Today, I'm making viral one-pot meals to see if they're worth the hype. With everything we have planned this summer, the last thing I want to do is a lot of dishes. So I went to the internet, on to TikTok, to see what they say is the best one-pot meals. I'm excited to try these, see if they're any good. All right, guys, let's get cooking. The first one I'm making is from Half Baked Harvest. This is her one skillet creamy, sun-dried tomato, chicken and orzo. That's a lot, that's a long one. And I can see how this went viral. It looks amazing. Now, thankfully, I found a link to her website, so I'm able to get all the ingredients measured correctly. Now, if you want to see the original video that has millions of views, I'll link it down below for you. Now, first, I'm going to mix all of the spices together. So we have oregano, paprika, crushed red pepper flakes, and some salt and pepper in here. Next, we have one pound of chicken breast that is thawed. You can use chicken thighs if you want, but we are going to make these a little smaller so they'll cook a little better. Once your chicken is done, I'm actually going to put it in the original container that it came in. So I'm going to take one tablespoon of olive oil and pour it onto the chicken, and we're going to mix this around a little bit. Oh, baby is awake. All right, so you want to make it on a skillet that can actually go in the oven. So no plastic handles, make sure they're metal, and then we're going to heat up another tablespoon of olive oil.  So now we're going to take the spices and just gently rub them on each individual chicken. When all the oil is heated up, we're going to put these right on. We are going to cook the chicken about three to five minutes on each side. All right, the chicken is done, so we're going to take it off out of the pan. Now, to this pan, we're going to add the two tablespoons of butter and just get it until it's nice and melted. Now, the recipe calls for shallots, but I like green onions better, so we're making it our own today. So we're going to add just two green onions. We're going to cook these until fragrant. And we're going to add about two cloves of garlic in this, and then one cup of orzo. Orzo is like a pasta that looks like a rice, it's good. And then we're just going to kind of mix this together and we want to kind of brown up the orzo a little bit. Once it's kind of browned up a little bit, the original recipe calls for wine, but I don't cook with wine, so we're just going to add one can of chicken broth to deglaze it. Now, we're going to cook this about five minutes. Okay, we're going to add one cup of heavy cream. Then we have two teaspoons of Dijon mustard, about a third cup of grated Parmesan, and we're going to eyeball this one this time. A little bit more, because you always need more cheese, right? Right. About a half cup of sun-dried tomatoes. I cut those up so they weren't so big. And then about two cups of spinach. And again, I'm just going to do a few handfuls here. That's close, right? Close. We're just going to mix this all together until the spinach is nice and wilted. Okay, spinach is pretty wilted. Now it's time to add back on the chicken. Now, she got really fancy and added a little fresh rosemary on top, along with some lemon. All right, let's taste test it, hopefully. All right, that one is definitely a five out of five. The next recipe is that cast iron guy, and he's making beef stroganoff. Now, I can see why this has millions of views. I mean, really, who doesn't love a good beef stroganoff? Okay, you're going to start by cooking one pound of ground beef. He says in your cast iron skillet, but I don't have a cast iron skillet, so we're just going to use a normal skillet, and it will work just fine. Now, the one thing he's not using is a chopster. So, that cast iron guy, I highly recommend one. So, he said we're going to add salt and pepper right now. I like that. Mix that in. Now, he said to add your garlic next, but I need to drain my grease first. That's one step that he didn't do, but I need to. All right, now we're going to add a tablespoon of minced garlic, and we're going to just cook that until you can smell it, or until it's fragrant. I liked how he did this part. These are the seasonings I'm going to add.  Now, we're going to add one tablespoon of Dijon mustard. That looks about like a tablespoon. And then, one tablespoon of Worcestershire sauce. Worcestershire Worcestershire Worcestershire sauce, whatever you call it, one tablespoon. Next, we're going to add four cups of beef broth. All right, okay, this is the good stuff. And then, we have two cups of heavy whipping cream. Okay, once you have like a little light boil, we're going to add 12 ounces of egg noodles. Now, the goal of this is to cover all of the noodles. You don't want crunchy noodles, so we want them all covered. You could easily do this in the Instant Pot too, just throwing that out there. All right, we're going to cook this for about five minutes. All right, noodles are cooked. Now, we're going to add eight ounces of cream cheese and then about a half cup of sour cream. And we're just going to mix this until everything is melted and creamy and smooth. All right, this wasn't as juicy, so I'm just going to let it sit on the stove top for a little bit. Now, that is some good beef stroganoff. Next up, stroganoff. Probably one of the best stroganoff I've had. I love that as ground beef and not the steak. Yes, huge fan, huge fan of this five out of five. Now, this recipe is from Mississippi Queen and she got it from Webb's Kitchen. Now, the problem is there is no name for this one, so we're making a name ourselves. We're going to call this Cheese Chicken Bacon and Biscuits. Now, she got her chicken from a rotisserie chicken. They were just out of rotisserie chicken, so I cooked my own chicken in Instant Pot. Now, in a skillet, she added chicken from one rotisserie chicken. I added about three chicken breasts. They're kind of small, so close enough, right? Close enough. Then she added two cans of cream of chicken soup. All right, and we're going to add in 1 fourth cup of onion. I think it was one whole package of ranch seasoning, so we're just going to call it a win, in fact. Okay, close enough. Then half package of bacon bits. And she bought one more. I bought Kroger, they're about the same price, but always go name-brand bacon bits, if you want them a little cheaper. Not name-brand, store-brand. Then she did eight ounces of cream cheese. Going to turn on the stove top here. It's a pretty good guess, since we're working on a skillet, and we're just going to try and combine all this together. I'm guessing that is what she's doing here. Okay, while that's heating up on the stove top, we've got to cut our biscuits. Now, I like to use a pizza cutter. You can use scissors, you can use a knife, but I'm going to cut them into about six pieces. And she only used a few of them, but you know what? I love biscuits. So we're going to use all the biscuits from the biscuit can. So there's eight of them. All right, the mixture is done. Now, in the video, they actually moved this to a different pan. I'm going to keep it in this pan, because we want this one pan, right? No dishes here. So I got my eight biscuits. We're just going to put these on and spread them all around a little bit. Now, this recipe didn't call for a certain amount of cheese, so at least a cup at least. Okay, now they didn't give a cooking time really. So she stuck it in at 375, pretty much until it was brown. So I will give you a dime on this one. All right, we ended up going 16 minutes. All right, this one I thought was interesting. Let's just say that. So I'm curious of how it tastes. Okay, if you like cracked chicken, you're going to love this. That was really good, surprisingly delicious. I also give this one a five out of five. There are reasons why these have millions of views. They're amazing. All right, if I had to pick a favorite, the chicken or so, highly recommend it. Now, if you try any of these recipes, let me know down in the comments. You won't regret it, I swear. All right, guys, I'll see you next time. Bye.


