Thank you, Speaker. Speaker, I rise today to read a poem written by Lionel Murphy, Legion Branch 23 North Bay. He wrote this Remembrance Day poem, but sadly, Speaker, we lost Lionel just a month ago. He was 91 years old when he left us. And his poem is called On This Great Day. I wandered through the field today, a field of marble stone. So many young men laying there, some stones are marked unknown. They gave their lives that we might live, the life we live today. Make sure the life they gave for us was not just thrown away. So many that have fallen in battle lost in one. So many young lives taken before their lives began. They fought for love, not for fame. For love of country, they lit the flame. They died alone or in a crowd. For those that did so, let's be proud. And now they lay in far-off fields. Their duty done, the torch is passed. We must not let their memory lapse and take the torch that they have passed. For if we fail to carry on, our liberty may soon be gone. And many lives will bear the cross of liberty that we have lost. Thank you, Speaker. Thank you. Further member statements, the member from London West. Thank you, Speaker. Today, MPPs are wearing purple ribbons to commemorate the seventh annual Shine the Light on Woman Abuse campaign, which takes place every November during Woman Abuse Prevention Month. The campaign was launched in 2010 by the London Abused Women's Centre and has spread to 30 communities across the province and the country. For the first time this year, Parliament Hill has joined the campaign with the Peace Tower turning purple on November 15th. The campaign is more than just awareness raising about the reality of men's violence against women. It is also a call to action. And I can think of no better action than to provide those who have experienced violence with the time they need to heal and to get the support they need without jeopardizing their employment. We know that the financial security that comes with a job is absolutely critical to enable abused women to feel they can leave a violent relationship. I have a private member's bill that will provide up to 10 days of paid leave for workers who have experienced domestic or sexual violence so they can see a doctor, talk to a counsellor, relocate or deal with lawyers and police. The bill passed second reading unanimously on October 20th and has been endorsed by hundreds of organizations, unions, experts and individuals who are calling on this government to bring the bill forward for public input at the Standing Committee on the Legislative Assembly. Speaker, this November, let's give Ontario women more than a purple ribbon. I urge this government to commit to making my bill a reality. Thank you. Thank you, Mr. Speaker. And then it's from Brampton Springdale. Thank you, Mr. Speaker. Mr. Speaker, I'm proud to stand today to talk about Minister Charles Siza's visit to the city of Brampton this past week. Minister Siza was in Brampton while Minister Matthews was in Milton to announce our expansion of post-secondary education in both of these cities. I'm so proud to be a part of government that's recognized the need, a need for more post-secondary education and being one of the fastest growing cities in Canada right now, one of the top 10 fastest growing cities in Canada right now. I think that Brampton is excited for this opportunity and we're excited that this university campus or the partner that we search for is going to have science, technology, engineering, arts and mathematics as their focus is. These are the needs of students to create jobs for the future and to build innovation and structure for high-skilled jobs in the days to come. Brampton is one of our fastest growing communities and this is why there was a call for this university proposal and we're so excited right now that our population of students between the ages of 18 to 24 is 50,400 and we anticipate it growing up to 20% in the coming years. Bringing education to the city of Brampton will not only help us build jobs, create jobs, build our economy and continue to invest in our province and our city but it also helped us to continue to build Ontario up. I'm so excited that Brampton has been given this opportunity and I look forward to working with all of our partners to continue to build Ontario up. Thank you, Mr. Speaker. Thank you from the member, the latest member from Oxford. Thank you Mr. Speaker. I'm pleased to rise today to recognize the third annual Carbon Oxide Awareness Week. This week was created by my bill, the Hawkins Genic Act which required Ontario homes with a fuel burning appliance or attached garage to have a carbon monoxide detector. You cannot smell or taste carbon monoxide so having a working alarm is the only protection against carbon monoxide poisoning. I would like to commend the hard work of our fire and emergency response services in getting this important message out in their communities. Last week, later this week, I will be joining the Woodstock Fire Department in a ride along to deliver free pizzas to customers with working CO alarms. I've also heard of the great work being done by departments across the province such as the Chatham Kent Fire Emergency Services, CHERP program where firefighters provide free home alarms checks to residents. I would also like to recognize John Jinnak, founder of the Hawkins Genic Foundation for CO education and the uncle of Laurie Hawkins whose family was tragically lost to carbon monoxide poisoning in their home in Woodstock. John has been instrumental in increasing awareness of carbon monoxide alarms across Canada. If you haven't already, I encourage you to check your alarms and ensure events and chimneys are clear and fuel burning appliances are serviced. Carbon monoxide is the silent killer but when you raise awareness about its dangers and the importance of working alarms, we can protect our families and save lives Thank you very much, Mr. Speaker. I encourage you all to get further statements from Kitchener Waterloo. Thank you, Mr. Speaker. It's my pleasure to talk about Hockey Helps the Homeless which is a nationally registered charity that organizes one-day pro-am tournaments. Sports lovers, businesses and volunteers come together to address the affordable housing crisis in a meaningful way. Over the weekend, I attended the Kitchener Waterloo tournament where upwards of $155,000 was raised with proceeds benefiting five local organizations that work with underservice populations. A courageous young woman named Jessica shared her story. The support she received in services she accessed through One Roof Youth Services saved her life. The funding for One Roof's two supportive housing units dried up last spring and the provincial government-denied emergency funding despite knowing that the program helped at-risk youth stabilize their lives and build better futures by providing housing first. Jessica was one of 10 