And here we are at the SID display week 2019, and hi, so who are you? I'm Alex Hansen, working on making electrofluidic displays. We talked about this a year ago at SID. I showed a new development, which is a full-color reflective display. We've made a few advances since last year. At this moment, we're doing 25% reflectance with 70% of NTSC color performance, which is better than last year. At the same time, we're turning this type of display into a real active matrix. This is an active matrix display, which is part of the display set. It's intended to be three-layer color display in cyan, magenta and yellow. We specially developed this TFT panel to be more than 90% transmissive. Actually, in the open position, this is the yellow panel of the set. In the open position, it will transmit 90% of the light. So what do you want to transmit 90%? A brighter display? It means a brighter display. So a total display should have a reflective backplane, and it has three layers of color, cyan, magenta and yellow. Every layer of color takes away a little light, and that means we have to reduce the amount of light that is taken away as much as possible. So you do 90, 90, 90. That's it. So this is why you're down to 25 here? Yeah, that's why we're down to 25 here. This layer, each of these layers, only transmits about 80% of the light, and so that pulls down to 25% total reflection. If you can get the 85% up to 90%, it will go up to 50%. So it's very steep. That means you'll get it twice as... Twice as bright as it, yeah. Twice as bright, twice as vivid, the colors. The colors won't change much, but they will be brighter. So that means the total color gamut volume will increase. Since last year, what more do you have going on with the active metrics? Well, last year we had a very simple active metrics display in black and white, and this year we have developed a six-inch active metrics in full color. The only thing I can't do yet is to show it working because we're still figuring out the electronics to get it to switch. It's not easy? It's not just like using the active metrics as something else? Technically it's easy, but if you make a design error somewhere along the lines, then it becomes a lot more difficult. And so we are now tuning the design error out and making sure that everything works properly. So what is it that we see here? What is that? The thing on top is actually a first attempt at a product. This is something that could be seen as a single pixel that can switch to any color that you want. It has a direct control of the red, green and blue channels, so it can display 16 million colors, eight bits per channel. And it can be directly controlled by a DMX system, which is down here. And so in principle I can select a single color like yellow. The display turns yellow, magenta. The display will turn magenta. And so you can select any color you like, any brightness you want. So this is the first attempt at a product. It's giant pixels. It's very early, giant pixels. Actually we link together millions of pixels to form one large area in this device. We can have a whole wall, yes. You just need somebody to place an order? We're working with people to have a look at that. Nice. And then it looks pretty awesome, right? Yes. And it's a whole wall. But then it takes all the sunlight? It just takes the sunlight. It's just a reflective area, which you can switch into either a whole region switching or if you do your best you could make it into an information display by generating an image on smaller pixels. So these demos right here is also related to what you just said? The gloss you see down there, the colors are just an example of stacking the three primary colors, cyan, magenta and yellow, showing that you can make any color with just these three primaries. As you all know, because it's in normal printing, you also use cyan, magenta and yellow inks to create a color image. So that's what we do? You're convinced that the electro-wetting is going to realize the dream future? I'm convinced that electro-wetting can absolutely achieve a performance like more than 50% reflectance, so brighter than the ink, full color with the full color gamut that you can see now in printed color on paper. And so do you have some students working in this? Well, we are now developing this technology in a university. We have built a full-scale manufacturing line, but it's still manned by students and graduates. And so we're now trying to get the personnel together, the real manufacturing personnel, the engineers, to turn that from a prototype factory into a manufacturing line. Could you hear the booth? You have some partners right here? Yeah, one of the partners is Morphodonics. We've worked for them to make a micro-replicated structure inside our displays to keep the two glass plates at a fixed distance from each other. Hi, so who are you? Hi, my name is Rob van Herve from Morphodonics, one of the co-founders, and Alex just presented one of the applications of our technology. What are you showing here? Can you stand behind and demonstrate the samples? So we are in the business of the nano-imprinting and micro-imprinting equipment. So customers with the bright innovative IDs using nano-features, micro-features, that's all nice, but how to apply them on a larger area, large scale, cost-effectively. So you need mass production tools, mass production equipment. It's nano. These are nano-features. What you're seeing here is an image of nano-gratings or smaller features with a track pitch below one micron and certain sizes that are lighting up here as an example of our technology. How is it useful for the display industry? This can be scaled up to Gen 5 size that you can create nano-imprinted features for holographic displays, or auto-stereoscopic, nautical displays. You can have a light guide plates with a better uniformity regarding your backlight, 1D, local dimming, and reflective features on the front. And there are a lot of new IDs here presented at SID this year, but all require micro and nano textures. Is this your machine? This is now running 24-7 mass production in China. One of the first tools is the Gen 3 tool that is actively now for a mobile phone application. What is it doing? It's treating the glass. I'm not sure where we are in the movie, but it's treating the glass with an adhesion promoter. Then we copy features by coating a flexible mold. This is an example of a flexible mold. We use an inkjet printing system to apply UV curable resin on the negative texture on the flexible mold. This is laminated then on any substrate, like plastic, PMMA, PET, display quality glass, 0.4 mm, 0.3 mm thick glass. That then has the opposite feature of the negative mold. So the positive features are then imprinted and they can be used, for example, holographic displays or any AR textures, VR glasses, light guide, in-coupling features, whatever you need. That's not yet available commercially and on a cost-effective way. But until now, since five years, we have started more photonics. Been a little bit in stealth mode, but we're now showing off our production equipment at a mature enough level. It's proven in the field. The flex stamp can last more than 1,000 times, so 1,000 copies of a single flexible stamp so you can have a very cost-effective way for high accuracy features. So around here, the potential partnership that could happen here, how can this enhance this kind of display, for example? Manufacturing technology should be there on a larger scale. That's where we can help Alex. So nano is useful for... Nano or micro is useful for our products. So in many cases, the technology of more photonics can replace photolithography. Photolithography is a very well-known process, but in some cases, certainly if you need somewhat higher structures, it can be expensive. Micro-replication, in that case, is much more cost-effective in terms of material use. And then on the other side of the spectrum, in nanotechnology, there are other patterns that cannot be made by photolithography, in which case more photonics come in again to produce these structures. So you replace photolithography somewhat. Certainly. It's like a big challenge in the industry to do the lithography sometimes. It takes a cost of all the money, or you can make things simpler or what? Well, photolithography can still create a master for us as a starting point. Then we can copy from this quite expensive master and then replicate it very cost-efficiently, even up to Gen 5, Gen 6, Gen 7 and beyond sizes. So it opens up a cost-effective application scene that now is presented to the world.