It's Seth Green, everybody, by the way.  Did you force your parents to let you do it? Or do they, do they encourage you? Or you were like, we want to, I want to do this. I was like, I need to do you're in New York or here. I was in Philadelphia. Oh, right. And was able to get an audition with a manager. I finished on my way into a on-camera training school in Philadelphia when I was six years old. My mom, this is the thing I really credit my parents with is they let me run away and join the circus. Like my mom went with me on all these auditions, took me on all of these jobs. Like what an insane nine years we spent together doing this thing.  Like, can you even believe them? Okay.  Well, that kind of depends on how serious they are about it. It's, it's a, it's a weird thing to say. How do you gauge that? I'd be optimistic that I'd raise a kid that would be comfortable telling me how they actually feel. I'd be optimistic that I would be able to encourage a kid to tell me the truth in, at least with respect to what they want or how they feel. And I know the moments, like the, the catalytic moments in my life that made me certain that what I did is perform in whatever shape that takes. What I do is perform.  But I worry, don't you worry about just the inherent danger of it? Meaning it seems like you've escaped mental illness, but many child actors don't. Absolutely. But I also intentionally set to study myself, my feelings and my access to them in, in tandem with becoming a, where you always, yeah, I'm saying when you're 10, I just think like there's something about not only like molestation. I'm just talking about. Yeah, yeah, no, the being having to perform different bullets. Like I think about how many times it was demanded of me to engage in an adult way before I was emotionally prepared to, but I don't blame anybody for that. And, and I also look at, you know, some of its luck, some of its prep, some of it's just like who you are. I've reflected not with a survivor's guilt, but like a, like an unflinching assessment of just how close I came to dying or being poisoned or being raped. Any of these kinds of things, like you've specific incidences? Yeah, or just generally, or even, or even how many, like anytime someone's come forward and they're like, this person raped me, this person molested me, or when I was young, I wound up in this kind of situation.  I was in a car with that person. I went to an audition and spent an afternoon with this person. I think, and like in those moments, I could reflect sort of and, and assume like, Oh, what was that? And, but the things that I remember were not incidents of somebody praying upon me. Right. You know what I mean? But you were adjacent. You were in the same venue or the same, which is kind of crazy. Yeah.  I got exposed to tons of adult concepts, cultural things like a million different schools of thought. And all it did was make me a little more aware that those kinds of things coexisted with all of these opportunities to do good. So, and probably a lot of positive adult concepts, like not just like, No, I don't even know what the night accelerated rate. I learned about things at an earlier time. So I didn't formulate a worldview that was inhibited by ignorance of the existence of these things. So your mom was taking you to these things. Did she also take you to, did you also play soccer and all that shit? No, because I'm wondering what the dip, because when you say you and your mom go and auditions for nine years, do you think it ends up being around the same amount of soccer practices? Games, basketball? Interesting. I don't know. We had probably more away games than the average team. Like, yeah, you're like, yeah, we're in like Montreal. Yeah. Just not cities and states and countries. Oh, right. You have to go shoot for a month or what was the launch? We were in, uh, where was that? That was, yeah, it was all Montreal. A whole day my parents got away the day my parents went away. I was already living alone in LA. I had an apartment of my own and was responsible. How old? 17. I moved out. What do you make of that looking back? Well, it gives me a different impression of 17 year olds when I meet them, as far as like, I had a level of certainty and capability, discipline, responsibility to not just succeed but thrive at an age where no one, no adult would have ordinarily given me that, that level of respect, but I had proven it over and over again that not only was I good at the thing, but I was going to work hard enough to be awesome at the thing.    Found my niche, affable stoner, the like kind of weird best friend who's always telling you, you should try this carbonated soda. I always, when I do commercials sometimes on pitches, I say, like, I'm not going to have people do what I call Sunny D acting and you're exactly the right age. Do you probably audition for it? Like, Sunny D. We got soda, OJ, purple stuff, and two guys of Sunny D. They opened a freighter. I did a whole crush campaign. Like they... So you couldn't do Sunny D. Yeah, but they teed me up. I did their cream soda, their orange soda. Orange crush. It's got huge taste. It's like massive. And it was a director. I did their grape soda at one point and they had different flavors for different regions. So we would do the Canadian stuff, the Australian stuff. It was crazy. But I got in with this director and this company and whenever they needed, you know, the kind of accessible slacker they called me, you can get a rhythm doing commercials or anything.  It's very exciting. Yeah. That's how this business runs. Hey, did you like that? Did you like that? Yeah, did you like it though? You want more? Don't want to work? Would rather watch videos of me grab acid with people?  This is like when the weatherman says there's a high pressure system coming in. Although I'm not really used to the green screen.


Buddy, it's so great to see all you here. So I'm just the logistical person announcing the next thing, so don't get too excited. So we have next up a panel of three artists who are doing exactly what Jeff was talking about, who are all in their own ways through their work and through who they are in the world, challenging the way that we see identity, helping us see things in new ways, and helping create spaces where we can envision a different world in the future. And so they're gonna have a conversation together. We have Carrie Mae Weems, David Henry Huang, and Julio Salgado. And Gregory Rodriguez is going to moderate the panel, so if you guys can come up, that would be great. And just as they're coming up to the chairs, Gregory is the founder of Zocalo Public Square, which is an ideas exchange that blends events and journalism and creates a space for a younger generation that's more diverse to be able to have conversations that matter. And I can't think of a better person to moderate this panel. Thank you guys. David, sorry, coming. I'm losing my stuff. Hello, good morning. Is anybody as tired as I am? Just me. I'm happy to be here with these amazing artists who have a lot more knowledge and know about art, which I don't. So I'm trying to use my ignorance today as to be a good interviewer. But I wanna start with the idea when I got this invitation from Hilary, thank you. I was thinking about, I was on this boondoggle, the State Department sent me two years ago to Venice. And I just said, yes, because you're sending me to Venice to talk about American identity. And I thought I was fairly articulate during a panel. And a very eager and nervous, wiry Italian man came up and said, well, what is it? Are you Chicano? Are you Mexican-American? Are you Latino? And I felt a little bit assaulted and I said, well, it depends who I'm talking to. Well, I guess I'm all those things, but who am I talking to? And are you American? Yeah. And he said, but pick one. And I shouldn't have answered, but I was sort of in a corner here. I mean, he wasn't very big, but he was wiry. And I said, I'm an asthmatic. And we all have these identities. We've always had them. But the premise of this panel, and a lot of the premise of today, is the idea that the identity is more fluid, that we have a greater freedom to identify in multiple ways than we ever did before. In 2000, the US Census allowed Americans to pick more than one race. Imagine that. And we don't know what that means. Although it drives demographers crazy. He said, demography numbers no longer add up to 100 in America. And then yesterday, I get off the plane looking at the news from South Carolina. I was sort of struck, not knowing what the significance was, but it seems to me I wanted to start sort of today's discussion off with the first woman governor of South Carolina, the child of immigrants who both worships in a Methodist and a Sikh temple, declared essentially it time to move beyond the symbolism of a war that ended 150 years ago. That seems to suggest that this woman, the governor Haley's identity is very complex, dealing with a more archaic, if you will, primal divide that we have advanced and that we haven't. And I think Jeff was referring to this complexity and I wanna know from the panel first of all is, and I'm gonna pick on David first because I interviewed you years ago in a small dungeon-like room at the Center Theater in Los Angeles and you couldn't escape either. I was the small, why are you Italian guy? And you had just written and were presenting yellow face. And you were seemed at this point of your life in which you were sort of tired of identity. You wanted out, it seems to me. And I don't wanna quote you directly because I'll never find it.  Are you still there at that place? And if not, where are you? What do you think is happening to identity in America racial and otherwise? Yeah, well okay, at the time that we had that discussion, I finished yellow face where we were about to premiere it. And it's a play in which there's, one of the things that happens is there's a white guy who threw a series of mistakes orchestrated by a character named DHH, comes to be identified as Asian, as a mixed race Asian incorrectly, and then goes on to become a community role model and leader in ethnic identity movements until at some point he's exposed. And I think in that play I was struggling with both the joys and the limitations of identity politics of ethnic identity. And it had been something because I started my career, my first place produced in whatever, 1980. So I feel like a lot of my career kind of paralleled the growth of what we now, you know, multiculturalism. And I felt that it was kind of a cutting edge thing to be writing about in 1980. And by the time this play premiered in whatever, 2007, I thought, you know, it's kind of, that discussion has happened and that something that was once daring has now pretty much been incorporated into mainstream thought and they're people who are for it, they're people who are against it, but it's not a new idea. So I therefore felt, you know, I kind of want to get beyond that now and I was going to be more interested in internationalism for at least the next period of time. That is, how can some of these notions that we developed during multiculturalism be expanded outside our national borders and looked at in an international context? Which I still think is an interesting idea. However, at this point in whatever we're in 2015, I actually think America is really fascinating again. And because the degree of resistance that has erupted over the past whatever, seven or eight years, the degree of division and the re-ignition of the cultural war is something that I didn't think was necessarily going to happen in 2007. And so what is happening at the present moment? And for me it's a reaction to the demographic kind of shift where a Caucasian will be a plurality but not a majority, and how do you define it? But anyway, by whatever, 2040. And that the society is having a great deal of struggle to figure out what this means and white privilege and appropriation, all these discussions come back in a more charged fashion even I think than they did in the 80s. So I think this sort of fascinating moment for America dealing with