alternate tunings you will know that an open tuning is when you tune the open strings of your guitar to those of a major chord. So today we're using a tuning called open e-tuning so this is when all the strings are now tuned to the notes of an e-major chord. So from low to high we have got E, B, E, G-sharp, B and E. So the strings that were previously A and D have both been tuned up a full tone to B and E respectively and the G has been tuned up a semitone to a G-sharp. So this means this is one of those few alternate tunings that are actually going up instead of down so if you're using super heavy-gauge strings you may need to do a little bit of setup work on your guitar. If you're using something standard like a set of 9s or 10s you should be able to go up to opening without any issues with the guitar sort of moving around or needing a truss rod adjustment. So much like other open tunings the great thing with open e-tuning is that we can simplify the chord process. Now with this being open e-tuning our lowest string so our low E is still tuned to an E note. Now this is good because our reference points can still be the same so for instance we know that the fifth fret of the E string is an A note that is still true in this tuning. Now when we use things like open G or open D tuning because we are changing the pitch of the low E string that does offset some of our reference points slightly but like I said open E is great because we're still using the E string as a reference point. So if I was to play all six strings just open I'm gonna get an E major chord. So because my reference points are the same I can now do those one finger major chords anywhere I want. So on the third fret it would be a G, the fifth it would be an A and the eighth it would be a C. So all of those reference points are still the same. There are also a couple of cool chord extensions you can do in open E tuning. So if I've got my E major chord like so and I raise the note that is actually on the G sharp string now which was previously the G this note here up to the first fret I now get a sus 4 chord. So this is an E sus 4. I can repeat that anywhere I want then so if I do a bar across the third fret for a G major and I raise the third fret on the G sharp string up to the fourth I get a G sus 4. That's an A sus 4 and C. So that's a pretty cool extension and you can also do the six sus 4 chords which we talked about in the open G tuning videos which I used a lot by bands like the Rolling Stones. This just resembles a regular dominant seventh chord so we've got that raised fourth here the suspended four and I'm also adding the six here so I'm raising the note that's on the A string or the B string I should say this time up two frets. So this is a six sus 4 chord in open E tuning. I can do that as a bar chord. I can also do that kind of Keith Richards thing where I go on and off the six sus 4 like with all other alternate tunings if you're going to be doing any lead guitar or any slide playing you're going to have to remap where your scales are as well but in this video we're just going to talk about some of the basics of this tuning. So now I'm going to show you a couple of my favorite open E tuned riffs just to give you an idea of how you can use this tuning in context and maybe it will give you a few new riffs to check out and have some fun learning as well. The first riff I'm going to show you is by a group called the Black Crows and this is a track called She Talks to Angels. The original was actually recorded on an acoustic but for demonstration purposes today I'm just going to play it on this electric guitar. So here's how the riff sounds. So the majority of that riff was actually just that E major chord to the E6 sus 4 pattern. That's actually repeated four times in the sort of segment I played there. It actually goes on for pretty much most of the song that was just a little snippet of the intro. Now what happens in that part of the song is that there's another guitar part that sort of snakes in and out. So in between those I'm doing a few different things. The first thing you saw me do was harmonics here so across the 12th fret and the seventh. The second thing you saw me do was this little lead line. So that little lead line starts with a slide from the 2 to the 4 on the D string. Technically it's the E because of the tuning but we'll refer to the strings by the standard tuned pitch just for reference. So I'm sliding from the 2 to the 4 on the D and playing the open G. Then I'm doing this little pull-off phrase using the 3 and the 5 of the G with the open D. Then I'm playing the D and B open. Then a pull-off on the 2 of the D to the open. Then the final thing you saw me play was this little descending run. So that's just a pedal here I'm playing the high E open and the 5th of the B. Back to the high E then down to the 4. The 2 open. Then the 1 on the G. Still with that open E, open G and open D. So here's that riff once more in full. The second riff I'm going to show you is a finger-picked clean riff. This is a song called Midnight in Harlem by the Tedeshi Trucks Band. So this is quite an easy riff to play. It actually shows how you can use a moving shape in open E tuning nicely with some open droned strings. So the first thing I'm doing is I'm playing the low E and the high E