Now, welcome back to Think Tech. I'm Jay Fiedel. This is Gutman's Garage and it's a movie review course. And we're going to talk to Steve Gutman about a couple of movies. We're going to compare movies about art and the Holocaust. They're both very interesting, but one, and I'll tell you later which one, is better than the other. Okay, in a moment we'll get right into it. The art dealer and the woman in gold with Steve Gutman. So Steve, you know, we're going to just do the art dealer, but you said, hey, why don't we compare the two, the art dealer and the woman in gold, which are both very interesting movies. Let's go to the one we originally discussed, the art dealer. What's the story there? Well, the story actually, in one sense, is the same in both films in that you've got a family that owned extensive amount of art and the Nazis basically stole the art. And now after the war is over, many years after the war is over, the family is trying to recover the art, or at least some members of the family in the art dealer. Because one of the differences between the two films is that the search for the art, it was really the granddaughter, the one individual's efforts, where in the woman in gold, while focusing on the granddaughter, it is more of a family being united in terms of what they're trying to do. But the art dealer is a French family and the film is, in a lot of ways, very much like the very French film. And the way it goes about presenting the issue is extremely different than what appears in women in gold. Is the art dealer true? It's based on a particular family, but it is significantly fiction. Both films modify the reality that actually was occurring. So my view of the art dealer was, I was not particularly excited about it. I thought that the woman who does the investigation, she's not all that persuasive to me as an investigator. But one review I saw put it in one sentence, which I thought was interesting. This is the story. The art dealer is the story of a French Jewish family eating itself. It wasn't just against the backdrop of the Holocaust. It was against the backdrop of this French family. They were cheating themselves. They were stealing, keeping secrets from each other. They were trying to capitalize on the Holocaust. And that was a bit of a surprise.  It wasn't that simple in the art dealer because one guy got a corner on the art, didn't tell the others, and he lied about it. And ultimately this journalist woman kept on investigating and she found out that he was the culprit and that he had benefited and became very wealthy by effectively stealing the art from the others. Yeah, the family itself is a very divided family, to say the least. And there's also an element in terms of what's going on with the whole French government and just the interplay between acknowledging the fact that significant numbers of people cooperated with the chieftain as opposed to they're just simply being popular yet that majority of French people were opposed to the Nazis. You have a bit of that same argument in presenting women and go to that the present feeling is that people want to feel that the Austrians were opposed to the Nazis when the film makes it clear in a lot of ways that significant numbers, probably a majority, were actually very supportive of what was happening with the Nazis. It was pretty sinister as I remember. The guy was related to the true owner of the art, a Jewish fellow owned it, and he turned them in, he collaborated on them and turned them into the Nazis, set them up. And then the fellow who would get turned in had a wife and this bad guy part of the family, he had designs on the wife and the art and he wound up courting the wife after the fellow he turned in got sent to a prison camp or a death camp. And so now he's courting the wife and he marries the wife and he inherits the art from the wife. It's all really awful and he becomes an art dealer and he makes these grandiose gestures about giving away a small fraction of it, but he doesn't tell the family about how much more he has. And when she starts peeling off the layers on this, it's really awful. It's an awful story. I mean, he killed his relative so he could marry a wife he coveted and then steal the art from the husband and the wife. What a guy. I guess it's much more than the pulp Nazi story about the Nazis stealing the art. Yeah, that's what I was saying. It's a very French story, I mean with the text element into it, but the whole focus is on a very limited number of people and their interactions where women in gold is kind of telling the broader story in terms of the contrast between the two. Yeah, but you have to admire the, I guess she was a journalist, her determination to find out what happened and nobody would cooperate with her. As a matter of fact, the thief who was very wealthy and powerful decades later had her terminated from her job because she was getting at a newspaper because she was getting too close to the truth and he wanted to stop her and then he tried to kind of buy her off by telling her that he could get her job back for her because he was friendly with the fellow who owned the newspaper. It was all very totally manipulative and what you had was a kind of, you know, a conspiracy of silence then and later where this one person, this one man was guilty of so many offenses. It was discomforting. It wasn't what you expected. That's for sure. And she was no big deal. I didn't think she was all that good and actress or pretty. I didn't think that this was a travelogue for life in Paris, that's for sure. It was a dark movie. Right, and with the subtitles, I mean, though you had to really keep concentrating in order to really know what was happening unless you spoke French, you really had to keep your eyes on the camera. I had the same experience, Steve. I mean, I know a little French and I usually use a French movie as a way to pick out the words and learn and feel the beat of the language. But in this case, they were talking so fast and mumbling all the time and having these kind of private conversations that, you know, you couldn't really hear the French at all. And the subtitles were the only way you'd understand any of it. But the subtitles were moving so fast that it was imperfect. Your understanding of what they were saying and what they were doing was imperfect. I get it. Mark Golan was a fellow who made the movie. He's controversial, Mark Golan, as a movie maker and as a political animal. So you have to take all of that into account. So I guess it was interesting. It was interesting to see it. It was a little bit surprising about where it took you. I guess if I had to think of the takeaway, it would be something like even ordinary people who want to find out what happened, who are courageous and determined, they can find out what happened. And Lord knows there's plenty of things to discover about what happened with valuable art during World War II. Yeah. I mean, there's still an awful lot of art that is in people's hands that really it's not really theirs. And the way in which they got it was really tied back to the Nazi. I think there's still a fair amount of work being done trying to, by various families, trying to recover artwork. What's interesting about the woman in gold is they know they knew exactly where the art piece was. And in fact, all the art that was in question. And it was the end issue of how do you get it away from the Austrian government and the control that they had over the art. So it was a little bit different as opposed to the art dealer where it was all in private hands. Steve, let's talk now about the second movie. We've alluded to it and certainly there are common denominators that have to be mentioned. But the woman in gold is an American movie, also made within the last few years. And it was quite a remarkable movie. It was popular. I don't know if it won awards, but it certainly was an excellent movie. And it's an excellent story. And it's a story with an ending that is somewhat gratifying. And it involved real people.  But to a large extent, it's a true story about a woman called Maria Altman, who was part of the family that owned a bunch of very valuable paintings in the early part of the 20th century. And it's not that the Nazis stole them. The Nazis made it so hard for people to keep them that at the end of the day, they had to give it up under pressure. And then when did its way through the market for 50, 60 years until justice could be done? And Maria Altman was a part of that family. And I must say that she was the star of the show. But she was so determined that she was the star of the story, too. And it strikes me per our conversation a minute ago that it's remarkable in that you know this happened many times over in Europe, in Austria, in Germany, where art was somehow dislocated because of the Nazis, if not directly. In this case, there was a happy ending. But in so many other cases, that art is out there somewhere untraceable. And the people who should own it have no clue where it is and they can't do much about it. So the other thing I wanted to, you know, ask you to wend into this is the story of Schoenberg, the lawyer, which is repeated in many YouTube videos. He's a lawyer in California now in Los Angeles. He was a young lawyer right out of school when this happened. And Maria Altman was, I guess, his relative. Well, not legally, but she was the best friend of his mother. And they both escaped and got to Southern California in the early stages of the war, World War II. And they remained friends. And so when Austria enacted a statue that was here to give an opening as to people getting their art back, she then contacted her friend who then said, talk, talk to my son. And he was pretty fresh, apparently, out of law school. The movie's not really clear, exactly how long he'd been practicing, but you get the sense that he was pretty much a novice. But he scored quite a victory in his first major case. He goes all the way to the U.S. Supreme Court. And in fact, the interaction with the scene with the U.S. Supreme Court was, that was kind of entertaining. Actually, it had some almost comedy to it, which was not so much true throughout the film. But it was a nice sense of relief in those scenes. Well, he was a great speaker in the YouTube that I saw and that you saw, I think. One thing I'm nervous about, excuse me, University of California, San Diego, I think. So he told the story factually and well. And when you compare the story he told, and he told you when the movie went off the side, when it was fictionalized, it wasn't that many times. It wasn't for that many points. So when you heard it from the horse's