issues of race and identity right now. And I'm working on plays or plays that are kind of about these issues again because there's a lot more territory to cover. Thank you. Kerry, does that resonate this notion of joys and limitations of identity? Does that resonate with you in any way? Oh, oh, absolutely. But first I have to say that I really love, I really love this paper, this presentation that Jeff made this morning. I just thought it was, thank you so much. It was really wonderful, so thoughtful. So, and I'm really interested in this idea. I mean, I'm really interested in this idea of institutions and institutes and think tanks and places where actually these sort of ideas can be sort of talked about in a more sustained way through across multiple platforms because I think that it's really sort of the most interesting way of doing it. And there was something that David just brought up as well. I mean, I think that, you know, I can remember, I can remember in the 1980s, about 1982, something like that, sitting in an audience and the president of Bank of America was speaking. And he said, part of his address was by the year 2040 or something. The white majority is actually going to be the minority in this country. And I think we need to think about what that means. He was speaking at a graduation ceremony at San Francisco State. And that idea really, really, really stuck with me. This idea that a man who represents the president of a Fortune 500 company was already deeply thinking about what it would mean for the demographic shifts that would take place in the country. What would be the consequence of this? And so, you know, often I struggle through my days of who I am living in this complex body, this complex skin, thinking about how to make work that builds a pathway through to my humanity. I'm generally not interested really in having discussions about diversity because I think that in this sort of format, because I think that it has been left primarily to brown people to negotiate these very complex issues. And so, I'm always really surprised that there are no dynamite white folks dealing with diversity since it's an American issue, it's a human issue. And so, there's something about a kind of racism, about a sustained racism that forces brown people to negotiate the struggles of white people, right?  And so, if you, if we are here, if we are stuck here in this place, constantly negotiating the straight jacket, the box, then we actually don't really have time to deal with the more dynamic aspects of life, right? Or at least that's the perception. So that we're always negotiating color as though those are the limits to the field of our vision and to the acts of our participation. That concerns me greatly. And so, I do see it as being a living in quality. I see it as being something that jackets us as much as of course I think that it's absolutely essential to break through to these sort of human questions. These are the diversity. We must because we are different, we do stand in some way as being different, but it's not, but my skin is really not the important difference. It's been simply made to appear that way. These ideas about perception I think are absolutely key and fundamental. And so, these are the kinds of questions that I'm sort of negotiating and thinking about and spending a lot of time writing about and spending a lot of time actually making work around. The way the work is built is really trying to work around this sort of limited box of diversity. Julio, you constantly negotiate the straight jacket. Now that goes to you. Well, what else can I say, right? I'm like, am I sure I'm the right? I should be here, I'm learning. So, I mean, what else can I add to what this genius has just said, but yeah, I think negotiating this identities in our art, it's been something that I'm constantly struggling with as an undocumented queer person. This sort of identities have been put on me, right? The documented part. And so, this sort of idea that as immigrants, we have to show how good we are. We have to show that we deserve to be in this country and we need to be perfect. And so, I think through my art, I try to mess around with that idea. I look at shows like, and I grew up in the 90s, I grew up in the 90s, I used to watch shows like Friends. And how easy it was for them to just be people. To just, you know, hang out at a coffee shop and like drink latte and like nothing, right? But when I make a comic strip, I have to talk about being undocumented, being queer and what it means to be all those things at the same time. And so, I decided to, sure I'm gonna talk about it, but I'm gonna talk about it in my own terms. And I'm also gonna talk about how I am not perfect, how I mess up, how I'm constantly making mistakes because then it is, when I do that, I sort of like let go of this idea of this expectation that I'm supposed to meet as an immigrant in this country. And so, my mother doesn't like that. She's like, why do you have to use curse words on whatever you do? But it's just, you know, something that I need to do to fight those sort of things that are put on me. But at the same time, sort of like, yes, I'm queer. You know, yes, I'm undocumented, but you know, that's not all I am. And so, I think we're really blessed to be able to, you know, sort of talk about that through art because we don't really have to, I don't have to write a paper about it, I just can't draw about it. So making fun of the category is a way to move beyond them on some level, right? But neither of you mentioned, David had said the joy is in limitation. And you mentioned joy a little bit, but is it no longer joy, is it something, is it something we're just working through to get to the greater sense of compassion for humanity? Well, I mean, I think that, you know, one has to have joy.   And you know, you embrace beauty. I mean, you know, that's why you get up in the morning. You know? I mean, I get up in the morning to solve these, you know, to solve my artistic problems. You know? I mean, they force me out of bed in the morning, even when I can't have hair like David's, right? Which I really want, you know? We can talk here about that. You know? I mean, it really is. It's one of the, you know, it's, you know, the, for me, for me, really, the joy is figuring out how to really make the work and how to make a work that is transcendent in some way and a work that speaks beyond the limits of myself. You know, to engage something that is larger, that is deep, that is complexed, that is warm, that is beautiful, that is provocative, and that gets to something about who we are as a people, as a culture, as a country. I mean, that's the joy of living, the joy of being able to culturally produce and then to be able to share that with my fellow artist and with an audience who is interested in that interaction. Also, let me, I mean, I think sometimes the artist doesn't necessarily get to pick his or her subject. The subject sort of chooses the artist. So, I mean, when I first started writing, I didn't know that I was gonna write about some of these things that I've ended up being my subject matters, but I just wanted to be a playwright. And then, as I started to learn to work more from my unconscious, I found that these themes started appearing on the page. Things that I didn't know I was interested in, like immigration and class of cultures and assimilation and stuff. So, clearly, some part of me was incredibly interested in these issues, but my conscious mind hadn't figured that out yet. And so, as an artist, I was sort of learning to kind of harvest my subconscious. And so, you look at most artists and they have a sort of area of interest, concern, obsession, whatever. And just to talk about playwrights, I mean, if you could talk about Sam Shepard writing about the American West or Tennessee Williams writing about the American South or whatever, there's some sort of soil from which we are nurtured. And that particular soil may be the result of things that we can't control, some of which may be social in context because our brains have sort of been colonized by the social circumstances that we grew up in. But, you know, this is just where I ended up. And that's the joy of it, too. The joy is that I want to explore these things. I find them fascinating. You make it sound as if it were purely an intellectual interest. Presumably, you were also grappling for...  David actually lived two blocks from his old child, a boy from my aunt, where she lives now. And you grew up in a place that's now about 80% Asian but when you were there, you were one of the few. Yeah, this is the San Gabriel Valley near Los Angeles and I grew up in a town called San Gabriel, which is now, like, way Asian. And when I go back, all the, you know, former Mexican restaurants are now Chinese restaurants. But when I was a kid, it was mostly white and Latino. So, but again, I didn't necessarily know I was grappling with these issues until I discovered it through art, through the work. Then I realized, oh, I guess I do care about this stuff. Because what happens ultimately is that, you know, you start to understand, again, what it is that gets you out of bed in the morning, what your sort of concerns are.  You know, paying attention to that. And the thing that's also, I think, sort of interesting to me about the process of working, the creative process, is that often, the work actually tells you what you're really interested in. It's not really that you've decided that this is for you. It's like, as you said, right? It sort of evolves out of the work. And so if you're paying attention to the work, it actually tells you where you need to go and how maybe to do that. As you know, many musicians love to say, one of the most important things that you can do as a musician, as a composer, as a pianist, is to get out of the way of the work so that the work can do what it needs to do. Yes. Julio. This notion of getting beyond the limits of yourself, you've mentioned that a little bit. Can we actually put up some of Julio's slides and go to them now? I wonder if that, if at any, speak to that a little bit as you describe what we're seeing. Right. So this is an image that I made a couple of years ago about the narrative that we had as undocumented, as a child, as a child of immigrants who's undocumented myself. This narrative that we always have to say, as I mentioned, always being perfect, always sort of saying, it's not my fault that I'm in this country, my parents brought me. It's their fault, right? So what we were doing with that narrative was we're blaming our parents for a situation that it was beyond their control. But in looking back, it was like, that's a really messed up narrative because we were throwing our parents under the bus. Nobody just wakes up one day and says, you know what, I'm just gonna go to a different country and see what happens. YOLO. No, it doesn't work like that for, it didn't work like that for our parents. It didn't work like that for any of our parents. They took responsibility and they were like, we're gonna do what it takes. And so it took me sort of going, looking at the positive side of that. The fact that I'm sitting here in front of y'all, in New York, I took a flight to New York, it was because of there. Because of them currently telling me that we're in this situation, it's gonna work, however we're gonna work through it. And I found that inspiration and I wanted to pay homage through my art. In 2010, when a lot of folks were getting arrested to pass a Dream Act, I wanted to take ownership of the narrative that was being put up by journalists, which was this idea that, how dare these immigrants are wanting to get rights. And so I wanted to take ownership of those images and decided to put it back and throw it back in the, in somebody who's undocumented and living through this experience, putting this art in our own words. I sort of probably went off the question. No, perfect, go. But yeah, so I just, I wanted to bring images because I'm a visual artist. And so there's so much I can say, without showing the imagery. I think a lot of folks started