youth who had nowhere to go but the street as a result of these closures. Jessica has struggled with mental health, spousal abuse, substance abuse, but she found solace and support at One Roof and we need to remember that four youth died on the streets of Kitchener Waterloo in 2014. She asked us, could you put a dollar sign on helping youth transition out of homelessness? Clearly, this provincial government concluded that the price was too high and I was ashamed that our priorities were so out of line. Hockey Helps the Homeless tournament is possible because of countless volunteers who donate their time and energy to pull it off. I want to say a special thank you to Mel Berry and Terry, Mel and Terry Berry for their volunteer hours over the years. They are amazing people and we have a courageous and generous community. Thank you very much. Thank you. Thank you, Mr. Speaker, I was delighted to visit Creative Village Studio, a storefront artist gallery and studio space in my writing of Etobicoke Lakeshore last month to present them with my gem of Etobicoke Lakeshore recognition award in honor of their outstanding community service. Creative Village Studio offers art and photography classes as well as drop-in studio time for participants of all ages. And their vision is to provide a supportive place for artists with varying abilities in order to enrich their lives through creative expression. And they have certainly brought this vision to life through their efforts. Mr. Speaker, community living Toronto has supported thousands of individuals since 1948, helping them to find accessible and meaningful ways to thrive within the community. And whether this is through working in a supported environment or participating in classes such as those that's Creative Village Studio. And this organization can boast of more than 1,000 volunteers who play an active role in helping to integrate persons with an intellectual disability more fully into our community. Congratulations, Terrell Tomlinson, facilitator of Creative Village Studio. His staff, volunteers, and all of the program participants on achieving their Gem of Etobicoke Lakeshore recognition award in honor of their outstanding community service. And Mr. Speaker, some of the artists from this program have actually been taken up by art galleries in downtown Toronto because of the quality of their work. Congratulations. Thank you. Further member of the state? It's the member from Huron, Bruce. Thank you very much, Speaker. If you pass through Doddards this fall, you will have seen a beautiful array of 551 ceramic poppies, each one carefully placed on the lawn of the Godridge Cenotaph to remember each soldier from Huron County who sacrificed their life during the First World War. It has been exactly 100 years since these 551 soldiers, all part of the 161st Battalion, marched the streets of Godridge before traveling overseas to fight in France. This installation is an important reminder that we should never, ever take for granted our freedom and quality of life because men and women paid the ultimate price. Therefore, we must remember 365 days a year. But this installation is also accompanied by positive messages. It brings with it uplifting stories about teamwork, volunteerism, and a vibrant community spirit. It takes a lot of people to carry out an extraordinary project like this. Thank you to the amazing Bonnie Sitter, a volunteer who suggested this special project for the 100th anniversary and who dedicated so much for time and effort to the project. Thank you to local artist Ruth Ann Murner who designed the poppies. Thank you to the more than 100 volunteers who rallied together this summer to make every single poppy and place them on the Cenotaph grounds. And to Rick Sickinger, Huron County's Cultural Development Officer, thank you for your outreach efforts that led to this installation, a work of art that has garnered both national and international recognition, lest we forget. Thank you. Thank you for the member's statements, the member from Windsor West. Thank you, Speaker. I rise today to bring attention to the dedicated education support staff working in my riding of Windsor West and throughout this province. They are the secretaries who are the gatekeepers to our schools, custodians who keep our schools clean and safe, our maintenance workers and IT employees, as well as campus ministers at Catholic schools. Students, parents and education workers alike know the value that these professionals bring to our schools each and every day. In Windsor, support workers at the Windsor Essex Catholic District School Board represented by Uniform Local 2458 have been without a freely negotiated contract since 2012. They represent about 370 members throughout the area. Their last contract was forced upon them when the Liberal government imposed contracts on education workers through Bill 115. This is the same legislation that our court system deemed unconstitutional and continues to have repercussions on our education system to this day. Speaker, I'm not at the bargaining table, but I will say that I hope a fair contract that respects these workers and the value they bring to our schools is reached as soon as possible. Education workers represented by Uniform Local 2458 have been on strike for 16 days now and I would encourage parties on both sides to work to bargain an agreement that ensures our schools receive the vital services support workers provide and as soon as possible. Thank you. I remember statements from Eglinton Lawrence. Mr. Speaker, I rise to pay tribute to Dr. Aldo Bacha, who passed away this Sunday, 7.30 a.m. Dr. Bacha was a giant in our community and he was an incredible philanthropist who traveled the world raising money for children fighting polio. He was a proud member of Rotary International. He was the leading light behind Toronto Earl's Court Rotary. He and his wife Peggy, who I'm sure is in tears today, will truly miss him as we all will. Dr. Bacha not only was a dental surgeon and a dentist who provided free service for a lot of people who couldn't afford to pay on a shop on Dufferin, but he also raised tens of thousands of dollars for Hollywood and Bloorview Kids Rehabilitation Hospital, St. Joseph Hospital where he worked. He raised money for them. Villa Charities, he raised money for them. Rotary International, he raised all kinds of money.  A true hero and heroes like Dr. Bacha don't get the attention they deserve. These are the community leaders that deserve awards. He's also been recognized internationally. And as they say, in Yiddish, he was a true mensch or an Italian, he was a gran uomo. And as the Rotary model says, service above self. Rest in peace, Dr. Bacha. I thank all members for their statements. It's now time for reports by committees. I beg to inform the House that today the clerk received a report on the intended appointments dated November 1st, 2000.


