Inlong-aided skulls, along with their origins, are undoubtedly one of the most heavily debated areas within modern archeology. Many independently funded researchers who have explored and subsequently exposed vast arrays of unusual and as yet inexplicable features surrounding a particularly few examples of these intriguing and incredibly puzzling artifacts. More regardless of known head-binding practices, a well-studied and historically an extremely common practice, thus one which modern science has an extensive understanding of, including the effect this had on the shape of the skull, makes any skull which endured these traditions are easily to identify postmortem. The most commonly found incorporated wooden boards pressed upon the head, creating large flat areas along the frontal lobes. Pressing the brow area of the skull upward, this malformation creates a crease or bulge near the normal napping areas of the skull, as seen in these photos of remains currently claimed as a suspected alien found in Croatia. Yet due to this knowledge of malformation, we can easily identify that it is indeed of a Homo sapien. This so-called crease is easily identifiable upon bone structure. However, as previously mentioned, there exists a particular few whose remains not only have an elongated cranium, but the individuals in which they belong not only possess said craniums undeniably formed via natural processes, but are identical in appearance to millions of witness testimonies describing what we all now know as the Greys. With huge eyes, long, wide craniums, frames of a tiny stature, and micro-thin pelvis, remains of tiny humanoids, possibly visitors to our planet, who may have crashed here, subsequently marooned upon our planet, is an account which has been told before. We have in the past explored the compelling story surrounding the Dropa disks, an ancient upark that, according to a number of individuals who have examined and tested them, tell this exact tale. Long barrows, granges, earthworks, and hinges found across the United Kingdom all have rumors surrounding long-headed skulls being covered up after having been found at the sites. Passionately protected from trespassers, a vast number of the largest barrows have never been opened. Two-ton stones blocking the entrances, clearly suggesting they are buildings of tremendous importance, but without enormous multi-million-pound machinery, permits, and most importantly permission from the landowners, conveniently all these incredible undug sites are set on private lands. We will probably never find what's inside, but many rumors abound, like those which circle Bella's nap, tales which tell of more elongated skulls exhumed from the surrounding earth during a normal archaeological exploration. Yet regardless of this seemingly meticulous suppression in the UK, an incredible find has nonetheless been unearthed in Crimea. Many of the intriguing features of the remains are the same characteristics which gave rise to the elongated skulls of Peru's popularity. But this skull still possesses its tiny complete skeleton. The eye sockets which once housed the creature's eyes were enormous, and although the entire frame of the creature is of a small size, the lack of a pronounced pelvis would have made them very slender and would have emphasized the size of the cranium. It is a strong candidate for the only complete elongated skull remains in existence. We find the elongated skull highly compelling. The ancient ruins of Giza, perhaps the most incredible of them all, and possibly the clearest displays of academic conspiracy, with much of the most puzzling of areas, all but closed off, away from public view. An attempt to stifle controversial questions which inevitably arise from such baffling ancient wonders. However, this attempt to obscure the greatest aspects of ancient Giza just fans the flames of curiosity. For when one realizes that much of ancient Egypt is being actively covered up, so-called officials avoid any obligation to explain the methodology. Behind many constructions found on the plateau, structures and relics which to this day escape any logical explanation. Once one accepts this reality, one begins to wonder what unspoken motivation there could be to ardently hide these sites true characteristics. We have in the past covered many areas of ancient Giza which cannot be explained. Many people are aware of the issues surrounding the construction of the pyramids and the largely exposed void in modern understandings. However, this conundrum is but one among a smorgasbord of highly intriguing yet no less mystifying features hidden in plain sight all over the plateau. The basalt floor, which still contains volumes of tool marks, evident of high precision, high rotation ancient power tools. The gigantic megalithic blocks, each sunk flat, level with the base of the pyramids, which although walked over by millions, have been largely overlooked by all. Some of these blocks, forming the immediate foundations of the pyramids, are similar in size to the pregnant woman of Balback, which is estimated to weigh some 1,000 tons. Additionally, all of these features, according to mainstream teachings, were created by the ancient Egyptians. A civilization we claim merely re-inhabited