using this word, undocumented queer, to sort of speak to this intersectionality, right? We hear intersectionality about being queer, being undocumented and what it means, right? As somebody who's from Southern California, there's some sort of privilege to being in Southern California and being undocumented and queer because there's a lot of us. But then I started talking to other folks who were from the South and their experiences were much, much different. And so I think that it was important for me to check myself and be like, all right, let's put this other stories into this art. David, does that term intersectionality mean anything to you at all? Or the concept? The concept is great, and the word is really nice. I think what's interesting at this moment is that we had fairly kind of, at a certain point, in the kind of growth of multiculturalism, there's the adoption of various categories and labels and the sense that these labels were fairly siloed and relatively impermeable. And I think that one of the things that has happened over the past 20, 30 years is the sense that actually all these categories are much more fluid and that certainly when we talk about multi-racialism or we talk about people who have grown up internationally or a lot of these different ideas, those are the most obvious ways in which there is fluidity between these categories. But actually, things can change and people can migrate and we sort of contain multitudes as it were. And I think that idea dovetails with this notion of intersectionality, that it's not one identity or even two and that it can shift, the things that you care about can evolve over the course of a lifetime. The thing that really interests me again about some of this that I have to, I'm just really taking this in. There are these ways, of course, we can talk about identity in very complex ways, right? We can talk about it in relationship to skin, to gender, sexuality, preference, desire. But I think they do know one of the things that's really sort of central to this debate. And one of the things that has been pushed out of the category that I think, again, Jeff sort of spoke to briefly is worker. Is worker. Is class. And that a lot of the conversation, the way that it's shaped and the way that it's been shaped over the last 30 years has been away from the sort of focus on class, on class struggle, on systematic organization, on systematic movement. So that we spend a great deal of time talking about these things, of course, it matters again. But it's not necessarily, I think again, it is important, but equally as important, I think, is our relationship to work. Our relationship to power. Our relationship to state power. And one of the things that I saw coming out of, much of the 80s movement and much of the sort of philosophical debate that was going on from there, to a full call and so forth, were really really focused around how do we, as nation states, really sort of solidify themselves, right? And presume and amass extraordinary power. How does the individual, right? The social individual respond to this alone, right? And the way in which we've responded to it, I think a lot alone, has been around the sort of, the way in which the divisive issues of diversity has become huge, that we're talking about at 30 years, 40 years, 50 years later, how do we become a more inclusive society, right? And so I think that in some ways, this discussion is being, not this discussion, but rather this question of diversity is being actually a divisive tool against really our ability to organize systematically. Is it a distraction? It is in some ways, I think, a very deep distraction. So I'm in San Francisco recently, last week, fabulous town. I grew up in this town. It was one of the most diverse cities I had experienced coming of age. There was a fabulous, wonderful provocative city. You know, I went to the Vietnamese market, the Chinese market, the Latino market, you know, the Filipino shoe shop.    Maybe I might want to go see who your neighbors are.  You can no longer live in San Francisco. It's an impossibility unless you are really a millionaire. This is true, you know, so, you know, West Oakland is the same way. They're giving vouchers to, you know, to black families to move to the, you know, to the equivalents in order to be able to, because they still need service workers in the hotels. You know, I mean, these are very, these are really sort of interesting questions. And so when I started thinking about this idea about otherness and diversity back in the 80s, I thought, what are we defining ourselves against? And it seemed to me, ultimately, that we were really defining ourselves against the state. Right? We were defining ourselves against the state and the power of the state to control our lives. And we were defining ourselves, in a way, against advanced, advanced capital. And one of the things that I love about Oakley & Worzer's Venice Biennale, All the World's Futures, is that it specifically looks for the first time in the arts and for a long time at the sort of the deep question of capital and the shifting global population and the shift in these sort of shifts that are happening in the colonies. No longer are these colonies sort of, you know, outposts. They are now internal organs and functions inside of the state or a side of a city or a country, you know, in the United States, in Britain, in London, in Paris, in these sort of, in their homes. And how to deal with that, of course, is now the question that has to be negotiated. So anyway, this is just something that I just had to say. My first question comes to mind is, if you were to be growing up in San Francisco today, what would be your concerns? Is gentrification of cities, is it destroying a deeper, richer urban and artistic life, potentially? All of you. I want to, I really appreciate what you're saying and I kind of wanted to kind of piggyback on it a little because I feel like, you know, there is a point of view that by discussing what we call diversity issues, we therefore distract from or are a way not to talk about issues of class. And I tend to believe that for the way that American history has evolved, talking about race becomes a sort of proxy and a way into talking about issues of class. Because even in the examples that you cite, when you talk about, oh, well they're giving vouchers to poor black families to move into West Oakland, the issue of race is inherently sort of contained or class is contained within race. So I feel like that's how we tend to discuss it in this country and I, yes, I suppose we could do it differently but the way that the history has developed here, I think that's a pretty effective way. I think we can talk about race and we can talk about class through race, number one. And number two, in terms of the sort of nation-state, I feel like, yeah, the nation-state is powerful but really, I think what's become powerful over the past 20, 30 years is the corporate-state. That the nation-state seems to me to be less important now than the sort of international corporate-state. And that that's if we're kind of having resistance or having to figure out what negotiate what our relationship is to power, we, to some extent, are figuring out how to negotiate with the corporate-state, with hyper-capitalism, with this moment we're living in now. And I think, I mean, you asked the question of the world of the artist, while that this is happening, there's a lot of people in these communities that are fighting back and they're doing stuff to make sure that they're hold on to their area, specifically like in the missionary in San Francisco. There's youth who are so knowledgeable about gentrification. So I'm gonna come to a 15-year-old high schooler and talking about how they're taking over other areas to create garden, community gardens. And so our job as artists is to how do we document this and highlight it in a bigger, you know, like make sure that people know that this is happening because a lot of the times we are seen as victims. We are seen as people who are being displaced, but there's things that are happening in our communities where people are fighting back. And so I think that it's important to keep that anger because, you know, that anger sort of feels that necessity to go and look into what our communities are doing and to highlight. In my case, or in our case, you know, as artists and I'm part of an organization called Culture Strike and we work with communities to bring in tools for youth to create this in a creative way and in art. We made a billboard in the mission area and the mission area with youth who are working against gentrification. And so you ask them, how do you want your community to be viewed in the rest of the country because you are seen as victims here. They're like, no, we're fighting back. And so I think it's the role of the artists to sort of highlight, you know, those actions. David, you mentioned corporate power and the need, perhaps, I think you suggested, go ahead, Kara, oh, and the need to resist it or to find oneself work against it. At the same time, it seems like millennials actually worship corporate power. Isn't there a sense that Google and Apple are these incredible, powerful brands, they've managed, like the robber barons of today have managed to pass themselves off as being cool? Yeah. And I'm wondering, could you speak to that a little bit, Kara? It's, I think it's fascinating.  And I mean, I think there is absolutely something very important, but there is a difference between issues of diversity and issues of class. They really are not the same thing. I think that they have been made to appear that way, but I don't think that they are the same thing. And there are within ethnic groups, there are class divisions as well. I mean, so class divisions, I think, are really important to sort of look at and what they demand from us, I think, what they demand from intellectuals, artists, you know, as can be, can be a different kind of consideration, and again, one that, you know, again, I think about a great deal.  I wish I'd bought more.  Their first commercials, like back in the eighties, they were fabulous, right?  This idea that the individual has triumphed, I think, is really interesting, but some of their commercials, the way in which they branded themselves has been extraordinary, right? You know, from the, you know, the aesthetics of cool, they've really sort of figured that out, I think. You know, I love opening their packages. So you know what I mean?  You know, not using it, just unwrapping it, you know?  Therefore, you know, rage against the female population is in part why we have this sort of amazing technology, you know, and now that's grown into something else. But I think that these sort of new, these new positions I think are fascinating and really have to be looked at. But can I ask just sort of one question before you go? Because I'm sort of interested in the kind of work now that you're doing, but what are you actually producing and what are some of the core values sort of being looked at in your contemporary production as artists? Do you have artists there? Yeah, yeah, yeah, yeah, yeah. There's one thing, I can talk about two plays that I'm working on. One is an overdue commission for Bill Roush, so who has been incredibly gracious at Oregon Shakespeare Company. And... When are you gonna deliver it? Um... Phil said, whenever he wants to, which is incredibly kind. Anyway, you know, my mother's family is a Chinese from the Philippines. And so when I was a kid, I used to go to the Philippines a lot more than, of course, I would go to China because you couldn't go to China then. But I've never really written about it. So I'm working on a play about sort of the American colonial period in the Philippines. And one of the things I find fascinating is the degree to which America has been really as a colonial power was really not good at passing along democratic values, but really good at passing along pop culture. So, you know, it's a question like, what do we do well as Americans and what do we, you know, what are we poor at? So that's one show. And then I'm also working on something which is about what it means to see a piece of art that is completely incorrect in terms of getting all the facts wrong, but is really beautiful to look at. And I think a lot of us have this experience when we see works that are, I don't know, I'll just, like the current, I'll just get on this, the current revival of The King and I, which is, you know, there's so many things that are incorrect about that show and I always cry at the end. And so it's a very complicated experience seeing it. So I'm working on a show that's, you know, sort of where you see an incident that takes place in the present, that's a relatively benign China-U.S. interaction.  