mouth with him, you realize that the movie was pretty accurate. And the people, those were the people. And that's how they conducted themselves. And that's how it wended its way through the courts. So in the Schoenberg speeches, and there's more than one, there's a number of them, he's been a popular speaker in California. And nationally, is a great roadmap for the movie. And the movie is essentially true. My wife and I went to the gallery in New York, where Louder, Louder, Louder, you know, Chris, the Louder, the mega company, S.T. Louder, bought the, ultimately bought this painting. He must have spent a fortune. Nobody told, nobody says how much he spent, but he must have spent a fortune with all the notoriety his painting has had. And we saw it. And it's very interesting because they have two places in the gallery where you can see it. One is the real painting, which is framed by some statues they found that were that framed it in the original presentation in Vienna in the house of the family. And the other is a copy. And there are so many people coming around to this Louder gallery that they go and see the copy because it's not so crowded. It's very interesting how popular it is. And it is a beautiful painting, for sure. And it tells, you know, it tells the story of the time of the early 20th century and the kind of literati of Jewish community, the intelligentsia of the Jewish community in Vienna at the time. They really lived a good life. And he, Schoenberg talks about, you know, how long did that go on? And the answer is there was a period, yes, well, there was a period of enlightenment for the Jews in Austria. And they were not really permitted to do business. And at some point, I guess it was the fall of the Austrian, Austrian Empire, that they all of a sudden now they could do business. They started, you know, doing business and they did well. But the fall of the empire, you know, in World War I and then II, it wasn't that long.  And the rest of the wealth was impressive. And they focused on, you know, this family anyway, they focused on this art. And Klimt was a favorite. And he was a favorite even then. And they bought up a lot of his art. And they had him paint, you know, some of their family members. This was, you know, old fashioned aristocratic salon, where they were, you know, befriending the artist. One of the small things that they did change, when they focused totally on the women in gold painting, in reality, there were five paintings that the fight was about. And all five paintings were recovered as a result of the lawsuit.  That was pretty gutsy of the attorney to really be willing to go back to Austria and do the arbitration in Austria. But he also points out that he had a client who at that point was 88 or 89 years old. And whether she really would live it, he did a traditional legal fight in the United States. The odds were still being alive, where we're not that good.  You're fighting the country of Austria. And in the country of Austria, the museums belong to the country of Austria. And the museum wanted this. And in fact, you know, the painting had, at that point, never left Austria. It was painted in Austria. It was shown in these private homes in Vienna. And it was kept in the war in Austria. So that Austria felt that it had a real connection with these paintings. And it wasn't about to give them up easy. So it fought Schoenberg at every turn. And it was remarkable. The State Department had joined in. Yeah, the State Department was on the other side. Yeah. Yeah. So here's this young lawyer not only finding the Austrian government, but also has to be fighting against it against the US government, who was not pleased with how he was interpreting the US statute on suing foreign countries. Yeah. And it's also an interpretation question on exactly what the will of what was her name, Adela, right, said, and how the language in the will worked and who, whether she owned the paintings or her husband owned the paintings. And there was the law in Austria about, you know, primacy in favor of the husband and the language in the will was ambiguous. And he really had to go through every issue in the book, aside from the jurisdictional questions. But somehow, you know, and it makes it clear in the movie how remarkable this was, somehow the country of Austria decided that they would arbitrate. They could have held him up, as you said, until his client died. But no, they agreed to arbitrate and to an arbitration by a panel of arbitrators in Austria. And and he won the arbitration, which was remarkable because, you know, Austria was actually, you know, again, it was against the Austrian interest. And they were against themselves. Yeah, right. It was a three nothing vote. It was one of those things where the arbitration was one side picks an arbitrary other side picks an arbitrator. Those two arbitrators pick the third one. But not only did they went over the independent and the one that he picked, I mean, the actual one that the Austrian government had assigned and a voting in his favor. So I mean, that that was one heck of a presentation. Yeah, well, surprising, you know, to him anyway, that the Australians would be so tolerant understanding, considerate of his client, he thought they would, you know, take every possible step to keep the art. And remember to the Angeles and the feelings of the Austrians about the Germans. In those days, you know, they were not unfriendly to them. Angeles was a voluntary surrender of territory. It's not like the Blitzkrieg or anything. Oh, no.  So, you know, it was a surprise. But as you said, his client Maria was, you know, aging out here. He didn't want to take the chance of losing her. It was remarkable. The whole legal experience for him was remarkable. It should stand as a, you know, a beacon for every young lawyer. And I do remember what, you know, he was with a big law firm somewhere in the West Coast. Well, it was the LA branch of the New York City law firm. Yeah. Sergeant Sy's driver. That's right. Yeah. Yeah. And he was working on this case and they didn't like it. They thought it was pie in the sky. He was never going to, you know, make any money with it. And he said, I'm sorry, I really care about this case. I'm out of here. So he quit the law firm and did it solo. Later on, you know, he created another law firm and he's with that law firm today. He's still a young man. This all happens, you know, over the last, what, 20 years, if that. So he's a hero. And his comments that he made in the one YouTube video that I so enjoyed, which was in what the San Diego Museum, I think it was, was so articulate, so easy to listen to. My wife and I were, you know, watching it, entranced by how this guy would tell a story. Usually lawyers tell technical stories about their adventures in the law, you know, you fall asleep. Not this case. No, he talked about the family itself and just the other artwork that they had. They had that porcelain collection. The family had the largest porcelain collection of anybody anywhere. I mean, that's one heck of a lot of wealth. The tello was, it was a Stravinsky and it was, I mean, the amount that they had acquired, amount of wealth. It's hard to imagine. But you know, the whole experience with World War II and the Nazis and the way they were treated in, you know, Kristallnacht or after and all those people in the family being murdered in the camps and separated from their property, from their homes. A number of them, you know, couldn't, wouldn't go back. It was one relative he talked about who went to Switzerland, never returned to Austria, never regained his property, his home, any of his personal effects, his art. So, I mean, the discobobulation was huge to this family. If they were nouveau, you know, in the early part of the 20th century, life in the salons of, you know, Vienna, by the time the war was over, they were, they were just middle class. They didn't have it left. And, you know, Maria Oakman, middle class, she didn't have any significant wealth. She couldn't afford Schoenberg. Right. Well, that was part of her problem. I mean, and now she ended up doing the U.S. lawsuit was that the amount of money she was going to have to post to pursue the legal litigation in Austria was $1.8 million. That's the lady that's collecting, oh, she's over so security, but she had a little dress shop. You know, how much money could she possibly have been making? She was marginal. And so that's what makes the story so interesting when you see them, you know, as a turn of the century, so successful and such a, you know, an integrated family and buying art in Porcelain and what have you and then all of a sudden reduced to, you know, nothing. They were happy to get out with their lives. And many of them didn't. Many of them were killed. So that's, it makes the story, it roots the story in the Nazi takeover in Austria. It roots the story in great art. It roots the story in the Holocaust. And it roots the story in modern day law, international law, which is, you and I know, it's unpredictable, you know, it's hard to find international, it's elusive. And he managed to find it. I mean, it was a matter of luck, I think, both at the Supreme Court level and ultimately at the arbitration in Austria. Exciting for a lawyer to watch, but I think exciting for everybody to watch it. It's a classic history. I mean, the law is totally integrated with the storytelling, but it's not a legal drama. It's much more about a family and how to regain what had been lost. I've stolen this case, not lost. Well, but remember the thing they were forced to sell? That was the big issue there. They were under pressure to sell. Oh, I remember now, they had been taxed. And the tax was a exorbitant tax. Yeah, the fellow who left for Switzerland had was able to get the various people that owned the company they all picked up all that had money. And the Nazis weren't, weren't at all happy about that. So they basically were claiming a tax liability. And then that was their excuse for taking the various properties that they took. Yeah. So there was so much pressure on them. They had to sell at giveaway prices. And they, Schoenberg argued later that those, the pressure to sell was tantamount to taking the art away from them because the tax was really ill-lawful, unlawful. And it was confiscatory and it left the family with no options but to sell. It's a sad story, but I'm sure it played out many times in Austria and in Germany and other countries in Poland, for example. Yeah. I loved the movie. I loved The Woman in Gold. I loved it when I saw it. I loved going to see, that's why my wife and I went to see the one in the Lauer Museum in New York. We wanted to, you know, we wanted to sort of touch that, I don't mean touch it physically, but we wanted to be close to it and enjoy it and see what it really looked like. And it was worth the trip going to that museum and seeing that art.  