together. Then I'm playing the E then the B. Then I'm doing this shape here so I'm playing the 2 on the A, the 2 on the B. Then I'm playing the G, E, B. The note on the B string is still frayed from whatever chord shape I've added. So that rhythm you heard across those two chords is the rhythm we're going to be using for the whole thing. So where I'm playing there on the second fret I'm now moving that to the 4th. I'm playing the same rhythm as I did with the opens. Except this time I'm rooting it from the A string because that's where my chord starts. Then I'm coming back to the 2 and I'm adding that little phrase that starts from the G again. So it's the same rhythm twice in a little group. So here's that first part in full. The second half of the riff starts off exactly the same up to the 4th fret. But from this point we've got up to the 5. So what we play on the 5th fret is going to be the same as the way we played it on the 2nd. We're playing the two notes together on the A and B strings. Then I'm playing the G, the E and then the B. But then I'm pulling that off to an open. So here's how that one sounds in full. The third opening riff we're going to look at today is the intro riff from the Rolling Stones track Gimme Shelter. So this is probably the trickiest opening riff in this lesson. It revolves around three main chord positions rooted on the A string at the 9, 7 and 5. Everything in this part is played as a double stop so I'm always playing two notes at any given time. So I'm starting off with a double stop here on the 9 of the A and D followed by the D and G. Then I'm adding my middle finger to the 10 and my third finger to the 11 of the D and going back to that A root double stop. Then straight back to this double stop here. You'll notice that as I was descending I was lifting a finger each time so I played the double stop at the 10 and 11. Then I lifted my third finger and played the 9 on the D and the 10 on the G twice and then just the 9. Then we're coming down to the 7th fret starting off exactly the same way. So it's the same pattern with the same additional fingers added there. This time instead of walking down I'm just playing that double stop here on the 8 and 9 this time. I'm offing and then I'm moving that off to the double stop on the 5. So here's those two bars slowly. Then we come down to the 5. This part now is just straight double stops so the notes are always going to be on top of each other. So that's 5 on the A and D, 5 on the D and G, 7 and 5 again. Then I'm doing a little descending movement here. So from the 7 of the D and G double stop down to the 5, then the 5 on the A twice. So here's the first part of that. Then I'm doing the 7 and 5 on the D and G once more. Sliding my first finger up to the 7 and adding that double stop again and then the double stop on the 7 of the A and D. So there's quite a lot going on in that one so build that one up slowly. Take your time with it. Here's that one slowly all the way through so you can really see all the movements. So spend a little time following the tab along for that one because that one is a little bit fiddly. It does take a while to get that one right. Here's that one once more at full speed. The fourth and final riff in opening we're going to look at is probably my favorite opening riff. This is Just Got Paid by ZZ Top. So this riff starts with a hammer on from the 3 to the 5 on the A string followed by an open low E which is palm muted. So in this one the open low E is actually peddled between most of the notes. So once we've hit that open E we're playing the third on the D and then the E once more. Then the 5 on the A, 3, 5, then I'm hitting the 3 on the low E with a pull-off to the 5 on the A. Notice how I was just swinging back and forth there between the open low E and those frighted notes. There's a bit of a swing to this one so you really have to make sure you get you picking nice and accurate for that one because you are going to be crossing strings a little bit. So once again it's hammer on open, third on the D open, 5 on the A, 3 on the A, 5 on the A to the pull-off on the E and back to the 5 on the A. So that's a really fun rock riff. Crank the gain on that one and have some fun with it. Here's that once more at full speed. So there you go. There are four open E tuned riffs and a couple of different principles that you can use to get started with that tuning. I hope you guys have enjoyed that. Let me know down below in the comments how you've gotten on with using open E tuning if you've used it before or if you're new to it and also let me know if you've checked out any of the other alternate and open tuned lessons on the Blackstar channel. Don't forget to check out the other videos on the Blackstar channel if you haven't already done so. There's some great stuff there on alternate tunings and how to get started in this new world outside of standard tuning. I think you'll have some fun and it will open a few new creative doors for you so please go and check those out. And if anyone out that's looking for a guitar teacher please head to musicteacher.com. Check out the nationwide database of great music teachers all around the country. All of them are waiting to help you guys take your playing to that next level. Thank you guys so much for watching and I'll see you soon.