Ayla, we got another topic for you guys. And this one I actually love, man. Put out by One Track. I thought it used to have another letter on it. I did too, bro. I thought I was tripping. But I wasn't gonna say nothing that you didn't bring it up.  It used to be like One Track M or something. I don't know, whatever. All right, but Josh Wexler, man. Like shout out to you. I don't know if you put your government out there, but he's already out there now. Shout out to you and the One Track page. Y'all go ahead and check it out because they have a lot of dope posts. Definitely support. But this is the advice that he actually gave. I should have put this in the advice column. So rate this as advice as well. We wanna know what y'all think. Why every artist should market their marketing? We're gonna read what he said. All right, marketing is an art form itself. And sometimes the creativity of one's marketing has more potential for a viral moment than the music itself. What this means is that in those cases where you're marketing efforts to promote the music stand out to a significant degree, you should advertise those attention-grabbing marketing attempts rather than the music in order to build your social profiles and repeat listeners. All right, you wrote a lot.  For Baby Tron's most recent album rollout, his marketing team had an incredibly detailed 3D Billboard put up in Times Square, which can be seen on the next slide. And they used footage of it to make their hype, make the hype he had in New York viral on the internet because it was good content about a big artist. Okay, because it was good content about a big artist, I imagined that they received free marketing from this as well because posting it could likely lead to growth for any platform. All right, Bet, he's hitting on all the points. All the points are being not touched on right here. Let me see if I can go to this next slide so people can actually see what the Baby Tron posts of the Billboard look like. Check this out, folks.  Yeah, beautiful. Listeners, y'all come to the episode, so y'all can see, but, yo, marketing to marketing is the thing. It's the truth. This is what we talk about all the time. We never explicitly say it in that way, but that's what we're telling people to do all the time. Even when we just talked about literally the Gucci project, we just said the narrative can go bigger than the project, the songs itself, right? Marketing your marketing, as he said, is an art form itself. I am gonna go ahead and say, like, this is top tier advice. I'm gonna give it 10 out of 10. And not only that, if we allude to the conversation about Two Chains we had probably like six episodes ago, your marketing, if you market well, you always have great creativity and presentation and packaging in relation to your brand, that now becomes something that not only fans appreciate and experience, but other brands appreciate experience. Just like Two Chains became the head of marketing, or I forgot the actual position, but he was head of that advertisement campaign for Crystal, right? They say, oh, I appreciate this person's mind, their perspective. They can add some creative value to my campaigns or to my fashion brand, if people appreciate the packaging and how you dress, right? You always have a certain sense of style. Everything you do should be marketed individually and has its own potential to blow, all right? Your fashion can be a brand or a thing of itself. Your music is a thing of itself. As an artist, every bit of you is something that you should be looking to monetize and market as its own level of greatness. So not only does he hit the nail with the marketing aspect of it, you should market everything that you do in its own way. Of course that becomes easier as you get bigger. But as he said, especially for a large artist, literally you just sharing that you did this, all right? Become something that can move virally because Page is already wanna talk about it because it's something that creates conversation and creates growth for themselves. And that's the one of the like go-to tricks.  Literally create a billboard, you only need one of them and then share it with the internet. People say billboards aren't valuable, but billboards still have the value just because it's something in the physical world. And when you share that something happened in the physical world, in the digital world, it feels more real. It feels more cool. So you can think far beyond just billboards, but all you need is one. You can pretend like you did it in the whole city.  Because nobody knows, man. You know what I mean? Nobody knows where it is. If anything that creates commentary, well, where is it? Hey, that's engagement on this post. Let them views go up. So, no, no, I love this marketing, your marketing comment. And you know, you're getting your love on this. The next 10 times I say it at some point, I might forget to cite you, but know that you got it this one time right here. Josh, so, you know what I mean? The love has already been exchanged. What you think, Corey? Yeah, but I just like the love to the art form that is marketing, bro, you know what I'm saying? Because I feel like it doesn't get enough credit for being an art form the way it is. Like, I'm stringing together this copy and this content, bro. It's like, come on, man. So, but no, I think you already hit a lot of main points, but there are gonna be times where I think it's the artist you have to accept that your music might not be the most interesting focal point of the campaign. It's great when it is. It makes everybody's job so much easier when it is. But there are times when realistically it's not, you know what I'm saying? So then that kind of is when it comes down to how savvy is your marketer or you as a marketer to be able to create a conversation point out of what might be mid, you know what I'm saying?   Like, good marketing is gonna take an amazing song and get it out of here, right? But either way, it's gonna level up the situation if you win it. So, I think that's just what it is, bro.  Big artists are the ones who get the leverage to be able to step outside of the music for the narrative a lot of the time.  Unless the music is good, it's attached to, like the even tripling situation, right? Like it's like narrative leads back to good music, you know, or at least good to okay music depending on how you're looking at it. So we cool with here, right? Versus they're led back to some trash, wouldn't have been as talked about as it was. And I'm glad you brought his situation up because there's a nuance to the market, your marketing as well, right? This is blatant marketing of clear marketing, right? It's a billboard, which we know is marketing, something you do for that type of effort, or you could have a flyer for your concert and it's super dope or whatever, or you covered up a whole establishment, you know what I mean? And you've market that, but people know that that's marketing. You look at the EM tripling situation, that too was marketing, they contrived some events and then they marketed that, right? But that itself was marketing beyond the music. So that it's a top down analogy where you have the very clear, but there's nuances in between where, look, just market yourself doing stuff. But that's what it comes down to, of course, it's like, why and what you're doing