There's something relevant about this movie about, you know, knowing people studying what happened in the war, studying the law, seeing how things work now. It sort of brought the whole century together, didn't it? Right. No, it was. And there was, as you said, there were little things that they changed from the reality. But I don't think it really makes a big difference in terms of major story they were telling. The reality was in the movie Maria leaves before her father dies. The reality was she did stay in Austria until the father died. And then she and her husband did the escape. But it's like one piece, five pieces, in terms of the art. You know, the central story is about the family itself and how they interacted. It's very different than the French version. Isn't that true? This is a family that was so tight before, during, and after. And you really cared about them. They cared about each other. And Schoenberg had all these old-time photographs of the family together, you know, the group shots of various members of the family. And it was very touching to see how they lived and cared for each other. And you wanted to meet them. Oh, yeah. You wanted to know these people. Which is exactly the opposite of the French family. Right. Yeah. Yeah. You know, who do you want to go have a beer with afterward? Yeah, exactly. After the French family or the class of wine in the French. There was so mean to each other in the case of The Woman and Gold. So what did you think of the acting in, you know, in the movie as, you know, production values question? How did you think that the Woman and Gold did? Well, the lady played Maria.  Helen Merlin. Yeah. She did just an excellent job.  The actor, it was very believable, played the lawyer. You know, that came across. The acting was, I think, a very good quote. As opposed to the art dealer. I agree with your comments about the lead actors. You know, you really, you like what she was trying to do. But you really never felt very, very strongly about her personally. Yeah, there were no heroes, really. I mean, the women, the art dealer, the investigator woman, you had to admire her for her determination. But she wasn't, she wasn't a heroine to me.  Yeah. Because Helen Merlin is a fantastic actress. Yes, she is. And the fact that, you know, she was at various points, you know, with one to give up, just got tired of it. It was a very human reaction to where we're occurring. You can just imagine somebody, after all those years, at that age, just saying enough already. In fact, one of the few things that really bothered me about the film is the fact that when he filed the lawsuit and the way they presented it, he didn't have her authority to file the lawsuit in her name. That was one of the few little, that was the lawyer in me saying, that's not how you do it. If she hadn't changed her mind, you could have had serious repercussions. You could have had a very short legal client. He's, to me, he's the star of the show because he found an impossible situation and undertook to write it right down to the end. And that was, that was really fantastic that he did that. And he, you know, to the extent that he's achieved a claim among the profession, and among the public, he deserves it. He deserves it because he's stuck to it. And I think, you know, for most of the time he put in, he had no real prospect of being paid. Oh, no, no. He ended up being paid because it worked out. He paid pretty answerably. So, you know, I mean, I think it's clear from my discussion that it's a worthy comparison, really an important comparison to compare these two movies. And, you know, I hope we've done a decent job at it. There's more, if you look at Mark Golan, you know, versus the, I mean, the filmmaker of the French movie. And as against the players and organizers of the, you know, producers and directors of the American movie. It's a lot different. Totally different stylistically. Yeah, yeah. And so, you know, so I think from our discussion, it would seem to me that we are likely to rate the woman in gold, the American movie, Helen Merritt has a much better movie and story and viewing experience and all that than the French movie. But what, how would you rate them comparatively, Steve? Well, no, I think you just summed it up. I mean, the, because the characters in the French film, there really isn't anybody that you truly like your respect with the, with the woman who's doing. But, but there isn't any character in there who you, at the end of the film, go, gee, that was really an interesting person. I'm glad I had an interaction with them, where in the women in gold, Maria herself is a fascinating woman and the lawyer, it's just a difference between the two is quite different. You know, maybe the French film is like a C plus, as opposed to an A minor for women in gold. Yeah. Well, on a scale of 10, what would you give the one, what would you give the other? Maybe a six to the art dealer and a nine to women in gold. I'm close. I would give a six, or possibly a five and a half to the art dealer, only because I I thought it was there was something so cold about the film, even in the one moment where she, if you remember, she burst out in the cemetery. And she revealed, you know, the fellow who had stolen the art told everyone in the family the story. That was that was the most powerful part of that movie. But it wasn't all that powerful. And then they all walked away and and all the characters, you know, remained the same.  That's the thing about literature and movies in general. You want to see a dynamic in the character. You want to see the character learn something. You want to see the character change, evolve. You want to handle on that. Yeah. Yeah. So I don't with the end of that art dealer movie, I think they were all they all went back to where they had been. The only difference was the who had possession of the art change. But yeah, in terms of the individuals, no, I mean, there really wasn't in any growth where you could even the women goes, I mean, the lawyer clearly grew a lot during the course, he matured a lot as the movie went along. And Maria Altman, you know, found herself in a way. And she was on a search all her life to try to you know, recover something out of the family life in Vienna. And she did and get it into the United States and she did. So there's a dynamic there.  But the Austrians had a dynamic they, they, they ruled in her favor. There was a dynamic there that was saying, look, you know, we recognize, we understand, we acknowledge, and we will give her the benefit. And that was the dynamic there for sure. So I thought, I thought that was a 10 movie, Woman and Gold. And I think it's even better than a 10. But your idea to compare them, Steve, and I'm so glad we did. And I hope we can find other comparisons going forward. Because this kind of discussion is very valuable, especially when the movies are covering the same, you know, the same general area of history, human activity, but they are so different in so many ways. A great comparison. And of course, the underlying subject matter, the monument meant about what the US government itself did during World War II, to try to preserve the art. That was a very entertaining movie, not the usual World War II movie. And they spoke of it, or Schoenberg spoke of it, you know, in his remarks, the monument meant. But I guess if you, if you, if you shake it and bake it, I come away with a perhaps a better understanding of the value of art to people and to museums.  Oh, yeah. And it reminds me that this, this art, when it was sold to louder, I guess, the one in gold, it was at an auction, right? And it was so very, very high price. I overbought hers, her version at auction, but wasn't that a private sale? And I don't know, you're right. There was one of them was an auction, the other was a private sale. Yeah. Suffice to say that you have to have plenty of money to enjoy art like this. And it goes, it really is through loudest credit that he puts it in a museum. Yeah. I think it was something in excess of 70 million, the big board. Yeah. And a lot of that is because it had such a history. Yeah. It was more than just a work of art. I mean, a very quality work of art. But it had interaction with, with, with the art in one of the positive things actually in the art theater is very early in the movie when, when the father sees the picture that he had seen as, as he was a three-year-old and how he brought back both of the memory. The early scenes in the art theater, before you really learn what the whole family is really about, actually are more entertaining than the latter part, you know, the moving ends with the recovery of the art, of the art. But at least you had a very human reaction, you know, because he hadn't seen it in 40 years or some extended timeline. So there, there it is. We'll have to close on that. And the point you, you raise is that art can be extraordinarily humanizing to a group, to a family, to a community, or it can be dehumanizing and just as easily. And we saw both sides of that. Thank you so much, Steve. Steve Goodman, our movie reviewer and lawyer. We'll be back in a couple of weeks with more. And I really enjoy this discussion. Aloha. Thank you so much for watching Think Tech Hawaii. If you like what we do, please like us and click the subscribe button on YouTube and the follow button on Vimeo. You can also follow us on Facebook, Instagram and LinkedIn and donate to us at ThinkTechHawaii.com. Mahalo.


Personal finance, PowerPoint, Presentation, insurance companies, prepare to get financially fit by practicing personal finance. Remember that insurance planning is part of our long-term risk mitigation strategy where we use the adage of measure twice, cut once, putting a formal process in place, looking something like we're gonna set our goals, develop a plan to reach those goals, put your plan into action, review the results, and then repeat the process periodically. Most of this information can be found at Investopedia Best Health Insurance Companies, which you can find online. Take a look at the references, resources, continue your research from there. This is by Rani Sandroff, updated May 7th, 2022. In prior presentations, we've been talking about insurance in general, focusing in on the health insurance specifically here, noting health insurance can be more complex than other types of insurance due to in...