the site, like many others around the world. It is a fitting hypothesis, which if indeed the case, then all said tasks were undertaken and masterfully accomplished with nothing more than a set of soft copper tools. A clearly illogical hypothesis, disproven in many ways, one of which is by the main pink aswan granite relics, still in existence all over Egypt, which were all simply impossible to have created with just copper chisels, and our next artifact of interest is of no exception. This imposing altar was found at the west end of a passage, just outside the northern wall of the temple of King Amenhamhat I. Originally, it is presumed that the altar once stood in the open court of the temple, with its roughly shaped lower part, suggesting that it was sunk into the ground. A rectangular libation basin is carved into the top of the altar, as well as representations in flat relief of an offering mat containing two libation basins and three loaves of bread. The middle one incised with the king's throne, with the name Horus added, with the phrase May he be given life forever, uncannily similar to long live the king, but I digress. At the center of the altar's front side, the incised birth name of the king Amenhamhat, with rows of approaching fertility figures who are designated by inscriptions as personifications of gnomes, regional governorates of northern and southern Egypt. It is undoubtedly an incredible ancient artifact, one carved with such precision and artistic accuracy, and upon some of the hardest stone on earth, to suggest this was achieved with soft chisels is to us absurd. Who made the altar of Amenhamhat? How did they carve it? An exquisite ancient relic, which is, like much of ancient Egypt, highly compelling. There are many ancient monuments found all over the earth, which possess extraordinarily precise solar and lunar alignments. In genius designs, often many thousands of years old, constructed from stones sometimes quarried, cut, and transported to the sites from many miles away. This movement of megaliths was accomplished using techniques or technology as yet not understood, and to date, many of these megalithic stone placements are perceived as near-impossible feats of ancient engineering. And although many impressive examples of monuments which track the sun can be found to have originated from many different civilizations, the most notable of antiquity, most famous for a seemingly obsessive level of monuments devoted to the observing of the sun's path, was undoubtedly the Neolithic. One has to wonder, why was there such a fixation? Was the motivation for this mass of undertakings of a tragic nature? Was it out of fear, fear created by a memory of a catastrophic event, possibly involving the sun's powerful emittance of radiation? Maybe they experienced the consequences of an ancient warming cycle. We may never know, yet the most important question in our field is not why these volumes of solar-aligned relics were created, but how? How did our ancient ancestors, claimed as having existed over 10,000 years ago, construct such precisely-positioned granges, hinges, barrows, and sun daggers? Something we have previously covered, an incredible type of sundial which tracked a sunspot across the wall of an ancient cave with, each month, solstice and new year precisely marked out across the walls? The sundials in question in this video are a group of far more familiarly designed dials left by the Neolithic. These sun-tracking dials can be found across the Neolithic sites of Ireland, Scotland, Orkney, and England, first discovered by an American by the name of Martin Brennan, a 39-year-old from New York. Not only did he discover the true function of curb stones located in Knoth, codenamed K-7, K-15, among others. He also cracked the earliest form of writing while studying the Irish Stone Age artwork. Earlier this year, a theory emerged on the internet by writer and journalist Ben Gagna. He suggested that there was an image of a swan on curb stone 15 at Knoth. He claimed that while examining a photo he had taken of K-15, he flipped it upside down and saw something no one had ever seen before, the faint but unmistakable image of a swan in profile. The true meaning or purpose of the curb stones had for a long time been heavily debated within certain circles. The intriguing cup and ring marks had been known of for some time. Yet as previously mentioned, though the most popular theory of the design on K-15 was the claim that it was the depiction of a swan glyph. This hypothesis was rejected even before Martin's unarguably accurate translation was discovered. Martin identified the sundial while examining a passage mount in the Boine Valley, and although sundials thousands of years old have been excavated throughout Europe, many specialist individuals reviewing Martin's finds believe that the sundial discovered in County Meath is the oldest and possibly most important ever found. According to Martin, who has been studying megalithic Irish art for the last ten years, Ireland's megalithic tombs are suffering from appalling neglect. Some of the most important passage mounds excavated previously have been ignored or conveniently completely sealed up. Martin's discoveries are undoubtedly remarkable