matters, but just market yourself doing stuff other than the music. Yeah, that's a good point too, because now even if we take it outside of, and you already kind of touched on it, but if we take it outside of just fan perspective when we go back to industry, up here is people you're networking with, but they wanna see proof that you out here doing things and taking things as seriously as you want them to believe you are. And I mean, one of the most well-respected things across the music industry in every circle is how the marketing is executed, bro. Everybody in every genre and every entity, everywhere respects a good marketing plan that was put together and worked out, you know what I'm saying? And so a lot of times your marketing can be the way that you convince these people that you feel like a power player, that you want your corner to take you seriously, because that's the part. Everybody knows that marketing is one of the hardest parts of building the arts up, I would say. Like it's easily top three, one of the most expensive parts could be, are you top five or top 10 is one of the harder things to do. You know what I'm saying?  If you're everybody else, I can get why you might rank it, why you rank it, you know what I'm saying? So it's like, everyone in the industry respects a great, well-executed marketing campaign. Everyone from the A&R at the label to the goddamn show promoter, you know what I'm saying? At the concerts you pull another two.  Yeah, exactly, bro, they love it. So it's like, here's your way to show your fans, hey, I make real world moves, right? Or things in real life happen around me. Cause that's essentially what you're doing about marketing and marketing.    Like, we all love that, you know what I'm saying?  Hey, this looks like a safe investment. It's gonna equate to more than just streams and views, you know what I'm saying? So marketing, your marketing is a win-win across the board. And like I said, it puts more respect on the name of the market, bro. Way more. People gotta respect our paintbrush, you know what I'm saying? Our paint, you know? I start running down these KPIs and these target results, bro, you know what I'm saying? It's magic happening. Let me take a quick second to say, if you're an artist trying to blow your music up, or if you're a manager, a music professional in general, trying to help an artist blow their music up, I have something that's a game changer for you and it's completely free. As you may know, we've helped multiple artists go from zero to hundreds of thousands of streams. We've helped multiple artists go from hundreds of thousands to millions of streams, chart on Billboard, GoViral, all of that stuff. And we've now made the way we've branded multiple artists and helped them go viral, completely free step-by-step in Brandman Network. All you have to do is check out brandmannetwork.com. You apply, it's completely free, but the thing is, we're not gonna let everybody in forever. So, the faster you apply, the better your chance of getting accepted. Brandmannetwork.com, check it out, back to the video. See, that's the thing. People don't care about the numbers like that. People want the numbers, but people don't care about the technical aspect of the marketing, right? They don't care about the science of it. They care about the art, or they appreciate the art. It's hard for them to truly appreciate the science of it. But of course, that's what I've always loved about marketing, that it is art and science. And the best ones can be creative, be artful, but it impacts the science, right? Moves the numbers.  Right? And that's what people get lost.   It's like watching football and they keep doing the short passes. You could get there eventually, but it's never gonna be that sexy, entertaining thing that people are playing the highlights. And it goes through the roof, share on every channel, people are talking about it.  You know what I'm saying? Like you need to have some art, something that's beautiful, cool, that can be worth having a conversation about. But that's that balance. And I feel like most people not only struggle with it, most people don't know that that's what they're struggling with when it comes to marketing. Yeah, yeah. You just said it too. I think it's the language barrier, right? Like they don't know how to communicate that and things outside of the number. So like an artist might be saying, hey, I want 10 million views on my video, but what they're really saying is I want an impactful moment that seems larger than life, right? 10 million views is just the way they know how to quantify or express it through what the way they understand comes from digital marketing. Hey, the last artist I saw get 10 million views, you had a larger moment like, so that's what I want, 10 million views, right? It's like, you really want the moment. That moment could come before that point, right? Yes. Or there might be a lot more that needs to be done to make you have the potential to get that type of moment. But yeah, I think it's just a language barrier. You know what I'm saying? We got people who speak the language of marketers and marketing like very loosely because what are you saying in there? You see numbers being talked about, KPIs, cost per clicks, cost per weather. That's what gets talked about in tandem with marketing a lot of the time. Or you see these bigger, larger in life marketing moments that are very inaccessible to you. And so you think that either marketing or either all clicks and likes or it's all these big, larger in life moments that happen all the time. It's like, there's a middle ground between both of those, you know what I'm saying? And you know why marketing is so disrespected, right? Because they're right for what they can do it, bro. So course out there, course around every corner, bro. Everybody feels like they can do it because it's one of those few fields that people can do it by mistake and reap the benefits. And because they reap the benefits, they think they're good. But you can't keep repeating it because you don't know why. You can't break it down. So sometimes, you know, you can explain what someone did and they'd be like, well, no, I wasn't thinking about all that. That's cool that you weren't thinking about all that and it's just happening for you. Yeah, exactly. That might even be why it worked because you were able to do it so authentically and you'd have to worry about acting it out. But that doesn't mean that it didn't work because of the principles that are true. Then you apply that across the board, right? For an actual marketer and in true marketing strategies, you're able to do it again and again, apply it to these multiple situations in a way that feels authentic. That's what marketing really is, right? But yeah, again, so many people blow up, go viral, all these different things without even understanding why. And they think they're a marketer. They think they know better. They do it on one platform and they'll understand that you learn how to hack a platform which means you might have some marketing talent but that doesn't mean you know how to apply it to multiple platforms. It's landscape completely changes. You can figure it out real quick. That's what a true marketer will be able to make happen. So look, I know artists y'all feel disrespected but we feel for you and not always because we feel disrespected multiple times over. Yeah, one more person tell me they know how to market because they can set up a Facebook app, bro, I'ma lose it.  