And during that period, it's been iterated several different ways. So the Chinese guy told his daughter who wrote a book, the book became a musical, and they get everything wrong about the way we live today. But if we do the show right, it's also incredibly beautiful. So then what is it? And so that becomes, I guess, a play about how empires use culture to influence the way we see ourselves because the play that we'll be seeing is sort of a Chinese production, 150 years from now, and it's sort of denigrating of the U.S. and I think we should have very complicated feelings experiencing it. So those are a couple things I'm working on now. William, one of the things that I'm working on then, and we actually were having this conversation back, backstage, I was having this conversation with them, about identity and this idea or this sort of approach to creating characters who not necessarily, we don't know that experience, right? So I'm working on a comic strip called Liberty for All. And this comic strip sort of, I've been working on it for it since 2010, and it sort of has evolved into collaboration of sorts with different folks because this comic strip sort of touches on the transgender experience, to the black experience, to the Latino undocumented queer experience, so all the identities are in this little comic strip. Identities that a lot of them I can't really create or write, and so the approach that we've taken to this comic strip is to bring folks from those communities and create the characters because I feel that I can't write those or create those characters. Those are not my experiences. And so I feel that we are in a time where writers, specifically why writers have taken that sort of liberty to create and speak for us. And so the reason why we take that approach is because we don't wanna recreate what we're sort of against. And so, I don't know, I wanna sort of like bring back that conversation that we were having backstage and so, I just go explain the conversation they were having because Carrie asked David, would he write a play in which she could play one of the characters? Go ahead. And yeah, I would, but, and I think I have, but. Julio, I just meant to explain to the audience, would you have more? No, yeah, and I said that I couldn't because there's so much talent and there's so many writers that don't get the credit for the work that they're doing. And so I think that if there's a platform, we should collaborate more and bring this, this idea to not repeat what we're against. Carrie, you had some notions and thought about collaboration. I was just sort of, you know, wondering, you know, like at what point, like in your war, I understand this, of course, the notion of collaboration, I think it's a wonderful approach, really. I was sort of really wondering like, you know, what are the limits, what are the limits to what we are able to do now?  You know, you know, where are we in, you know, in the ways in which we sort of envision ourselves and allow us to sort of break through some of the divide to say, this is a human experience. And to that extent, then I should be, then can I play a Chinese woman from the 15th century? You know, can I be that? And can I be that in a real way, for instance? You know, so I'm sort of curious about this, right? You know, we've been battling it for a long time and the ways in which we think about Anglo-American theater, what about sort of, you know, ethnic theater? If I can use that word, what are we at liberty to do? And do we feel limited? Do we feel constrained by our, by the limits of our skin? You know, by the limits of our gender? Do we feel constrained by that? I think those questions are a perfect place to end. Oh, we're ending already. We're going to, we're going to open it up. I'm getting signals here and there to open up to the audience and think about Carrie Plain Desdemount. Q&A. Yes, questions for the artist? Actually, hi, Jeremy Lou with PolicyLink. And I'm really fascinated by the idea of empathy and want to actually pause it and get your responses to this idea that art may be serving a role to help us create empathy with ourselves. And the reason why is, you know, we spoke just touched briefly on gentrification and it's, there's been really, you know, really good studies that talk about how lots of, lots of folks who would benefit from social policy for the poor, for low income, whatever, actually don't recognize themselves as that, in that category. So this whole shrinking in the middle class is partially a self-driven sort of idea, right? That there is the middle class of shrinking because we're doing it to ourselves in some ways because we don't identify with what that means. Or with the poor or with the rich. And so just want to get your feedback on sort of thoughts on role of empathy with, but really the way art creates empathy with ourselves. Well, I personally started making art out of, I say selfish reasons, but I did it because I was not going to wait for somebody to give me money to, you know, make a book or create a comic strip. You know, I live in an era of technology. We talked about technology and so I'm like, I'm doing it because of me. I'm doing it because I need to tell the stories that affect me. And in turn it has become about folks seeing themselves in this, in this, in this art that, you know, we're all making and that's just sort of, you know, the cherry on top. But, but I think I mostly was thinking about myself when I was making art. I think when art works best, it is able to fulfill this dual function of expressing difference and commonality at the same moment. And so therefore you, as an audience member, you see the ways in which a character, say, of a different culture is superficially different and the way and you understand the humanity beneath that and empathize with that and it's that duality that potentially creates change. Yeah, beautiful. Hi, am I on? Yes. Okay, hi, thank you so much and I also want to applaud the opening speech. It was, it's all been fascinating. I just wanted to ask you if you could talk a little bit about the intergenerational sort of challenges that are there. You know, I've heard conversations about what the millennials do or do not do today. I've heard a lot about intersectionality in terms of our diversity, but an area that doesn't seem to find its way into much of our vocabulary today is this intergenerational challenge. And so I'm wondering, as artists, have you seen opportunities for that in a positive way or should all the old people just disappear? I mean, I just. That would mean that we would have to leave the stage immediately. We will at some point. We will exactly.  And in my studio practice, I think about having generations in my, you know, in my studio because, you know, because I'm excited about what young people are doing, what they're thinking and of course, you know, the wisdom, there's nothing like the wisdom of age, you know, to keep me focused and to keep me grounded. So, you know, and now I guess I'm that, right? But yeah, I think that it's very important and I'm thinking about it more and more. In fact, I'm doing a piece that's called Swinging into 60 and it's a film that I've been working on for the last couple of years looking at actually a sort of question of age.   And it's necessary and I challenge it and want to be with young people hear what they are saying as well. Julio, did you have a response?   And so I wanted to be really intentional in creating messages in Spanish because there's a lot of, you know, grandmas, you know, migrant grandmas living in the area. And I was like, if we cannot explain what undocumented queer means to our abuelitas, we're doing something wrong. And so I think it was, it's really, you know, we have to be intentional in the sense of like, all right, we're coming up with new terms and, you know, we need to be really, really tried to think about our parents and our grandmas and our tias, you know, who might not understand that language, both English or, you know, that social, you know, justice language that we throw around and we need to be able to break it down. And I think art does that. I think art does, you know, does that in a way that our families can relate to that. Did you see yourself as, you know, see yourself as activist artist? Are you an activist, David? I mean, I see myself as an artist first because actually, if the art's not doing good work, then nobody really is gonna care what I say anyway. So, but, but again, you know, because I discovered these subject matters through the work, I mean, the artist creates the work, but the work recreates the artist. So I guess that sort of made me into a bit of something of an activist. Question? Yeah, I have a question. I was able, the last year I was able to be in Stockholm with Creative Time and Saskia Sassen mentioned that the need to create new language and new terms because many of the terms we use are outdated. And Carrie May, you kind of alluded to this, but I'm curious about how we inventor create new frames for us to attach ourselves to. So for example, with immigration, the protagonist or the anti-immigrants and the migrants, but we don't pay attention to the transnational companies or to the global elites. And just in terms of what that means for our challenges, like climate change or ecology and how we have to just expand our notions of who humans are. So I'm curious how you all deal with coming up with just new identities even that we can attach ourselves to that are not so, don't feel kind of dated. This is, I think this is a really interesting question. And again, that was something that Jeff is well brought up in his presentation and something that I think about often as well, this idea of language. How do you describe for now, for a new generation? And yet, it's so, I don't know.  I'm just trying to figure it out, right? I mean, I have no new words. I feel like I need new words, but I have no new words in a way, in a way. But my sort of, I think the thing that I think about most is I think that, you know, that we're fearful of using language to really sort of describe what it is that we do and what it is that we think about. That, you know, that this is a greater sense. You know, so that we might be fearful. I don't really care if something is outmoded and outdated as long as it describes my experience, right? You know, as long as it describes my experience and how do you keep, you know, that alive? And it seems to me that, for instance, if you talk about, let's say, the term socialism, right? Communism, right?  