Adam Sandler's back with another, check's notes, Netflix exclusive. Yay. The track record of these films has not been great, but this one's very subdued. This one takes place in space. It's about a guy's psyche as he tries to navigate his life in isolation. This could surprise me and be Netflix's 2024 Uncut Gems film, something that's wildly different and wildly entertaining. And wildly false. This movie put me to sleep 13 times and counting. Let's talk about Spaceman. Before I waste my time reviewing this film for the one person that cares, feel free to subscribe to the channel as I post other movie reviews on things that are more topical in today's day and age. I think there's a little something for everyone, movie reviews, roasts, live streams, all on film all the time. So we'd love to have you stick around. You know, after a string of decent movies, Adam Sandler really started missing a lot for me. And I actually implemented a no Adam Sandler policy with my household. We just we didn't see him. I refused. I refused to throw money away over and over again on bottom of the barrel comedy, and then he kind of shifted gears. He started doing more drama stuff, mixed in some comedy here and there. And I kind of came back to Sandler, but it's almost always a disappointment.  Why did they come back to you, Sandler?  He really does seem like a good guy in real life, like a down to earth, fun, cool dude to hang out with. I don't care.  This is going to be spoiler free. I want to point something else out. It's not lost on me that lately on the channel here, if you are familiar, there's been a lot of bad movies, a lot of negative reviews for me, and that's not by design. I still love going to movies. I still love watching films, but honestly, it's been a bad run as of late. Some movies that have been just incredibly mediocre or downright and saltily bad on our intelligence. And I'm not going to pretend I'm not going to sugarcoat them to get some goodwill or whatever to seem more fair and balanced with my reviews. Like, oh, you know, he was negative on this one, but look, he's very positive over here. So really yin and yang situation. No, if there's a string of bad movies, which I think there have been, there's going to be a string of reviews that are are on the negative side. And that's just how it is. That's life. Hopefully the ship will turn around at the end of last year.   There was iron claw, Oppenheimer. I enjoyed Barbie. I there's just a lot of stuff that I really liked.  And I don't see that changing for a while. I'm looking at the roster coming up, not of things on the list that I'm really eager for back to Spaceman. I didn't know this movie existed because that's just the nature of movies now. In general, they come out in the streaming services. You don't know about them until there's this huge push on social media, which is where my wife comes into play.  She said, Adam, you got to watch this movie. It's trending. People are talking about it. They're loving it. It's Adam Sandler doing something different. And I instantly my jaded side clicks in and I go, yeah, no. The same thing happened with you're so not invited to my body. Mitzvah. That movie was absolute garbage. And it was pushed like crazy by people, by influencers online that were saying it was great. His kids are in it. I'm pretty sure his daughter is in this one for a cameo, too, right away. That's just nepotism at play and fine, whatever.  So fair, fair play. People do it all the time with jobs. They get their kids jobs. I don't necessarily knock it, but I don't need to celebrate it if the acting's bad, right? I'm looking at you, Dakota Johnson. Broad overview. What can you expect from this film? Well, a quick synopsis this short for synopsis. Adam Sandler plays a Czech pilot named Jacob. He's up in space.  And so they send one astronaut up. Not I don't know. I would imagine it takes a team. But then again, this movie is not really interested in answering a lot of questions. It's more or less just a story of a guy who's trying to come with some trauma. That old chestnut. He's got father issues. He's got relationship issues with a wife who's pregnant. And that's that's the movie. It's him up in space and he meets an imaginary friend or maybe a real friend. It's an alien spider thing who's going to guide him on his journey. They're going to have conversations in super slow motion. They're going to swim around in the ship in super slow motion. There's going to be slow background music that's going to lull you to sleep every 10 minutes. This movie could easily be put on in the background of any household. And it's going to knock people out like that. It's it's really a great sound machine at the end of the day. And I give it props for that. I actually do have a couple of positives here. Number one, it looks pretty good. I would imagine the budget's pretty small for this film, a pretty scant budget and they're making use of it. They're flexing it. The CG on the spider alien. Pretty solid, not amazing by any means, but good enough. It's getting the job done. The director wisely uses a lot of shadows, a lot of light sources to illuminate it in the right angles without making it look too fake. Not like displaying it proudly. I appreciate that it's somewhat of a different movie. Obviously, the topic isn't. It's been buried into the ground at this point. Overcoming trauma, moving on, acceptance. That stuff's all that stuff's all very traditional. But I can give it props for at least being a unique story that's telling things in a different light. What else? Um, no, that's about it. That's really about it. I just didn't like this movie at all. And I didn't really go in with any expectations outside of two things. One, Adam Sandler's led me down over and over again. And two, social media seems to be pumping this up and liking it. Those two things coming together really kind of cancels out. So I'm going in without a trailer. I'm going in fresh as a daisy. And I leave absolutely disappointed. Just bored to tears with this film that really doesn't go anywhere interesting. Another technique this director is using is what I'm calling spider flashback vision. There's often little instances where the spider is getting in the psyche of Adam Sandler's character and we do flashbacks, but it's all blurry. Or there's this weird roundness to the sides of the screen. And it doesn't look good. And kind of the headache induced scene. Again, there's this melancholy vibe to everything. Carry Mulligan's in this as the wife who's grieving at home or coming to terms with the fact that her husband's been gone a long time. She's not sure if she's going to carry on in the marriage. Things are rocky, to say the least. And every time we cut to her, holy God, is it boring? It's just nothing is happening with this character at all. Just small little conversations, very tedious. The dialogue's not interesting. And then we're back to Sandler's character, who's not doing a whole lot more of interest. Bottom line, this isn't one I would recommend on Netflix, but really anyone. There are better movies out there that have psychological twists to them, take place in space, or just more fascinating to watch. Here, I'll give you a couple. Interstellar, watch that instead of this. That's a fantastic movie directed by Christopher Nolan. The Martian with Matt Damon. It's way more fun. It's way more engaging to watch a story about a guy stranded on a planet when he is more positive and upbeat and ready to take on the challenges, as opposed to Sandler's character, who is just dead inside.  He doesn't have any, like, what I'm talking to an alien? He doesn't wake up at all. He doesn't seem to really have much curiosity with the creature, where it came from, why it's here. He's just so, like, nonchalant about all of it. Like, oh, whatever, don't touch my stuff.   That's what that's what the alien refers to him as, skinny human. He talks like this, skinny human. I just can't. The movie, I can't. I think I've said enough. Let me know if you watch Space Man and if it just blew you away, it captivated you and you thought, Adam, you're completely wrong. This movie is phenomenal. It told us things. It was experimental. It tried different stuff out and it stuck the landing.  I could have done really anything else and it would have provided more value. Let me know in the comments below. Please, again, think about subscribing as I post tons of movie reviews each and every week. We'd love to have you stick around. Go ahead and like the video if you did, in fact, like it. And you can even become a patron at patreon.com slash Adam does movies. And depending on your support level, there's a bunch of different perks. Over 300 exclusive videos in the video archive for Patreon members only. Plus, I'm doing monthly vlogs. So if you're a $10 member or higher, you're going to get access to a couple of those each month. All right, that's all I have for you. Thanks for watching and hopefully I see you next time. Take care.


During a 10-year period, 225 dead bats belonging to 21 different species were collected in Slovenia and tested for lysoviruses. One of these samples was found to contain Devaka batlysovirus, which is a member of the genus Myotis and is closely related to Kotolati batlysovirus. This suggests that Myotis bats may play a significant role in the transmission and maintenance of certain lysoviruses. This article was authored by Daniela Cern, Peter Hosnik, Ivan Toplak, and others.