Hey, exactly, exactly. Bro, did you just square up? Did you put your, hey, put it there, put them there. Oh man, that's hilarious. Hey, Jacory got them paused for y'all, dawg. He got them paused for y'all. Oh, sorry, bro. Oh, let's, they got some more added. He added another example. So let's put this back up. Metro Booming, see I was, I feel weird for saying the G in Booming because I was thinking about something else. Example two, I was trying to stop myself. Example two, Metro Booming's project, heroes and villains had more of a market the concept approach. The concept of the album was that of a sequel to his not all heroes wear capes from 2018. The idea is that all of the features and producers on the project fall into the category of either a hero or a villain. This created a conversation about the album separate of the music which resulted in tons of free marketing as well. All right, next slide. Some features that I think, oh, okay, he's showing a slide example of someone. I think it said, let's see what it's supposed to say. Some features that I think we can see on Metro Booming's new heroes and villains. All right, he's just talking about some of the conversation that came from Metro Booming's post. All right, in that. So if you think you took any value from this, shout out to Josh and one track, go ahead and follow him. Maybe y'all got value from that post or find him. You know what I mean? Now, going back to Metro Booming's project, that was something that was very clear. I mean, we kind of talked about it, right? It's a project that was more about the experience, right, the production of itself as almost a mini movie. It's not a project that's built on singles that are supposed to go crazy. Yeah, he built the album soundtrack to his own movie. Yes, he built the soundtrack to his own movie, right? And there were some moments that, like I said, I wish like the weekend track I feel like could have really been something if they really leaned into it. It should have been an all weekend type of track, but I was trying to make it hit. I feel like that could be a weekend hit. And I don't think it needed a rapper on this song as much as I love 21. And that's the first song I ever felt like, and I could have went without 21 on that in terms of like a feature collab. What was another song off of that project that could have been a hit single if maybe it wasn't in the scope of that project that wasn't seeking for hit singles in that way? I have to look at the track list. That's a deep question. That's a deep question. That's a deep question. Like could have been a hit without the, if it wasn't in the context of the rest of it. Right, because it was intentional about being a hit, right? Not even just the context of it, but just because of the context, they didn't seek to make it a hit. So they added production, all these production things that took away from that is a different approach. Like, oh no, we're building this for a soundtrack. We're gonna add a separate feature here or we're going to change the production up here to mimic a change of scenery or mood versus, we're just trying to produce an earworm worm and see this thing playing on the radio so people are bumping in the clubs or their cars. It wasn't about that. That's all I'm saying. Let me whip out my old Spotify real quick. All right. Because I mean, my first instinct is in the time of the intro song. That one, I don't know if I could have seen that one being a hit. That one was one of my favorite ones. No, the second half of it, bro, without the- Never had the first half, yeah, the second half. See, that's, you're proof of my point. That's what I'm saying, right? There are like points of the song. If you think about, and this is what producers do today all the time, right? Once sampling became a thing, right?  And just take that one part that could have been a hit and then make a hit out of that one bit of the song. Like if you listen to, you know, Shadi Lo, what's the official name of that song? They know. They know, there we go. If you listen to Shadi Lo, they know and find the song that it was made from is one of the mandrill songs, right? And that's like an old group. Literally that song sounds nothing like that, except for that five seconds of the song. And they literally took that five seconds of the song and just played it the whole song. The rest of it is so detached. If you think about like how different the beginning of that song that you're referencing of Metro Woman's sounds in the second one. I mean, you're talking about hearing flutes, church bells.  So I think what you're talking about right here, like, yeah, if y'all just leaned into that second half of the song, it could have been a hit. But that was, which was it called again? On Time. But I get it though, bro. Cause like that intro song is probably one of the best intro songs in a long time, especially when you talk about the narrative aspect.  And just kind of what I was getting from it where it's like, yo, this first half sounds like the superhero showing up to save the day.  We okay, like Superman showed up. And then you have the beat drop. And that to me sounds like the part of the show where it's like, you know, the superhero goes and punches the villain and they realize it doesn't hurt.  Like, no, the day is not saved. We actually just realized it got much worse because the person that can't save us can't do anything. You know what I'm saying? That's what that to me is what that transition from John Legend to that future sound like.   Like he just walked me there. So I get it. I get why they had to do it that way. See that right there goes back to the importance of marketing your marketing. Making sure the concept is clear and clean because now you went into it with that type of ear and perspective. Yeah, looking for that. And you have these visuals going through your head throughout the project. Yeah, that's true. It's a beautiful thing. The movie definitely set up for it, but it's like, if you haven't seen the short movie he dropped with it, it does beautifully set it up. I would tear up if I was a part of that project. And you gave that description right there. He gets it. Like, bro, there's a beautiful moment right there, bro.  It's like, it's not like making something creative. And then people get it. Yeah, that's true, bro. And from song one, like it didn't take me five, six songs to get into it. Like song while I was out, no, I'm right where he wants me to be at. I'm here, bro. I'm here for the heroes of the village. Hey, talk about marketing and marketing.  And now they'll hire you for other stuff. If I'm a movie supervisor, music supervisor, hey man, this dude can do all my soundtracks. And I know it's a soundtrack check out there. So he might not be marketing to the charts in that bag. But hey, this is a catalog, right? I always say artist. Well, I always say since the last three weeks, artist, your career is your catalog. And he just put out a catalog that shows that he can very well be a music supervisor or he can produce the soundtrack, right? For a scary movie, a superhero movie and any other category that applies. Yeah, right, right.   Now let's switch to a whole another direction.