What's going on guys? Today I bring you another Destiny 2 video and today we have a real treat. IGN have uploaded about 4 videos and many things we haven't seen so far covering Destiny 2. That being a Titan Sentinel gameplay, void walker, warlock gameplay and much much more. Today I will cover many different things in videos to come but right now I want to speak about the main things I see within these videos but before we go anything other guys if you do enjoy the video leaving a like is much much appreciated on my behalf. Okay so let's start and first up we're going to talk about the warlock's new and improved avoid walker subclass. Unfortunately we don't see any nodes or setups being used here in this gameplay but we do see it in action which is kind of good enough to go on. The footage we see is playing on control and a new pvp map endless veil which I do actually like the look of. Now get into the video guys and straight up, straight up Blink is back. Yes you heard that right. Blink is back. Within this gameplay we see this warlock blinking all over the place. In my opinion it actually looks to be improved, improved on what we already have in Destiny 1 right here right now. Will it be OP? I can guarantee a lot of people will say it will be. The mechanics of it don't seem to have changed much but the actual sound of it is amazing. Take a listen. Also the cooldown is not really apparent. I mean is there even one? We see this Guardian blinking twice in a matter of a second so maybe there is no cooldown at all. But notice the radar and HUD still disappears off-screen when you do blink which is good. We also see the Nova Bomb in action. Now we have seen this Aegis back but he wasn't much to go on. But here we see it being used properly and it's changed a lot. Now we know within this subclass build well all subclasses across the board within Destiny 2 you can choose from either one of two sets of four nodes. If that does affect the Nova Bomb in any way we don't know as like I said none of the actual build being used here was shown. Now I speculated about this Aegis going one of my first videos covering Destiny 2 and that was the fact that the Nova Bomb we did see Aegis back did indeed split into smaller parts and impact and seem to track enemies. We also see that here within this footage the Nova Bomb does travel a lot slower but the fact it splits into large action bolt kind of things is pretty cool. Will they one hit an enemy if they actually track them down? I do not know. We also see what I believe is to be a new type of scatter grenade. We see it hits the floor and separates into minute little parts. Looks decent to be honest. Now we're going to move on but all the videos I use here as reference from IGN can be fan linked within the video description so do check them out if you want to.  Now the first thing I want to say is when I used the Striker back at the reveal event for Destiny 2 the initial boost you got when jumping was nothing like what it felt like in Destiny 1. The burst felt sloppy on the Titan that I used in Destiny 2. It made it so basically being able to travel across maps quicker really difficult it didn't seem like you'd be able to do it you wouldn't be able to tighten. That's basically what I got from playing the game I thought Bungie gonna cut that out but seeing this Titan jump within the subclass tells me a different story. The boost he seems to be getting looks impressive it really does a lot more of a boost than what I was getting when I used the Titan subclass which was Striker by the way not Sentinel.  Not only can you charge towards enemies at great speed and smack them to their death you can also throw and ricochet a shield. I cannot imagine some of the super clips we are going to see cannot wait. The grenade I believe he throws was to press the grenade but to tell for sure is really hard. Now to end the video before I start the videos we have seen even more. In a video where Ijean showcased a tour of the new crucible map endless fail we saw this garden shooter a sidearm.  Think about that for a second. Luck in the chamber on sidearms. Damn. Now the sound we heard which we do hear when luck in the chamber kicks in in Destiny 1. In Destiny 2 could be the sound of something else kicking in. It could be the sound of um to be honest people I'm trying here to make it seem like luck in the chamber is not on sidearms and I'm failing really bad. Bungie what are you thinking luck in the chamber on sidearms.  And on that note guys let me know what you think about this down below in that comments section. Thanks as always for stopping by. If you're new around here and enjoy daily Destiny videos be sure to subscribe. Hit that like button if you enjoyed the video and I'll see you on that next one.