And at the same time, we can talk about social media all day long, right? So, I mean, I think that they're interesting things. And of course, in my work, I'm always thinking about this, but I fail miserably at it. But I know exactly what you're pointing to. Hi. Hi. Susan. Yes. I'm Giseli Regatau from WNYC. I have a question about, you're all as artists are addressing some of the issues we're talking about in your own work. But I feel artists often end up working in isolation in a way and working in your little worlds. Do you have any ideas on how to transform your work and to get to what Jeff was talking about earlier, the need of creating a new consensus, a national consensus that we used to have during the civil rights movement that we might need now? Like, how do we take this to another level? Is it through pop culture? David, as you were talking earlier, is it through social media, Kerry, as you refer? Like, how do we, do you have any ideas on how to get there? Thank you. I mean, I kind of think that's what the, you know, to some extent that's what this, we're spending today talking about. Because I do think artists necessarily tend to often work in isolation. I mean, it's just, there are certain art forms that are more collaborative and, you know, theater is more collaborative, for instance, but in general, like if you're a writer, there's a certain amount of time you have to spend by yourself writing. So that's just a prerequisite and it's important to be creating the work. But then it's, I think, also important to engage in discussion, to get together with one's peers to have discussions, you know, like this because that becomes a way of engaging people and developing ideas over and above the, just the artistic work that we do. But the artistic work, a lot of it's just gonna be done alone. That's, I think, at least for me, that's how it works. Question here. Hi, is this on? My name's Wasu, I guess I'm here primarily as a journalist and one thing that strikes me is it always seems as though art has helped the audience sort of imagine or bridge distance, whether it's just sort of the ability to imagine another. And, you know, there's been a lot of discussion about social media and, you know, even as a journalist when I write about super banal things and I'll get a torrent of sort of emails or tweets, things like that. I'm just wondering if the sort of age of social media or the new accessibility between sort of the audience and the artist has influenced the way you've conceptualized your work. Because, I mean, we're dealing with pretty heavy duty ideas here and, you know, at times I imagine from the perspective of the artist is frustrating when you're misread or misunderstood but I'm just wondering if that's something that's been sort of folded into your process or your philosophy. You should write that piece, that's a great idea. Are you gonna write that piece and quote them in it? Wow, Snapchat version. Anybody have an answer to this? I mean, I sort of started all the work that I do, I think on Instagram, I think on Twitter, I think on Facebook. I remember watching, oh God, what's the name of that documentary? Except for the gift shop. And so that came out when a lot of undocumented students were sort of doing all this mobilization and getting arrested and all that stuff.  And so, you know, it just became about that, about creating specifically for social media. As social media has become more popular, I sort of, and I'm a journal, I started journalism, I'm a backgroundist of journalism. And so I noticed how all of a sudden the work became about, oh, I'll just, the journalist will just reach out to you and we'll re-blog, and that's it. And you call that an article and you call that a story. What I'm doing now, I'm making sure that journal, so I made this sort of fake magazines with trans people of color in the cover. And so journalists are hitting me up and they're like, yo, can I re-blog that? Can I post that? I'm like, sure, yeah, you can do that, but make sure you reach out to people. So you can, just because you have social media, you have to do the work, you have to reach out to people. You have to call, you know, folks to make a story because I think, you know, the media has a lot to do with how this works get put out there. And so I like to play with media a lot in that sense and like, go do your work. Okay, so first of all, I just wanna thank all of you for making space because I think it's really important that we continue to carve out spaces for identity to be heard and seen. And I'm just sort of meditating on the question over here about returning to a sense of communal focus on a particular issue. One of the things we talk about a lot is that, you know, it's difficult to find the sort of momentum of the 60s because everything seems so diffuse. Our problems seem, you know, immediate and diffuse at the same time. And I'm wondering if part of the role of the artist at this moment is to clarify that we are not in a different moment, it seems that way because we are, what we're creating, our identities, ourselves are constantly being co-opted and commodified so quickly that we don't have a chance to reflect back, we don't have a chance to reflect on what we've put out there before it's taken. And so I'm just wondering if that might be a turn that artists could take, that to say, actually instead of over complicating these things, we make them more simple so that people can really see that even as we become more nuanced and complex in our identities, the issues we're facing and the dire need of our communities is so real and so immediate, does that make sense that that might be a different turn? I think it's, you know, I was up early this morning thinking about, you know, the way in which artists have operated for centuries. You know, what we do best is we speak to our historical moment. If we're vital, if we're living, if we're alive, that that's what we're responding to. And I mean, I don't necessarily think that there's one thing that artists do, right? There is no one anything, right? It's all multiple, it's all complicated, but I do think that, you know, that artists and that arts, that art helps us see the world that much more clearly. It helps us to define it, to shape it, no matter what it is, no matter what it is, right? These issues of change and diversity are the same in some ways as perspective and color and nuance.   And so I think artists in that way, many artists have been, you know, very consistently responding to their historical moment, the feelings, the inspirations, the ideas, changing same as Amir Baraka would say so eloquently. It's simply there. It's simply there. You have to make it or force it. It's simply there. It's a part, I think, of the DNA in the culture, you know, whether it's pop culture or fine art or high art or low art, you know?  You know, certain artists, contemporary artists are very much interested in, you know, the world of abstraction and painting and color, right? Then there are other artists that are, you know, deeply interested in, you know, the juncture between art and social engagement, right? And being involved in community. To, you know, to such an extent that now we have, like, you know, art and community classes being taught in universities around the country that wanna stay in the forefront of what's happening, right? That it's a whole new area of investigation because it speaks very specifically to the moment in which we live, right? Art and civic engagement as a series of complex courses taught in curriculum. I just wanna add one thing to that question, which is, I think it helps if we're trying to say, okay, this moment is not that much different than the moments in the past. I think it's important to create works about history which show actually how complex those moments were. Because when things, when you look back at history, we tend to think of it as sort of a theta-complete and that it was, you know, just sort of inevitable and it happened. And, you know, I think Selma does that to some extent. I, you know, this new musical Hamilton is really great, I think, about the sort of founding of the American Republic kind of period and the American Revolutionary. So I think that's one way to show that the past was not that different than the moment we're dealing with today. Last question. Hi, this is mostly for David, I think. When you talk about the sort of the Sel-like quality of, you know, you're in your Sel writing, it's so essential to the beginning of a process, to making a play. And yet, I'm wondering, because I'm thinking a lot about this, at what point does who you wanna talk to with this work? Not who do you wanna talk about how you're making the work, but who you wanna talk to with this work? How does that invitation get made? And where does that fit in the sort of spectrum of creation? As opposed to writing the play, giving it to the theater, letting them figure out who should be invited, et cetera, does it enter your process, even a glimmer like who you wanna talk to when you get something coherent? I mean, I think the first thing I wanna do, and I think you were saying this also, is I'm kind of creating something that seems interesting to me. Because if I don't find it interesting, I can't expect anyone else to be interested in it. So that's the first priority. But then second, I guess I do tend to think about, well, because I work in the theater, what is, there's gonna be an audience, and the audience is going to bring something to this. And sometimes it's really fun to utilize those audience expectations. To like, I read a play called M-Butterfly that has sort of a man, an Asian man, in basically what we now call a transgender role through most of the show. And so I assume that the audience is going to bring a certain amount of cultural baggage about M-Butterfly, and about some Miss Evasion woman, everything, and then you can play with that. So that's another degree. And then where it comes to dealing with the theaters and the audience that you engage, then that's, I guess in a broader sense, a marketing issue and outreach to communities. And that's something that I think I try to, certainly in the first productions, when I'm around, work with the theater and collaborate and figure out, well exactly, how can we expand the audience because the theater wants to expand its audience? How can we reach new audiences through this work? I don't know if you meant, I don't know if that's exactly the question, but okay. And now I think we should all give a big thanks to Kerry, Julio, and David. Thank you all, and thank you, Gregory, also.


Meantime, diplomatic relations between St. Glutia and the Republic of France deepened with a commitment to combating climate change. Ambassador-designate of the Republic of France to St. Glutia, His Excellency Jacques-Henry Yuls, expressed his commitment to working with St. Glutia in a number of priority areas. The ambassador, who on 22 December 2020, presented letters of credence to Governor-General His Excellency Sir Emmanuel Neville-Snack, highlighted priority areas of collaboration, including finance, developing sub-regional cooperation between OECS member states and the French territories of the Caribbean, climate change with a view of establishing the best ways of building co-finance projects focused on the environment, green energy, the fight against sagasum seaweed, waste management, smart digitisation and water treatment, to name a few. Sexuality and defence will be an important field of my mission as well. As you may recall, we had a temporary maritime agreement in November between the St. Lucien Home Affair, Minister and the Vice-Admiral commanding our forces in the Caribbean. Our ambition is to perpetuate and enrich this agreement so that in case of a security or natural disaster crisis, we could without delay act together to work on its consequences. Unsecurity matters combat against terrorism, drug trafficking and illegal immigration is our common goal. Women in the areas of education and culture are also on the agenda of the newly appointed French ambassador. Governor-General of St. Lucia, His Excellency Sir Emmanuel Neville-Snack, expressed gratitude to the government and people of France for their support, especially during these unprecedented times as the world continues to fight the COVID-19 pandemic. Despite our grief, we are floating on a good wave which can change lives forever. So let us not miss this opportunity to change generations. The people of St. Lucia would no doubt wish me to thank France for her readiness to help as demonstrated by the provision of 40 beds and mattresses to the OKEU hospital and of course many other mattresses. She can be assured of our readiness to add our voice to hers in the councils of the world. St. Lucia and the French continue to share a long mutually beneficial relationship with the French recently coming to St. Lucia's aid, providing much-needed supplies and equipment as the island combats the spread of COVID-19.