Hi, my name is Rebecca Courtney, a facilitation coach at AJ & Smart, and today I'm going to share with you our top 7 resources for workshop facilitators. We'll cover not only books, but also other tools that can help you take your facilitation skills to that next level. Just to let you know, some of these resources are free and ready to explore, while others you're going to need to pay a subscription for. By the way, we don't get any money for recommending these resources. These are just resources that we either really like or members of our community find very, very valuable. So here are our top 7 resources for facilitators in no particular order. First up, we have the book Game Storming, which was written by David Gray and his colleagues. So normally we have about five copies of this book in our office, but we just can't seem to find them. So our cameraman is going to do some really, really great editing and edit it into my hands. This amazing resource provides you with tons of games and activities that can be used during workshops to faster creativity, collaboration and innovation. Game Storming also has a really great website called GameStorming.com that you can check out. And I'm going to show you exactly how to navigate it here. You can see on the right hand side of this page, there's a list of categories that involves loads of different games, games for any meeting, games for closing meetings. And also just to let you know, they're saying games here, but what they actually mean is exercises or workshop activities. If you'd like to check out a game that we always use here at AJ & Smart, it's called Affinity Mapping. All you need to do is go into the search bar here, type in Affinity Mapping, and it will bring you straight to the page where it's going to explain everything you need to know about running the Affinity MAP activity. What this also breaks down for you really nicely is the object of play, so the purpose of this activity. It tells you how many players it's suitable for, it goes through the duration of play, and it also gives you a step-by-step clear instruction on how to play it. If you want to learn more about it, you can check it out on the website. Next up is the Workshop Tactics Cards, which is a collection of workshop activities and facilitation techniques that are going to help you design and deliver engaging, fun workshops. These were created by Charles Burdett, a designer and facilitator, with a passion for making workshops super fun. So, I'm going to show you them. What Charles Burdett managed to achieve with these cards is that he made them really cute. They're visually pleasing to the naked eye. They're color coded, which makes everything so much easier. There is super clear instructions on each card, which explains exactly how you would run a workshop activity. The way that it works is, we'll get rid of the instruction card first because we don't need that. The first card you're going to see, it's called the Workshop Strategy System. You're going to be using this all the time. There's a list of questions here that you're going to answer in order to figure out what sort of activities or exercises to run during your workshop. So, for example, the first question is asking you, do you clearly know what your team is working towards? If you answer yes, you can continue down to the next question. But if you answer no, look how exciting this is about to get. It says, go to the goals.  No, it gives what is the call? It shows you a little icon called goals. What does that mean, you might ask? And it's red. So, you're going to go to the red section, which has a few different exercises that you can choose from. You decide which one is best for your team. I'm going to choose the sailboat. The sailboat is a great activity for any team trying to figure out what their goal is. On the front of this card, it's going to tell you that this exercise is going to take one hour. It's going to give you a brief description of what this exercise is. And on the back, it's going to take you through a step-by-step instruction on how to actually run this exercise. One final word for Charles. Charles, if you're listening, marry me. It's time to get serious right now. This next resource is one of life's unsolved mysteries. It's called Miro. Or is it called Miro? Nobody really knows. I'm manic. This is a digital whiteboard platform that we love to use for all our remote workshops. This tool has everything you're going to need to run a workshop remotely. It has features like sticky notes, pre-built templates, voting dots, timetimers. You can even play music on it with your participants to make the atmosphere nice. Let me take you straight to their website, which is called Miro.com, and let's check out some of their boards and templates. A really cool feature of Miro is they have a thing called Miroverse. You click in here, you're going to be brought to a page with loads and loads of templates that people have uploaded for you to use immediately. For example, if you're looking to run an LDJ, which is called a Lightning Decision Jam, it's a pre-made workshop recipe. You can click in here. As you can see, we have AJ and Smart's Lightning Decision Jam. Cool, eh? Press Use Template, and it brings you straight to a Miro board, which you can work from. It also has duplicated the template, which means that you can just work straight from this and it's not interfering with the template that's actually in the Miroverse. So if you zoom in, it shows you step-by-step how to use this workshop and how to run it. It shows you the warm-up section here. I'm just going to zoom in and just show you really briefly what that looks like. And then it shows you how to run the actual workshop. It's really easy to use and participants love working from these Miro boards. If you want to learn more about Miro or if you just want to figure out how to use it, you can check out our playlist here where we have a few videos that are going to take you through how to use Miro, not only as a facilitator, but also as a participant. Next up is The Surprising Power of Liberating Structures. This book is by Keith McCandless and Henry Lipmanowicz. I've definitely pronounced that wrong. This resource is a collection of 33 facilitation techniques that can be easily adapted to various workshop settings. So you can go through this book and learn about all the different techniques within this, but it does look a bit wordy. So if you'd like to explore it in a more simple, effective way, there's also a website called liberatingstructures.com. I'm going to bring you straight to that website now and show you exactly what it looks like. If you were expecting the website to look better than the book, you are going to be sorely disappointed because it looks exactly like the book. Henry and Keith, we absolutely love your resources and love your work, but please update your stuff. What I want to show you is the liberating structures menu, which compiles the 33 techniques