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Although total fasting can dramatically increase blood levels of the stress hormone cortisol as much as doubling within five days, just dieting alone does not. There is, however, a way stress and obesity could turn into a vicious cycle. Weight Stigma Across thousands of individuals followed for four years, those reporting discriminatory experiences had more than twice the odds of becoming obese, and those who started out obese had more than three times the odds of staying that way compared to those who started out at the same weight but didn't experience discrimination. Now this could be from stress-induced eating on one side of the calorie balance equation or stigma-induced exercise avoidance on the other. Obese individuals with more frequent experiences with weight stigma report greater avoidance of exercising in public, feeling judged and embarrassed. These two-fat exercise fears may be well grounded. Strong anti-fat biases have been documented in both fitness professionals and regular gym goers, which may translate into an unwelcoming environment in fitness centers and health clubs. Whichever side of the calorie equation gets tipped, those who experience weight stigma can also end up suffering health consequences independent of any added weight. Those reporting more frequent fat prejudice exhibit higher levels of depression, higher levels of inflammation, and higher levels of oxidative stress as well as a shorter lifespan. Two studies, following a total of nearly 20,000 people, both found about a 50% increase in mortality risk among those reporting greater daily discrimination. Weight discrimination may shorten life expectancy. Despite these hazards, some scholars advocate for even more fat shaming. The president emeritus of the prestigious Hastings Center infamously advocated for a kind of stigmatization light, using social pressures to compel people to lose weight without resorting to outright discrimination. After all, he argued, what else has the potential to counter the persuasive force of the billions spent in advertising every year by the food and beverage industry? It worked against tobacco. He recalls his own battle with addiction. The force of being shamed and beat upon socially was as persuasive for me to stop smoking as the threats to my health. The public health campaign to stigmatize cigarettes turned what had been considered simply a bad habit into reprehensible behavior. When such campaigns have been tried, they've been met with fierce resistance, though. Georgia's Strong for Life campaign featured billboards of morose-looking, obese children with captions like warning, chubby kids may not outlive their parents, or it's hard to be a little girl when you're not. The campaign's sponsors defended the ads as an attempt to break through the denial and a state with some of the highest recorded childhood obesity rates. It's only defensible, though, if it works. Yale researchers found that when normal weight women are provided with bowls of M&M's, jelly beans, and chips to snack on after watching clips of stigmatizing material like clumsy, loud, lazy stereotypes getting teased about their weight, they eat about the same amount compared to watching neutral material, such as insurance commercials. But when overweight women watch the same two sets of videos, they triple their calorie intakes after watching the stigmatizing scenes. The researchers concluded this directly challenges the notion that pressure to lose weight in the form of weight stigma will have a positive motivating effect on overweight individuals. In other words, it could make things worse. Being labeled too fat in childhood was associated with a higher risk of becoming obese compared to children weighing the same who were never told that. But does that mean we should just ignore the elephant in the room? Many doctors apparently think so. Just as veterinarians have been found to be reluctant to tell people their pets are obese, fewer than a quarter of parents of overweight children report having been told by pediatricians about their child's weight status. One might think it would be obvious, but a Gallup survey found that parents appear to be notoriously poor judges of their children's weight. Similarly, the percentage of adults who describe themselves as overweight has remained essentially unchanged over the past few decades, despite skyrocketing obesity. All this, Gallup concluded, helps paint a picture of mass delusion in the United States about its rising weight. I think patients have the right to be informed. Those told by their doctor that their overweight have about four times the odds of attempting weight loss and about twice the odds of succeeding. Just as smoking physicians are less likely to challenge their smoking patients, overweight physicians are less likely to bring up the subject of weight loss or even document obesity in their charts. Ironically, overweight patients trust diet advice from overweight doctors more than docs who are normal weight. Unfortunately, primary care physicians appear to have little to offer in terms of specifics. Fewer than half who were surveyed said they provide specific advice to their patients. Just telling patients to watch what they eat is unlikely to be particularly helpful. But many primary care physicians may not even get that far. Most physicians said they would spend more time working with patients on weight management if only their time was reimbursed appropriately. Maybe we could offer a bonus to refrain from blaming the victim, as one pair of commenters wrote in response to the pro-stigma camp. If shaming reduced obesity, there would be no fat people.  If this doesn't foster sympathy among my medical colleagues, I don't know what will. Researchers talked to men and women who had lost and kept off more than 100 pounds to tap into their unique insight, having personally experienced what it's like to be morbidly obese and then, on average, 126 pounds lighter. 47 such individuals were interviewed. They were asked to think back to when they were heavier and make a choice. If someone offered you a couple million dollars, if you stayed morbidly obese forever, would you have chosen the money, or would you have chosen to be normal weight, no matter what? Option number one was, I would have chosen no money in being normal weight. Would have taken me about a second to decide. Option number two was, I probably would have chosen being normal weight, but the possibility of having that much money would make me think about the choice. And option number three was, I wanted to be normal weight, but I really could use the money if I would be a multi-millionaire. I think I could live with being morbidly obese. One of the 47 had to think about it, but the other 46 jumped at option number one. No one chose option number three.  If that shocked you, buckle your seat belts. They were then asked about being obese compared to other disabilities. Normally when you ask people to choose between living with their own disability or switching to a different one, there's a strong proclivity to stay with their own. For example, even though most people would rather be deaf than blind, blind people prefer to remain blind by a large margin rather than having sight without sound. They already know how to cope with their own disability, and so there's safety and familiarity. However, the exact opposite happens when the formerly obese were asked. Every single one of the 47 said they'd rather be deaf for the rest of their lives than obese. Every single one said they'd rather have difficulty reading, be diabetic, have very bad acne or heart disease than be obese. More than 90% said they'd rather have a leg amputated, and similarly about 9 out of 10 said they'd rather be blind their whole lives than obese. Obesity appears to be the only handicap where nearly everyone wants to switch no matter what the cost. To quote one study subject, when you're blind people want to help you. No one wants to help when you're fat.