Hi everyone, Joe for jaspyscasebrakes.com coming at you with 2020 Bowman Sterling Baseball a little mini box break the random team break number four the chance to win five spots in the kid baseball mixer Now we just have to do one more of these and that sells out that mixer Jaspyscasebrakes.com if you're watching live big thanks all these folks here There are all the teams in right there. Let's roll it. Let's randomize each list five to six eleven times one We're into the break first as always six and 11th and final time after 11 we've got Brian down to Travis five and six eleven times for the teams one and 11th and final time after 11 we got the Marlins down to the Blue Jays try copying that again Pace there we go. All right, so there's the first half of the list right here All right Daniel with the Yankees We got Ryan S with the Royals Brian with the A's Scott with the Mariners number of good teams here Dustin with the White Sox So who knows Thomas with the Dodgers so on and so forth Travis with the Blue Jays So no trade windows in these little filler breaks But there is an autograph per mini box. So this could get interesting. Let's print. Let's rip. Good luck. All right, we've got two Mini boxes remaining. Let's use that die right there one two three for the left side four five six for the right side six So we're gonna do that side one two three four five six We'll save this for break five and this will sell out the mixer. There's the final print out right there Let's see what's inside. That's the auto right here. We got Jared Kalanek CJ Abrams rookie Adrian Mora hon Padres that'll be for Dan Dylan sorry Dylan Hussey with that one Jose Urquiti For the Stroh's that'll be for Brian Travis DeMarie rookie Is gonna reveal his teammate Riley green or maybe future teammate. Maybe I don't know if he's called out. Is he up yet? So both of those cars will go to the Tigers Ryan S little cat team mojo and a shot to get into that baseball mixer. So Let's flip back to this screen right here Let's get some new dice and a fresh list Let's grab everyone from Tyler down to Logan and everybody in between and let's roll it and randomize it five into three eight times So let me top five after eight good luck one two three four five six seven and eighth and final time after eight From a six down to 30 Sad times But we'll get them next time. There's one more opportunity to try to get into this baseball mixer Jasper's case Now congrats to the top five Logan Scott Scott Darren and Daniel who said he said Logan was like that stink they don't stink They just gave you a spot in the baseball mixer Logan. You better thank the Nats now Daniel Darren Scott Scott and Logan you're in the baseball mixer. Thanks for giving this a go and congrats again We'll see you next time for the next one


Hi folks and welcome back to my YouTube channel. On this YouTube channel you can find videos about Jerusalem and Israel, hopefully at least a few more are on the way. As some long time subscribers might know, I'm originally from Ireland, although I moved to live in Israel in 2015. I probably wanted pretty few people in history who have made the transition from living in Cork to living in Jerusalem. I still have some friends there in Ireland and people are often interested in knowing little details about Israel, especially as it relates to their own countries. I've previously done videos about the international relationship between Israel and Ireland on the diplomatic front, which can perhaps best be described as more rocky than a Hollywood romance. I've also spoken about my experience and a lifelong and ongoing identity crisis as an Irish born Jew. If you're interested in those, I will leave links to those videos in the description. But today let's just stick to some facts. Thetruesize.com is an intriguing website, which lets you see the size of one country in respect to another. If you agree that this is one of the best, but most random ideas for website ever, please consider liking this video. To state the obvious, the maps are at a scale. So here's what it would look like if we plucked Israel out of the Middle East and reestablished it as a random island at next island in the middle of the Atlantic Ocean. By doing so we would dramatically cut down on the flying time between Dublin and Tel Aviv, which is about 5 hours on the new flight between the two cities, and pretty much everyone in Israel would be complaining incessantly about the permanently grey skies. On the plus side, there would be better pubs and, like the Irish, we could diffuse awkward conversations by bantering endlessly about the weather forecast. If Ireland were somehow lifted and transplanted into the Middle East, there would be several million Irish people sporting very bad sunburns and thronging beaches along the coastline. This is also what it would look like to scale if that actually happened. As the maps have demonstrated, Ireland is actually several times larger than Israel, and yes that's even if we're just talking about the territory of the Republic of Ireland and not that of the whole island. To be precise, the Republic of Ireland has 70,273 square kilometers within its borders, which is about 5-6 of the territory of the whole island. Despite the fact that it's very frequently in the news, Israel is actually really small. It only has a total territory size of 22,145 square kilometers. If you're also terrible at maths, we have the fabulous invention of the calculator to provide the arithmetic here. The Republic of Ireland is 3.17 times the size of the state of Israel. When we look at population, however, we get a surprising picture. According to 2022 figures, the Republic of Ireland had 5.1 million inhabitants. Israel, however, is almost at the 10 million mark. In May of 2022, the state had just over 9.5 million residents. Putting these facts together, we can see that the Republic of Ireland is three times bigger than Israel in size, but only has about half the inhabitants. This means, of course, that Israel has a significantly higher population density. Israel has about 400 residents squished into every square kilometer of its territory on average. Ireland's population density, however, is way, way smaller. On average, Ireland has about 70 people living in each square kilometer, so Israel is more than four times as density populated. Israel also has a lot more cities in it than Ireland. There are actually 16 cities in Israel with 100,000 people or more besides the famous ones, which are really Tel Aviv and Jerusalem. Which, when you think about it, is an awful lot for such a tiny country.  The Republic of Ireland only has a quirk in Dublin in that size category. Come to think about it, I could probably go on comparing Israel and Ireland all day. The famous Irish culinary staple known as the three-in-one is sadly not available in Israel, and nobody has heard of the Morbeggs here. And while 2B60 is a massively underrated alcoholic beverage produced in Israel, it unfortunately doesn't have a stockist in Ireland. Yes. However, in the interest of keeping two internet attention spans, mine's about five minutes I think, I'll stop here and keep those delightful statuels for another video. Do you have an idea for an interesting video about Israel that you think I should make? Feel free to drop a comment in the comment section or reach out to me by email. And as ever, thank you for watching.


And so, once again, innocent people are dying, and once again, the military war complex machine keeps on running its fine engine, making trillions of dollars a year. Just this Friday, the US fired more than 118 missiles at Syria in coordinated response, they say, to suspected chemical weapons attack. Obviously, you know, this is all about geopolitics, power plays, resource plays, and at the end of the day, what really matters, what the bottom line is, the all mighty green dollar. And so, you know, they make these political statements saying, we know there's chemical gas, we know what's going on over there, and we're going to protect the people of Syria. Like, they really care about the people of Syria.  All they care about is, let's keep this ball rolling. We got to make money, sell weapons, and never ever end this war. And it's a constant war. Last time it was Iraq. Now it's Syria, and who knows how long is it going to be Syria? Next, it might be Iran, then maybe it's going to go into, who knows? It's never ever ending. And if you do some basic mathematics, think about this, they sent 118 missiles in Syria on Friday. And on average, it's about like a million bucks or so per missile, give or take. I want to say they blew. That's a contract they made. They made $165 million within 24 hours with these Tomahawk missiles. You know what they could have done with $165 million in the United States or around the world? To stop poverty, to help in the educational system. For the most part, the United States to help with the healthcare system.  That doesn't go into different ammunition, it doesn't go into tanks, it doesn't go into other different military contracts, etc. This is the big, mean machine, which is a military war complex machine. It's ridiculous.  At this point, I find it really difficult military complex machine to be stopped. Like I don't know how this crazy monstrosity will be stopped. And so you have these like political dances around the world. The left versus right, the liberal versus democratic. Trump versus Hillary over here in Canada. They're going to have Trudeau versus I'm not too sure he's going to run against him. But at the end of the day, they're all the same, tell you the truth. They're all the same in my mind. They are going into legacy political systems that they can't really control or change. Or more or less, they're part of the legacy political systems. And there's big money to be made, especially in the military. Like if you look at this chart around the world about 1.5, and this is old. This is from eight years ago. So it's eight years outdated. So with inflation, everything probably an extra maybe 15% or 20% on top of this. But global spending on military is about, let's say 1.5 to round it up. The United States is pretty much taking half of that. They're taking $711 billion of that. $711 billion is spent on the military per year in the United States. You know what you can do with $711 billion? You can solve a lot of problems for everybody. Solve the healthcare system. Solve our horrible, horrible government funded educational system, which is definitely not working anymore. We can solve many, many issues in our society, but that doesn't make money, right? That doesn't create repeat customers. And so there you have it, like this whole idea.    I don't even like the word elitist, but let's say like sociopathic, capitalistic. I wouldn't even use that word. I like capitalism, but fair capitalism. They're more sociopath, man. Like at the end of the day, they're sociopaths, all they care about themselves, the bottom line dollar, and they're just murderers, man.  And so we have this like political dance and everybody gets like sucked up into it. And at the end of the day, nothing's really getting solved. And so, you know, the best thing to do, man, honestly, yeah, it's depressing for a lot of people. But I really believe the best thing to do is work on yourself. You know, one of my favorite poets is Rumi. He has a saying, yesterday I was clever, I want to change the world. Today I'm wise, I want to change myself. So I think if we like start working ourselves as much as possible, hopefully that becomes like a good beacon of life for other people to start working on themselves.  And so I'm optimistic for the future, even though this is, you know, bad news. We've been knowing about this for eons. I think the future will be brighter, but I just want people not to get sucked up into geopolitics about United States being there to save Syria.  Thank you soon. Peace.