that you will also find in the book. This is really, really great. You can just click on one of these techniques and it brings you to a description and a step-by-step guide on how to run this technique or how to use this technique in your workshops or your meetings. It gives you a detailed description on how to do it, why you need to use this technique and all the different tips and hints on using it within your workshops. Next up, we have Session Lab, which is an online platform for designing, organizing and sharing workshop plans and agendas. It has a library of over 500 facilitation methods and activities and it simplifies the process of planning and designing and engaging workshops, which can be a bit annoying. What I want to do is I want to show you their website, which is sessionlab.com. What I want to do is I want to show you a little overview of how to plan a one-day workshop. As you can see, I already have an icebreaker in here for five minutes and a session end. So what I need to do is I need to add more blocks. So I'm going to add a block and what I'm going to put into it is intro. I'm going to say start strong because it's one of our mantras here at AJ and SMART that we have to start every workshop on a strong note. So this is going to be my intro. I'm going to say that it's going to take me maybe 15 minutes and you can move this then to the very top. So let's add another exercise to this agenda. I'm going to add another block. I'm going to add... I'm going to search the library for a particular exercise called the sailboat because I think this is going to be perfect for my workshop. So you just type in sailboat, search and it will give you a sailboat in this column on the right. Really easy to do.  This is really great because if you press this button here, it's going to give you an overview of what the sailboat actually is and it's going to tell you the type of materials you need. It's going to give you examples on how to use it and it's also going to give you a step by step guide on how to run this activity. Something to also be aware of is in this library, not only do you have exercises, individual exercises, you also have full workshops to choose from. So for example, if I type in LDJ, once again, you will be brought to an entire workshop where it kind of gives you a broad overview of all the different exercises you need to run in this workshop. You will need to do a bit of work here yourself and figure out what sort of exercises need to go into this and build your agenda around that. Finally, if you want to start the session, a really cool feature on this is you press this, start away and it starts a timer, which helps you keep track of time throughout your workshop. So the next resource is called Fun Retrospectives, which is a book written by Paulo Caroli. It's also a website and it's called funretrospectives.com. The activities on this website are designed to be engaging, interactive and as the name suggests, fun, which helps create a more open and collaborative environment for teams to explore their successes and challenges. Let's dive straight into the website and I'm going to show you exactly how to use it. So here we are, have a look at how cute this is. Not only is this designed for just retrospectives, it's also a really great place to look for energizers, check-in activities, team-building activities. Yes, there's a number of things you can use for regular workshops or meetings. Here's a really great energizer or icebreaker called the roulette asks. This is going to take you through a step-by-step guide on how to actually run the activity. It's also going to give you advice for your remote team and also it's going to bring you to a link where the roulette is going to do its little thing and it's going to land on a question. Oh, if you were a Marvel hero, which one would you be and why? Ironman. Ironman? Why? Because he is intelligent and a billionaire. Nice, nice answer, like that. Okay, as you can see, this is a really, really great resource to quickly find energizers for your workshops or meetings. Last but not least is our very own free facilitation community called the Facilitator Club. This is a great space for you to meet life-minded people who are passionate about facilitation and workshopping. It's also a really great space to ask any question you have about facilitation and you're guaranteed to get really, really great answers back. What you're going to find in this community is people sharing resources, their knowledge, their expertise, but they're also going to use this space to share their successes and their challenges that they're facing in their workshopping and facilitation careers. So let me take you straight to the community and let's have a look. It's called facilitatorclub.com. It's a free community as I mentioned before and as you can see, there are some amazing discussions going on and if you've any question related to workshopping or facilitation, you can post your question in this community and you're going to get tons and tons of answers straight away. So for example, if you were running a workshop and you needed to find a really great icebreaker, all you need to do is type into the search bar and type in icebreaker. This is going to bring you to a few different posts on icebreakers. As you can see, I posted something a few weeks ago and I got 163 comments on this post and it's all about icebreakers. All of our members were contributing and letting us know they're top icebreakers. So what you can do is scan through some of these, pick your favorite and add them to your facilitation toolkit. Also, if you can't find what you're looking for, you can post your question into the community and you're guaranteed to get a few different members and also the staff here at AJ and SMART answering your questions. We know more than anyone that facilitation is still a very niche topic and you might feel that you're the only person doing it. So being a part of a community like this where you can exchange ideas, resources, challenges with other like-minded people is incredibly valuable. So make sure to join this club. It's a free community. The link is in the description below. So there you have it, our seven best resources for workshop facilitators. These resources are gonna help you level up your facilitation skills and create unforgettable workshop experiences. If you liked this video and if you wanna see more like this, make sure to subscribe and hit the bell for more. And let us know in the comments below which one of these resources you found the most helpful. Also, we'd love to hear your own favorite resource that we haven't mentioned here. Thanks for watching and I'll see you next time. Bye. Hi, I'm Rebecca from AJ & SMART and I'm a facilitation coach here at AJ & SMART. I'm Rebecca from AJ & SMART. So here are our top seven resources for facilitators. First up, we have the game, Game Storming. Wait, what do we actually call it though here? Is it mirror or my row?