Hey guys, it's Sunday. Welcome to my blog. It is Sunday May 27th. We didn't go away at all for the weekend and we were working on all these projects. I am sad to say we didn't accomplish much today. It was just kind of one of those things. Jay was going to try to change a faucet. We had bought a faucet and he was going to try to change it for me and he got dizzy under the sink so that was the best. He can't go upside down. He's just one of those guys. He goes upside down. He kind of loses it. So no day trip but maybe tomorrow. Tomorrow might still work out for a little bit of a day trip. But anyways, I hope you guys all had an awesome Memorial Day weekend and join me on my blog this week. I have no idea where it's going to take me. So happy. What is it? I was going to say Monday morning but it's really Tuesday morning. It's the Tuesday after Labor Day and I've had the last three days off. Saturday, Sunday and Monday and it was like I wish we'd gone away. Although Sunday was a total washout but I wish we'd gone away for at least two of the days because it was really nice but I did get a lot accomplished. So last night, and the reason I have no lips to go on. I do have some foundation and obviously curlers in my hair but last night I at Dermal World, I had skipped two weeks so this was like the third week. So I did Dermal World and I can't remember why I skipped them but I did. I can't remember but anyways. So I did my scalp last night.  I was red when I woke up. I'm red this morning still. Now we Dermal World early on Sunday so that I would you know not go to bed immediately afterwards. I like to Dermal World and I like to you know do it a couple of hours. You know three or four hours before bedtime. That seems to work out the best for me. So I ended up Dermal Rolling and then I did all the serums everything that I normally do but I'll tell you the first thing I put on after Dermal Rolling was my Niacinamide and I just turned beet red like right away. I didn't have any bleeding but I did have pinpricks especially on my forehead. I do use a numbing cream so that makes it a little bit easier to tolerate because it was not easy and after I did my Niacinamide I still have some of my ordinary buffet so I put that on and then I let that sink in and then I ended up doing my Hyaluronic Acid and put that on and then after that sunk in I put my carrot oil on which is the first time I've used the carrot oil.  I put the the carrot oil on. I tell you the carrot oil is extremely rich but and it's slow in my skin to absorb. I didn't use my jade roller. I probably could have but I didn't use my jade roller. My skin was sensitive and I bet you the jade roller would have felt really good putting it on. I don't know why I didn't. I don't know why I didn't think of it the next time but I put the carrot oil on. I let that sit in for a really a long time and then right before bed and on Dermal Roll nights I don't use my beet red and cream but right before bed I put on the It Cosmetics Secret Sauce Cream that I have and I put that in my trouble areas. I did it around here. I did it around my eyes etc as an eye cream. I really I really like that. It's really expensive. Am I noticing a huge difference with it? No but I like how it feels on my skin you know. So I don't know that I'm going to buy another bottle of it. We'll see when I run out but I am enjoying my It Cosmetics Secret Sauce Cream a lot and the carrot oil surprisingly. Yeah the carrot oil was really good so yeah. So we'll see. I hope my skin calms down. I've got to head to London Dairy to fix my hair.  Tonight we have a wake. I'm going to meet my mom and my sister.  So we're going to go to the wake tonight. Not looking forward to that but the cycles of life. So maybe I'll turn this back on when I've got my hair done just so you can see how it came out. Alrighty I'm back.  I forgot to mention too that after the wake I have a hairdresser's appointment tonight at seven o'clock. My roots are so bad. I have so much gray. It's unbelievable. She's probably not going to cut it just touch it up. So this is just kind of like loose kind of free flowing or whatever. I debated putting it up today but I think I'm going to just wear it down. On my face I have the It Cosmetics CC Cream because I derma rolled last night or maybe in general. I don't know. I'm peeling really bad. Now usually when I derma roll I peel like three days afterwards. So this is probably peeling from my retina and derma rolling in combination because my nose is peeling and my upper lip because I've been focusing on my smokers wrinkle and I've been really trying to work that area. So I've been peeling a lot of my upper lip and also on my nose. So I have that on. It has settled in. You could take if you zoom in which I'm not going to do. You'll see that I've got like peeling and flaking and funky skin. On my eyes I'm using the Afterglow Cosmetics palette. This was sent to me quite a while ago. I've already done a review on it from the Octolene Network. I really I really like this palette. For me I can create a very easy sort of like low key day look which is what I think I've tried to achieve and I really like it. I also have on my eyes and I don't know what the shade is but I got a three pack of the Urban Decay that I bought I don't know maybe two weeks ago and I think I already talked about it. So this lighter one I've been just dabbing on the inner corners of my eyes and I really like how that's looking. So yeah so I'm kind of low key. I have my It Cosmetics brow pencil on and I have my brow gel.  I know this sounds pretty gross. And then on my face this was something that was sent to me from Becca Cosmetics by the Octolene Network. I already talked about this Maui Nights. This is a bronzer. I'm using it as a blush. I just put it on a little thing and I just kind of dabbed it on. I should always remember to say this on a quest to try to be the best possible me I can be. I am not ready both financially and emotionally to do any kind of surgical intervention and I'm 64. So if I can try different cosmetic things and you know if I want to experiment with my skin with derma rolling and in retinae and you know the Olay Pro Retinol treatment I've been doing around my eyes. I'm I'm I'm undertaking that based on my own skin and my own reactions and all I can say is there's pros and cons to everything. My eyelash serum for example I use I've been using Blink. I love it prior to that I use Kairprost. My sister can't use those products so they don't work for everybody and derma rolling isn't for everybody. Retinae isn't for everybody and the Olay Pro Retinol I I mean the jewelry is still out but it will tell you I am liking it so far a lot.  So that said I think I kind of not that anyone asks sometimes people do ask oh what are you wearing today? So yeah so yeah sorry about the shaky camera I'm on my selfie stick again this is not like set up for you know all my lights, camera and action not set up for a sort of a talking head video but gearing up heading out to work and then full day today because hairdressers at seven I probably won't get home till about 9 30. My stepson and his significant other are going to be arriving on Friday Friday. I forgot to I forgot to show you my earrings so these are my Swarski's Bella. These are like a really pretty I don't know if you can I'm looking in the viewfinder here I don't know if you can really see them they're real pretty light blue I really like them a lot I really do they're I wear a lot of bellas I have them in the clear color I have them in a darker color if I'm a purple color they're not cheap Swarski's are expensive but well relevant relevantly speaking I guess but I really like it but I know a lot of people will say that round earrings are not good for fat faces because it just makes you look fatter in the face and if you wear long dangling ones they elongate your face so I say tough kaka I wear these a lot I do also wear a lot of long dangling ones and I have a fat face with fat cheeks you know high forehead I've got cowlicks all over the place so tough kaka I'm wearing my round earrings and traffic was crazy but I made it down to my folks house and my sister's already here and I'm gonna go in and grab my mother and we're gonna head off to awake say hello mother say hello sister you're supposed to you're supposed to say something lovely to the camera my shy mother no I'm shy I have I don't know what to say I say hello she's never shy I'm just plain shy and over there on the steps is my dad wave dad I left my house without any earrings I am I'm gonna feel naked all day I'm gonna try to go for a pedicure so I'm gonna try to make an appointment I actually haven't had a pedicure I think since I think since March when Jay and I went to Texas I think I did it before that I can't remember I'm using my vlogging camera my Canon with the mic I love I love how my Canon works with the mic I love how the mic works I like how the sound is so much better than the Sony but this Sony that I'm using that I call my vlogging camera is just so portable portable I stick it in my pocket book and it weighs it's always there when I need it because it's always in my pocket book so anyways we're off to Boston we're going to be picking up Justin and Tamara and Justin is Jay's son he lives in Atlanta asked us his girlfriend so yeah so they're coming out here they got a camp and a drive away for two days yeah I think that'll be fun and we'll have a good time go up the coast it's supposed to rain here in the airport it's supposed to be crappy weekend actually it's been crappy for the last I don't know how long yeah it's supposed to be crappy weekend unfortunately we'll make the best of it so this is the uh traffic trying to get out of Logan International Airport in Boston there's Justin and Tamara in the back seat saying hi to everyone they had a great flight from Atlanta they brought the humidity with them so yeah now we're um we're heading north and Mr Grump sitting over there is containing himself smiling nicely sounds like something right yeah I have no idea how long it's gonna take us to get home it is I think once we get beyond oh now he's high Jay's hungry his stomach is growling you guys hungry yeah let's see if I can zoom in on I ate I bought us some food because I knew did yes I did we had salad and Chick-fil-A on the flight Chick-fil-A got a sandwich made him eat it how did he pass out did he sleep all the way no all the way part of it part of it so they're good sports until they see them on my youtube channel when they see themselves on my youtube channel the man go oh she did that but yeah your youtube channel I am doing it this will be in my blog next week yeah I like it we are off like another herd of turtles right yeah where we go in this time head into Maine look at our company in the back seat ignoring me we're heading to Maine we're going to I think oops my bra strap um I think we're going to uh nub a light Portland I don't know are we going to LLP and I can't remember but anyways we're just going to do the tour routine this last one was destroyed in the so pretty you know it's really unusual to I think to see this be this calm oh I got a little kiss in my video it's really really unusual because normally it's a lot more windy the ocean is dramatic and rough but it's just it's just like we're going to do the ocean walk we have two hours of free parking