and are of tremendous value to our ongoing deciphering of ancient antiquity and its past civilizations. It is a journey of discovery we find highly compelling. There are many ancient monuments found all over the earth which possess extraordinarily precise solar and lunar alignments. In genius designs, often many thousands of years old, constructed from stones sometimes quarried, cut, and transported to the sites from many miles away. This movement of megaliths was accomplished using techniques or technology as yet not understood, and to date, many of these megalithic stone placements are perceived as near impossible feats of ancient engineering. And although many impressive examples of monuments which track the sun can be found to have originated from many different civilizations, the most notable of antiquity, most famous for a seemingly obsessive level of monuments devoted to the observing of the sun's path was undoubtedly the Neolithic. One has to wonder, why was there such a fixation? Was the motivation for this mass of undertakings of a tragic nature? Was it out of fear? Fear created by a memory of a catastrophic event, possibly involving the sun's powerful emittance of radiation? Maybe they experienced the consequences of an ancient warming cycle. We may never know, yet the most important question in our field is not why these volumes of solar-aligned relics were created, but how? How did our ancient ancestors, claimed as having existed over 10,000 years ago, construct such precisely-positioned granges, hinges, burrows, and sun daggers? Something we have previously covered, an incredible type of sundial which tracked a sunspot across the wall of an ancient cave with each month solstice and new year precisely marked out across the walls. Yet the sundials in question in this video are a group of far more familiarly designed dials left by the Neolithic. These sun-tracking dials can be found across the Neolithic sites of Ireland, Scotland, Orkney, and England, first discovered by an American by the name of Martin Brennan, a 39-year-old from New York. Not only did he discover the true function of curb stones located in Knoth, codenamed K7, K15, among others. He also cracked the earliest form of writing while studying the Irish Stone Age artwork. Earlier this year, a theory emerged on the internet by writer and journalist Ben Gagnet. He suggested that there was an image of a swan on curb stone 15 at Knoth. He claimed that while examining a photo he had taken of K15, he flipped it upside down and saw something no one had ever seen before, the faint but unmistakable image of a swan in profile. The true meaning or purpose of the curb stones had for a long time been heavily debated within certain circles. The intriguing cup and ring marks had been known of for some time. Yet as previously mentioned, though the most popular theory of the design on K15 was the claim that it was the depiction of a swan glyph, this hypothesis was rejected even before Martin's unarguably accurate translation was discovered. Martin identified the sundial while examining a passage mount in the Boine Valley. And although sundials thousands of years old have been excavated throughout Europe, many specialist individuals reviewing Martin's finds believe that the sundial discovered in County Meath is the oldest and possibly most important ever found. According to Martin, who has been studying megalithic Irish art for the last 10 years, Ireland's megalithic tombs are suffering from appalling neglect. Some of the most important passage mounds excavated previously have been ignored or conveniently completely sealed up. Martin's discoveries are undoubtedly remarkable and are of tremendous value to our ongoing deciphering of ancient antiquity and its past civilizations. It is a journey of discovery we find highly compelling. In our last video, we explored compelling links connecting the countless megalithic ruins which litter much of the world, long claimed as the work of separate stone age groups who, due to the claimed era of construction, supposedly never made contact. Flint-wielding ancestors attributed with inexplicable trilithons many tons in weight, incredibly precise alignments and an impressive, intimate knowledge of some of the most complex of solar orbits known to man. We posited that regardless of the claimed isolation of these separate groups, the similarity found among many megalithic buildings is unarguable evidence, suggesting that megalithic man either didn't create these structures or they were not the primitive nomad they have long been claimed as, but were instead a world-going, world-dominating superpower who built the same enigmatic barrows and hinges the world over, the Harhoog. These mystifying megalithic structures are conveniently rarely explored. This may be due to their existence being a difficult task to explain. Claimed as that of tombs, it is the sheer number of them, however, which makes their existence a baffling thing to explain. As mentioned previously, many of the building types dating from the megalithic age turn up on more than one continent. Yet the Harhoog and its once enormous collection of over 600 individual so-called tombs are unique in their shape and style. Currently claimed as having