This or that, good or bad, right or wrong, in or out, us or them, blue or red, what do we do when our democracy is filled with so much division when these states feel anything but united? The method of this democratic economy is itself the message. We can call ourselves united all we want, but until we move beyond these binaries in every area of life and culture, gender, religion, sexuality, spirituality, race, politics and more, we will continue to drink the Kool-Aid we don't even realize we're producing.


Well, hello friends. It's Sandy and welcome to my YouTube channel where today we're going to color a glass vase or glass jar With Copic markers a lot of you have asked about coloring them So they look like the flowers are inside the jar and not setting on top of it So I'm going to show you some ideas for both stamping and coloring with this clearly decided set There's two bouquets of flowers and two different types of vases and I want to show you some things about both of those First I'm going to use this simpler vase which has a top on it That's completely flat. So the person drawing it drew it completely from the side And I'm going to mask it off. You can see that the pink sticky note blocks off the stamping So that means I can't see through it. If you use yellow stickies, I figured out you could see through them So use yellow stickies instead of pink, but this worked. I have my flowers on the top I'm going to stamp it off a couple times and do third generation stamping or you can even do fourth in order to do this technique And I'm going to not re-ink my stamp and just stamp it on top I can see through the yellow stickies so I can line it up a little bit better and There you can see I've got a lighter impression inside the glass jar. It's going to make my coloring go easier This jar is a little bit different. It's drawn from a little higher angle So it has an oval top and oval bottom And so what I'm going to do is wipe off with an absorber. There will be links in the description to all these products This wipes off ink very well from stamps and it didn't print that top line So my flowers are going to look like they're in front of the back of the jar if that makes sense in front of the back I'm making a really quick mask because I want that oval shape For the bottom of the flower bunch that I'm going to stamp in there so I just want to cover up that bottom part of the jar and I will ink up the daisies this time and The daisies will get stamped right on top of there I can nest them right down to where the top of the jar is and I can see right through where my My mask is and get that lined up stamp it off a couple times and Then mask off the top this one I can mask off just with a plain straight sticky note because the alignment of that That little top of the jar with this very light stamping is not going to matter So now that has lighter Lighter color stamping in the bottom section now. I'm going to apologize My focus is a little soft in this coloring section of the video, but you can still see what I'm doing So I'm moving it and not going to refilm everything So I'm using v2 one and a B triple zero to create basically some kind of stripes of shininess on the glass itself and This you know works in different ways for different types of things really depends on how much reflection there is but as a crafter if you can just put some Highlights in there in a blue or a gray or a blue violet whatever kind of color you want to use for it And then use a softer color for your stems in the jar Then you're using for the stems that are outside the jar Then that will generally create the illusion of these things being inside of the last jar And you can see here that I'm just kind of sketching them softly It's not all this off focus I'm actually trying to make them a little squishy because you're not going to see real clearly through a glass To the objects inside and I've chosen a darker color for the stems up on top And you can see already the difference between them makes it pretty obvious that those stems are inside the glass jar I Wanted a little more color in the bottom, but I didn't want to go for the strength of another marker So I'm just doing the tip-to-tip technique touching the YG zero three to the YG zero six and adding some some color to it and Here I'm doing my daisies. I'm just gonna speed through this part because we're all about the jar today And I'm using my end markers. You could use your seeds easily or whatever colors you want to make your flowers in I'm just putting my shadow darkest shadows toward the centers and then softening them out with very very light gray So that they'll be some pretty white daisies the centers of these I'm going to add a couple different colors to just to add some depth to them and A lot of people wouldn't use three colors in little tiny spots like this But since there's very little other coloring, I thought it was worth putting that extra effort into that Here's the other jar