here so we're going to take advantage of it right Jay there's JJ down there say hi JJ say hi so I love it because I found a bunch of people and you know took their picture and so then they took our picture and then I posted it to Instagram and when they did that Jay Tamara Justin all left left me behind but what a beautiful place to be left behind I think there he is I caught up to you I caught up to JJ so dueling vloggers dueling vloggers so I caught up to him oh look at all this saltwater tapi vanilla Nathan my favorite was always always banana it was always my favorite I knew you wouldn't be able to resist fudge I just knew you wouldn't be able to resist and what are you unable to resist the peanut butter cups gorgeous I don't know if you can see it but that is lighthouse over there it's amazing after the lighthouse we drove to downtown old port and went to the thirsty pig where we met up with my niece and eventually her boyfriend after he finished golf and we just had a lovely relaxing afternoon hey guys happy Monday today it's June 4th and it was a rainy Monday it's late in the day I just got home I wanted to kind of shoot this sort of like summary clip really quick for you guys because I think I'm going to end the vlog here it's it was a long week but the rest of this week is just going to be work work nothing exciting maybe over the weekend we'll go camping I don't know and if that's the case I'll you know obviously shoot a few clips on that but I want to end the vlog here before it goes and gets crazy long I do want to say that I am so happy that we got to spend this last weekend we did the way we did it with Justin Jason Justin and his girlfriend Tamra they flew out as many of you know we were preparing for the visit we picked them up on Friday all the clips have already been shown and we just had a great time we had a great visit Sunday we ended up going to Portsmouth the weather was a little bit more chillier it was nice for us but it was on the chilly side for Justin and Tamra they're used to Atlanta and I think in Atlanta it's a little bit hot and humid a lot hot and humid probably anyway so we did Portsmouth we walked around I'm going to sort a couple of clips here we went into one of the deck restaurants Mott and Gail Woff sat by the water just overlooked the harbor it was really pretty had had some appetizers and then we worked our way down the coast and we went all the way down to Hampton Beach and it was really cold at the beach and even though the weatherman said it was going to be chilly we're going to have ocean breezes which always means cold it was colder I think than Justin expected and probably wasn't prepared for it so we kind of found our way to a bar I think we went to the sea catch and we went up on the third deck and it was enclosed and we just sat there and had a couple of drinks did some chitty chatting and then we went out to dinner so Sunday while colder was nice today Monday Jay brought both of them down to Winthrop Massachusetts which is very close to Boston where they're going to spend the next two days they're going to beat around Boston explore that whole area tomorrow night Jay's going to go down there they're going to catch a Red Sox game together I'm not going I'm going to actually cover it for Jay while he has a class Tuesday night so I'm going to take his class so he can go and yeah it was just a it was it was just a wonderful weekend Jay's birthday was Sunday Justin was last week so it was sort of their birthday celebration and it was really nice that he was able to come to New Hampshire and we just had a great little weekend with you know together so I think that's about it I don't really have anything much exciting to say beyond that so I just yeah I'm just going to wrap it up and say thank you all so very much for all your support and thank you for watching the vlog I know they tend to be long and probably boring to some of you but I hope you did enjoy what you did watch if you watched it that doesn't make sense but thank you guys see you later bye bye


Why Africa's billionaires are fleeing their home continent? In this video, I will be sharing to you some of the major reasons why African billionaires are fleeing their home continent. Hey, it's James from Africa Reloaded. I will be expatiating to you why despite the fact that Africa is such a rich and diverse continent with a lot of business potentials and opportunities to offer, many African billionaires are still fleeing the continent. If you have ever wondered why there are few or no jobs in Africa and why many billionaires of African descent rather invest in America, Europe, and Asia, I have spent some time looking for answers to this question and in this video I will be explaining to you why. I will appreciate a thumbs up from you as we ride on. Some of the richest people in the world reside in Africa, but during the past 20 years there has been a sharp rise in the number of African billionaires who have left the continent. Only 23 of the 52 billionaires who were born in Africa are still present on the continent according to the Africa Wealth Report 2023. The regulatory climate. In fact, Africa has one of the least business-friendly legal and regulatory systems in the world. In comparison to other regions, registering firms and obtaining various licenses is more difficult for African business owners. Sub-Saharan Africa contains 20 of the lowest 25 nations according to the Doing Business 2010 survey. The average ranking of African nations for ease of doing business overall is 137 out of 183 economies. According to the 2020 Doing Business Report, as opposed to 72 for Eastern Europe and Central Asia, 96 for Latin America and the Caribbean, and 87 for East Asia and the Pacific. Because they are over 20 times more expensive than in OECD nations, business registration and startup costs in Sub-Saharan Africa contribute to the region's high rate of informal businesses. Lack of investment opportunities. Doing business in Africa, business ideas, policies and laws are erratic in several African nations, which makes it challenging for businesses to prosper. Many African billionaires discover that conducting business in industrialized nations with solid legislative frameworks and more accessible investment opportunities is simpler. Also, it is difficult to expand enterprises in Africa due to the absence of suitable infrastructure, particularly those for transportation, energy and communication. Business security. Security issues are another reason why millionaires from Africa are emigrating. Political unrest, terrorism and bloodshed are commonplace in many African nations, which poses a risk to people's lives and the security of their companies. Several billionaires find it challenging to stay in Africa due to the threat of kidnapping, ransom demands and even death. Thus, many African billionaires see it as a risk to invest and do business in Africa. Taxation laws. Billionaires are also fleeing several African nations due to their taxation laws. High taxes can be a major burden for businesses, especially for those that are just starting out, even though taxes are important for a nation's growth and development. High tax rates are prevalent in many African nations, which can cause significant financial losses for firms. Another reason why African billionaires are leaving the continent is the high levels of illicit money flows from African nations, as well as the recognition of the potential of tax openness and information exchange to raise resources for development. Poor e-commerce potential. We have demonstrated that Africa has a huge potential for e-commerce growth. However, significant obstacles to the growth of e-commerce on the continent still exist. The biggest of these include cybercrime, a weak legislative system to enable e-commerce and insufficient consumer protection. The fact that more than 50% of Africans lack internet access is a key factor for the low e-commerce potential, causing African billionaire to leave the continent. The exodus of millionaires from Africa is not entirely a bad thing, either. Other business people and investors may have the chance to step up and take their place. Some billionaires' disappearance leaves a void in the market that other business people can fill. The regulatory environment, infrastructure, and tax structures can all be improved by African governments to increase their nation's investment appeal. The choice of whether to remain in or leave Africa as a millionaire is complicated and nuanced. It requires taking into account a number of variables, including political, social, and economic stability, as well as individual safety and corporate efficiency. In the end, each person must make their own decision based on their particular priorities and circumstances. Thanks for watching to the end. Please take a few seconds to like, share, comment, and subscribe to Africa Reloaded.


The challenge facing higher education is ensuring that the network can scale. With security protections and bandwidth expansion, to meet the access and data demands that continue to grow, allow me to expand. The exponential growth of personal student devices connecting to the network, including smartphones, laptops and tablets, is resulting in real challenges for IT teams at colleges and universities and requires high-speed connectivity throughout campus. In fact, a Pew Research Center found that 48 percent of Americans between 18 and 29 years old report that they are online almost constantly. To add to the complexity, faculty are increasingly employing hybrid and flexible, or is also known as high-flex environments. This combination of online and in-person learning relies on connectivity for on-demand coursework as well as streaming videos or conferencing for class meetings. Managing this growing demand on the digital infrastructure while also protecting a network from cyber security threats can make ensuring a secure network difficult, especially when working with lean IT resources or inexperienced staff. According to the Chronicle of Higher Education, about three-quarters of campus leaders say that hiring IT employees is a moderate or severe challenge. Spectrum Enterprise is working with colleges and universities to enhance the student experience with technology solutions that keep pace with these growing bandwidth demands by providing robust and reliable connectivity with ultra-high-speed data services which provide capacities up to 100 gigabits per second. Another priority in higher education is network security. Spectrum Enterprise offers cloud security solutions that help protect users on and off the network while keeping data safe and secure. Spectrum Enterprise also offers managed services. IT teams at higher education institutions can turn over the network management and maintenance tasks to Spectrum Enterprise so that they can focus on other business priorities. Our solutions support the campus network continuously, 24x7x365, and remove the burdens, complexities and configurations of risk that come with self-managed network services. To continue to meet student and faculty needs and expectations and to take advantage of innovative modernized networks, it will be important for higher education institutions to build relationships with technology providers that will deliver reliable, secure and scalable solutions that create a future-ready campus environment.