belonged to the ancient settlements of the funnel beaker culture who lived around 3000 BC, and although, as mentioned, there were once approximately 600 of them, the Harhoog have been getting actively destroyed since their rediscovery in the modern age, with over half of them now having been destroyed to date. The megalithic tombs are built with large, rough stone slabs, each arranged into different random patterns. Ernst Sprakhoff, who created the sixth category classification for a neolithic dolmens, classified them as extended dolmens. The other five types are simple dolmen, great dolmen, assage grave, longbarrow, and cysts. Discovered in 1925 during excavations of earth, for the construction of the Hindenburg Dam, they were regardless, largely ignored, and have been little investigated since, with a brief archeological inspection having took place in 1936. The Nurhag, a stone structure with a similar enigmatic, yet unique and once in equally numerous ruin, is a stone age dwelling we have previously covered. Found on the island of Sardinia, they're the main type of ancient megalithic edifice found in Sardinia, yet rather differently to the lack of attention given to the mysterious Harhoogs, the Nurhag have come to be the symbol of Sardinia, and indeed it's distinctive culture. And dwarfing the 60 Harhoogs, more than 7,000 Nurhags have been found to date, though archeologists believe that originally there were more than 10,000. And this could quite possibly be the case with the Harhoogs as well, for in reality, no one can say for sure who built them, why they built them, or perhaps most importantly, when in human history this took place. Although little is known regarding the Harhoogs, they are undoubtedly an incredible collection of stone age relics, ones which we find highly compelling. Over the past few weeks, the channel has been focusing on the many neolithic ruins which can still be found littering our planet, enigmatic earthworks built in a bygone age, supposedly by our primitive flint-wielding ancestors. Enormous ancient undertakings, like that of the Long Barrow's or Solstice-aligned mounds, such as Newgrange. We also explored dolmens, found the world over, along with many other recurring neolithic features. However, there still remains many as yet unexplained, yet clearly excellently executed ruins that, due to the capabilities of their past constructor, fortunately still exist to this day. Ancient supposed neolithic ruins, such as that of the Effigy Mounds. It seems, regardless of the gigantic effort these would have once been, for currently claimed architects, these Effigy Mounds, such as that of the Great Serpent Mound of Ohio, the largest surviving mound of this type, were created merely for entertainment purposes, or perhaps as an offering to the gods. We are, in the modern age, fully aware of serpent worship, once undertaken by ancient civilizations across South America. And due to these already understood ancient belief systems, the possibility that these unexplained mounds may have been religiously motivated becomes a logical postulation. The Great Serpent Mound is 1,348 feet long, and runs along the landscape continually three feet high. It is claimed by some as neolithic, yet no one seems to be able to definitively determine its age. A prehistoric Effigy, located upon a plateau, aptly named Serpent Mound Crater in Adams County, Ohio. Now maintained by the Ohio History Connection, it has been designated as a national historic landmark by the United States Department of Interior. The Serpent Mound of Ohio was first reported from surveys by Ephraim Squire and Edwin Davis in their historic volume, Ancient Monuments of the Mississippi Valley, published in 1848 by the newly founded Smithsonian Origin. We feel, due to its inexplicable nature, archeologists will continue to find these incredible relics difficult to explain. As such, the origins of the mound are still heavily debated. The mound, like many other ruins we've covered, we posit we're in fact left by a civilization far older than currently conceived. And as such, like the many similar sites and ruins we have explored, contains no archeological artifacts, no burials, and no dating material, leaving academics with no later inhabitants to pin the site's construction on. As such, they remain incapable of establishing a permitted claim as to the age of the mound. The two main funded theories are that it was either created by the Edina culture around 320 BC or the Fort Ancient around 1070 AD. However, these claims are both light in regards to any compelling lines of deference to argue said hypothesis. Archeologists began attributing the mound to the Fort Ancient culture within the publication of Serpent Mound of Fort Ancient Icon in 1996. A 2017 article, Radio Carbon Dates reveal Serpent Mound is more than 2,000 years old, argues for a construction by the Edina culture, circa 320 BC, yet any solid data to confirm said claims remain elusive. The academic debate regularly experiences rebuttals with each published in the Mid-Continental Journal of Archeology. Who built the Great Serpent Mound or indeed the effigy mounds as a whole? Were they, as we claim, the work of a now lost, serpent worshiping civilization? Just like that of