Hi, friends, welcome back to my channel and a very special welcome. If you're new here, my name is Jen. I'm a certified weight loss and nutrition coach. I follow Weight Watchers and I track macros and calories. Happy Monday. It is Monday, so it's meal prep day. I have three clean eating healthy recipes for you. If you missed my 2023 goals video, one of my big goals for the new year is to really clean up my diet and eat a more clean, whole food-based diet. 90 to 95% of my food is going to be real nice, clean, whole foods and then five to 10% the foods that I really enjoy. So if you're excited to see these amazing, clean eating healthy recipes, give this video a big thumbs up. Subscribe if you're not because I upload a meal prep every Monday and we do five videos per week. Check out the description box down below where you will find my recipe website. All of today's recipes will be on my website along with nutrition coaching. I do offer personalized macros and calories, highly recommend this is how I've lost over 135 pounds and one-on-one coaching if you would like to chat with me directly. Links and discounts to my favorite things and come join our Facebook group. We would love to have you. So let's head into the kitchen and do this week's healthy clean eating meal prep. Breakfast this week, I am making zucchini, corn and egg casserole. I'm really excited about this. We're starting the new year off with healthy clean eating recipes. This one does not have any meat in it but it is loaded with protein, loaded with vegetables, super easy to make ahead, take with you to school or work because it is a casserole. It is full of all good things. So let me show you what's in our recipe. First you're going to need salt and pepper. I will link my gravity-fed salt and pepper grinders down below. I just bought these on Amazon, love these. You'll also need some low-fat cottage cheese, butter. You can substitute light butter, low-fat feta cheese, dried dill or fresh dill. I couldn't find fresh dill. I really wanted that but I couldn't find it. And then I'm going to substitute the flour in the recipe for the Kodiak protein flour. Even though there's hardly any in the recipe, I always like to add in protein where I can. You're also going to need some eggs, an onion, a red bell pepper, zucchini, frozen or canned corn. And then I'm also adding in some sliced mushrooms for a little bit extra veggies. So the first thing I'm going to do is grate my zucchinis and then chop up my red bell pepper and my onion. To a medium skillet sprayed with non-stick cooking spray, go ahead and add in your chopped up onion. We're going to allow this to cook for a few minutes until it starts to be translucent. We're going to add in the mushrooms. Now this was something I added to the recipe just because I have these on hand and I love mushrooms. And then I'm adding one tablespoon of my Kerrygold butter and the shredded zucchini that I dried with the paper towel. And we're going to allow this to cook for five to six minutes. We want the mushrooms to get cooked through, the zucchini to get cooked through and everything to get mixed in with that yummy melted butter. To a large bowl, go ahead and add your cooked zucchini, mushroom, onion mixture. We're going to add one and a quarter cups of cottage cheese, one cup of feta, our diced red bell pepper, salt and pepper. I'm going to add a couple tablespoons of dried dill, two tablespoons of flour, one and a half cups of frozen thawed corn, one and a half cups of whatever corn you're using. Then we're going to crack in 10 eggs and then mix everything together really well. We want this fully combined. I almost forgot one teaspoon of baking powder as well. That's just going to help it rise while we cook it. Go ahead and grab out your nine by 13 baking dish, spray it with some nonstick cooking spray. We're going to add our mixture. Look at how good this looks to our sprayed baking dish. Spread that out nice and even and it's going into a 350 degree oven for about three to 40 minutes. You want to make sure it's completely cooked through and set. All right, the casserole for breakfast is out of the oven. This smells so good. I can smell the dill and it smells so cheesy. If you don't love the texture of cottage cheese, cook it in something. Put it in eggs, put it in the casserole. You can't taste it at all. It basically melts down to cheese and you're getting all of the protein. This seriously looks so good. I wish I hadn't already eaten breakfast because I really want to try this but I'll go ahead and put points, calories, macros, serving size, all the information here on the screen for you but this is going to be such a great protein packed veggie packed nice clean eating recipe. For lunch this week, I am making sweet potato chili. Now you can eliminate the meat out of this. The original recipe does not contain any meat but I decided to add a pound of ground chicken just for some extra protein. I'm actually super excited about this. So let me show you what's in the recipe. You're going to need a can of black beans or beans of your choice. Again, I am putting in a pound of extra lean ground chicken, diced tomatoes, salt, chili pepper and cumin, orange zest, a zucchini and onion and then a large or 10 ounces of sweet potato. I'm going to peel and dice the sweet potato, dice up the onion, the zucchini, zest the orange. So I'm going to add brown up my ground chicken and then in a pretty good sized stock pot I debated on this one or a smaller one. You could probably actually go with the smaller one. I added about a cup and a half of water. I'm going to bring that to a boil. To the stock pot, I'm going to add in my potatoes. I'm going to let them boil just a few minutes before I add in the rest of my ingredients because they're going to take the longest. My potatoes have been cooking for about seven minutes. So I'm going to go ahead and add my diced up onion, my can of diced tomatoes, the can of beans. You do not want to drain the beans, orange zest, salt and cumin and chili powder.  We want to make sure that the potatoes are cooked all the way through and it should thicken up a little bit as it continues to cook. Then we'll go ahead and add in our ground chicken right before it's finished. I'm going to go ahead and reduce the heat to about medium on my chili and then I'm going to add in my ground chicken and my diced up zucchini. And I'm going to let this cook a little bit longer. My potatoes aren't quite done and I want it to thicken up a bit more and cook the zucchini all the way through. All right, the sweet potato chili is done. Doesn't this look amazing with all the vegetables? I'm glad that I did add the ground chicken just for an extra punch of protein. I double check that potatoes are cooked completely through. So I'm going to go ahead, turn off the heat, allow this to cool. I'll go ahead and put serving size points, calories, macros here on the screen for you. For a snack this week, for dessert, I am making homemade protein bars. These are chocolate oatmeal protein bars. I'm trying my hand at making my own so I can control the ingredients and really we only have six ingredients in here. One of those is salt. So let me show you what's in the recipe. You're going to need some sugar-free chocolate chips. I have a mix of lilies, Lakonto, I'm not picky. I just buy any low sugar, no sugar added chocolate chip. Of course, some salt, sugar-free maple syrup, protein powder of your choice. I'm using the Ascent, my Seller-Casian protein in vanilla bean. I have fallen in love with this protein. It is so, so good. Nice clean ingredients, slow digesting, keeps you full. I'll link Ascent down below. I just buy mine right off of the Amazon. You'll need some rolled oats and then some nut butter. I'm using S'moreo almond butter from American Dream Nut Butter. You can really use any almond butter, any peanut butter, cashew butter. Of course, I'm using American Dream Nut Butter. It's my all-time favorite. This one has caramel and chocolate and graham crackers. So good, you already know. I love my American Dream Nut Butter. So I will link it down below with a discount for you. Again, you can really use any nut butter. You could even substitute butter if you would rather. So to make our protein bars, it's actually really easy. I'm going to add one and a half cups of rolled oats to a medium bowl, half of a cup of my no-sugar-added maple syrup, half of a cup of my American Dream Nut Butter, a little bit of salt, and then two scoops of my protein powder, and then mix that all together until fully combined. Line an eight-by-eight, six-by-six, whatever size baking dish you have with some parchment. Go ahead and add your mixture. Press that into place, even as you can in the bottom of your baking dish. Melt down 120 of your chocolate chips into a bowl, and then we're going to spread that right on top. I mean, chocolate-covered protein bars. Yes, please. We're going to go ahead and pop our protein bars in the refrigerator or the freezer until they're nice and firm. That chocolate will set up as well. One hour later. So you saw that I went ahead and cut my homemade protein bars into 12 bars. So these are honestly really good-sized, and they're all nice, clean ingredients. We have lots of protein. We have healthy fat. I would recommend either storing these in your refrigerator or your freezer so that they hold their shape and that chocolate stays crisp on top. I'll go ahead and put serving size, points, calories, macros here on the screen for you. Thank you for joining me for this week's meal prep. I hope you enjoyed seeing these healthy, clean-eating recipes. Don't forget they are all on my website, which is linked in the description box along with nutrition coaching, links and discounts to my favorite things, and my Facebook group. Come on over, join us there. We'd love to have you. Happy Monday. Happy New Year. Here's to making 2023 the best year yet. Thank you for watching, and I'll see you in the next one. Bye.