Myself, Dr. Nitin Gramopadhyay, today we are going to learn a topic, analytical chemistry and from that topic, one beat that is known as gas liquid chromatography. Now, this is the learning outcome for today's session. At the end of this session, students will be able to learn the terms chromatography and types of chromatography, then we will learn construction, working and applications of chromatography. This is the particular content of the today's session, definition of chromatography, classification of chromatography, instrumentation and applications of chromatography. Now, what do you mean by chromatography? It is one of the analytical tool, it is one of the analytical process that is used to find out, what is the percentage of chemicals, different combinations present in a given sample. Now, what is that chromatography? The term chromatography and its principles were first discovered by Mikhail Tasvet. He passed the plant extract over column of calcium carbonate and washed it with petroleum ether. When the plant pigments were separated into number of horizontal colored bands, since the separated pigments were colored, the method was called chromatography, meaning colorful writing. Chromatography is defined as the separation of a mixture into its pure components by continuous distribution of the components between the stationary and the mobile phase. Now, this is the classification of method chromatography, adsorption chromatography, partition chromatography, exclusion chromatography, ion exchange chromatography and then the partition chromatography divides into the different types, thin layer chromatography, column chromatography, paper chromatography, again the column chromatography divides and here the gas chromatography divides into gas liquid chromatography. So, this is the classification of the different types of the chromatographic methods. Now, what do you mean by gas liquid chromatography? In GLC, the separation of components takes place due to the difference in solutions behavior that is partition coefficient of the components. In GLC, the column packing consists of granulated inert support carrying a non-volatile liquid phase. The supports are of either calcite or fire brick. These supports are in the form of particles and size of the particles is governed by length of the column. Species of liquid for stationary phase, the liquid that is used as a stationary phase should not react with the sample to be analyzed. It should be inert. It should not be volatilized by the flow of the carrier gas. So, the liquid should remain in a liquid form. Due to the flow of the gas or due to some heating, the liquid should not convert into vapors. It should show different solubility for different species present in the sample. The selection of the stationary liquid phase depends upon the type of substances to be separated and their complexities. Some commonly used stationary liquid phases are hydrocarbons, ethers, ketones, etc. Silicon oil for general purpose, polyglycols for separating alcohols, acids, amines, etc. are used. The capillary column is made up of nylon, glass, copper or stainless steel tubing. These are generally 5 to 500 mm in length and 0.1 to 1 mm in diameter. It is coated with the stationary liquid phase on the inner surface by special techniques. Now, this is the flow diagram of the GLC that is block diagram. If you see here, this is the tank for carrier gas which is called as the mobile phase. So, this is the source of the mobile phase gas. This is the pressure regulator. This is the drying tube because sometimes the gas may consist of the moisture. The moisture is removed when the gas comes through the drying tube. This is the flow regulator and here it is mentioned the sample injection port. That means here we have to introduce the sample under investigation, under our study. Then from here it starts the column here is in the form of the tubing and the columns are either made up of steel, glass, etc. Just now we have learned what is its dimension and length. 0.1 mm to 1 mm is the dimension. Sometime instead of tubing the column is fixed in a coiled structure also and the columns are kept inside the thermostat. This dotted line indicates the thermostat. The thermostat is heated and then one port is connected to detector, bridge, amplifier and here some sensors are there by receiving some signals from the sample separation. It forms the graph and by reading the graph one can come to know what is the sample that we have introduced. But this method is used to find out the chemical composition of the sample, we do not know. But by reading the graph we come to know that whether the sample consist of the amine. Again whether the amine is primary, whether the amine is secondary, whether the amine is aliphatic, whether the amine is aromatic, etc. So we do not know what the sample is but when you put the sample, when you put the experiment performing here, the signals are received by these electronic gadgets and then it plots the automatic graph on a computer screen. By reading that graph one can come to know what is our sample. The essential parts of the apparatus used for gas liquid chromatography are one is the tank for a carrier gas that is mobile phase and injection port of the sample, the column and the detector with recorder. These are the important components of the GLC equipment. Now I would like to ask you one question here, a liquid used as stationary phase for separation of a mixture into its pure components in GLC should be a thing for a moment will come with answer and the correct answer is that inert. Now how it works, the working of the GLC, the column is maintained at a requisite temperature with the help of thermostat. Then the sample is injected in a very small quantity by a syringe into the sample chamber and the sample is vaporized as little time as it is possible and then it enters into the column. Thereafter small quantities of the sample can be injected at regular intervals. The vaporized solutes are carried by moving gas into the column. The different components of the mixture migrate at different speeds depending on their partition coefficient values. Through the column with the continuous flow of carrier gas, each component leaves the column separately in small volumes along with the carrier gas which are then detected by the detector system and recorded in the form of chromatogram showing elution peaks and the time since injection. After passing through the detector, the gas system passes through a sample collector for identification. Now what are the applications of GLC? The small sample size is sufficient for analysis is a good thing, we require a very small sample size. The GLC is used in the separation of all classes of organic compound. So near about all organic materials we can analyze, we can separate by using the chromatography technique because chromatography is a lab technique also to learn and a separation technique also to separate. If you have a mixture of organic material, we can separate it. For example, when we prepare the nitroaniline from the nitrobenzene. So what happened? Three derivatives we can get two nitroaniline, four nitroaniline and the six nitroaniline. So all the three isomers we can separate, two nitro separate, four nitro separate and the six nitro. It is a routine analytical tool in laboratories for all types of material. It is used in the petroleum industries for separation of different components from the crude oil. That already we know, the crude oil is a mixture of various component. It starts from the gaseous component to liquid component to semi-solid component to solid component. All the components are present in a crude oil, it is a single oil, it is a mixture. But when that mixture is processed through the chromatography method, the various fractions we are getting, uncondensed gases, methane gas, LPG, etcetera then octandate petroleum products are there, diesels are there, heavy oils are there, lubricating oils are there and finally tar is there. It is used in the petroleum industry for the analysis of crude petroleum products, gasoline, waxes, in cosmetics and perfumes. It is helpful in determining the composition of various cosmetics, quality of ingredients and the components of suitable fragments. It is also used for the product quality control for analysis of commercial products and in forensic chemistry.