and this time I'm going to start by coloring the leaves on top first because sometimes it helps in order to see how much contrast you Need in the jar itself in the bottom part. It helps to have a little bit of color somewhere else on the image So I've got my darker green up on top again Same thing as I did last time and my lighter green on the stems that are inside the job and You can do the stems first or the blue first whichever you want because I'm switching it around deliberately so you can see you Can do either way one of the tips you'll probably notice here is that I'm leaving a little white outline around the outside of the Jars when I do this and then I'm just putting some random Before on the last one since it was a straight edge base. It had Straight stripes and this one has more oval shapes To create that glass look for reflections and things and you could leave the glass as as it is right here You don't have to do this next step that I'm going to do But I wanted to show you how to add water to the jar as well pick your place where the water level is going to be and then Skip around don't make it a completely even line across the whole thing But make that that darker area come from about the same spot. You can make it a little wavy I'm kind of making mine a little bit wavy because as the water gets up to those stems If you haven't actually look at it inside of our glass vase, you'll see that the water kind of I don't know it sort of undulates a little bit around the stems and kind of goes up the edge of the stems but You know straight would work too But a little wavy seems to to look more natural to me I'm adding a little bit of a gray color in order to add some strength to some of the shadows and then Going over top of it with the blue just to knock it back a little bit and make it fit more into the blue colors That I've already been using here So I'm adding a little more strength now to my my Stems as well before I move back up into the flowers that are sticking out of the vase and I'm gonna add a couple different greens to Believes so that I can get some dimension going on in them and I'm using a G09 and the reason that I chose that color is not because of anything special Except for I have this one in the original body The original bodies have this bullet mid and they make doing tiny details like this really easy So you may want to get a couple colors in the original bodies In order to be able to do tiny drawing things like that Now I'm gonna zoom through coloring the roses as well And I've done a couple videos already on coloring red roses and red point setters And I'll link you to some of those in the description down below But I also wanted to show them to you here These are tiny roses and my other red flowers a point setter and a rose have been giant flowers So let's just show you a little bit how to do smaller ones so I'm using an r05 for the base color and it's more of a tomato red than a cherry red and My usual r89 and r37 for my dark and my mediums the r89 and r8 r37 our colors that work really well with both the cherry and the tomato reds and the cherry are more purpley the tomato are more orangey if that makes sense Did a little study of those in my edgy-diggy series so you can check that out I will put a link to that in the doobly-doo as well and You can download those to get lots more information about color families When I did the reds I talked about the difference between cherry and tomato reds so you can see that the r37 is blending really nicely with the r05 and I wanted to add I always go back over all of my coloring for the most part with whatever the base color was If I went back over this with the r05 my red highlights would get darker So what I chose to do instead for this particular one was to go back over instead with a pink so I went with an r22 and That adds moisture and blends color But it doesn't add a whole lot more red to it if I use the zero marker it would erase color So this sort of squirts the difference between the two So those are all done. Here's my finished rose card I put some texture paste in the background with using a stencil and I use some pretty pink posh dies to create my layout for it and I also put a couple glossy accent dots of Dew onto my flowers and I think that really just adds a whole lot of interest to them to do that And here's the daisies again another pretty pink posh pair of dies both the strip and the windows and some pretty pink posh Little sequins as well, and I did add water level to the daisies I went back and did that after I finished because I thought it just really needed that. Oh, do you hear fireworks in the background? I Do it must be summer Alright, here are a couple other videos if you'd like to watch those there are links to them in the description as well And I will see you guys again next time. Thanks for watching be sure to subscribe and share it with your friends If you found it helpful, and I'll talk to you guys later. Bye. Bye