South America's inexplicable ruins, we find the evidence to suggest such highly compelling. Among the beautiful Greek islands, there is one in particular, Uboa, which hides a secret, one of the most enigmatic mysteries to be found anywhere within the Mediterranean. Built into the landscape of the island, 25 ancient yet masterfully built and geologically camouflaged structures, which are known as Dracospita, or the dragon houses, still found dotting the island's landscape. Often built using enormous multi-ton limestone blocks, thus making their explanation very difficult to explain, and also quite possibly multiple remnants of a now lost, but once technologically and capably advanced civilization, one which far predated that of our own well-known, well-studied ancestors. The true age, origin, or indeed past function of these mysteriously, curiously named dragon houses, remains a complete mystery. Now found in varying degrees of decay, yet the substantial erosion present in some areas of some of the dragon houses is indicative of a civilization far predating any known, or more specifically, academically permitted groups as having once been responsible. Researchers working for ancient code have posited that many of the surviving dragon houses were built using, quote, Cyclopean masonry, and after exploring the curious structures ourselves, we seem to concur with this opinion. Yet the mystery as to why these buildings were made in the first place, the motivation for their curious creation, still remains. According to said research, the locals dubbed the structures dragon houses, this because local legend telling of attributes in which their creators possessed they were supposedly bestowed with superhuman powers. This conclusion, however, is disagreed with and rather ironically, using the exact same feature which proved these buildings are inexplicable, is now argued as having been inspired by later rediscoverers due to the size of the stone blocks used in the building process. Something modern academia, due to a lack of an ability to explain said anomaly, would simply ignore this aspect during their own explorations of the site. It seems that although those funded to provide the answers when found lacking, are more than happy to continue to provide a status quo, often in blatant denial of facts in front of us all. A tale of events which does not ruffle the feathers of those who fund said research, thus such practices can be looked upon as job security, displays of allegiance to those who pull the strings of said institution. Thus, although capable, funded individuals have a reoccurring habit of overlooking the same said features over and over again. However, those with other often self-funded motivations or indeed a set of sturdy foundational ethics, then those with a keen eye for facts can always expose that which is ignored by others with an agenda. These valiant pioneers, these modern day Indiana Jones, have an opportunity to approach that which has not yet been explained with curiosity and a hunger for the truth, which could make them the person who alters the world around them and ultimately makes a real difference to the world around you. Wikipedia states, dragons can not only mean a reptilian fire-breathing giant lizard, but also man, those who possess superhuman powers. Furthermore, according to Wikipedia, there is no accepted theory about the identity of the builders nor an agreed estimation on their dating. No mention is identified in classical texts and the first account so far known to have been cited dates from the 18th century done by the British geologist-traveler writer, John Hawkins. The first detailed account after Hawkins was by German archaeologist H.N. Ulrichs, written in 1842. The French classical scholar, Jules Girard, visited Uboa and described the Ochi dragon houses in detail. In 2010, Swiss archaeologist, Carl Rieber, successfully tracked down all to-date reported buildings, subsequently published a report upon the completion of his research. Yet, alas, any explanation as to their original purpose or indeed true age was predictably lacking from the report. Thus, the site is currently crying. Capable antiquarians are desperately needed to explore and unravel the mysterious dragon houses of Greece, houses we find highly compelling.


Welcome to the World Summit on the Information Society 2016 in Geneva, Switzerland. And I'm delighted to be joined by Manuel de Costa Cabral, who is the co-president of CEPT, that's the Conference of Postal and Telecommunications Administrations. Manuel, welcome. Now, you attended another very key WISIS meeting. It was the WISIS Plus 10 in New York in December. What were the outcomes of that meeting? Well, thank you, WISIS, for this opportunity, and I would like to say that the meeting in New York went in a very constructive and positive manner, and the outcomes that resulted from that meeting were really encouraging and positive results, I think. So in my view, the development section, the development outcomes that came out from the meeting were extremely rich and extremely helpful for our, to settle a framework for which the international community, the international stakeholders can work to proceed with that agenda. So first of all, there is a linkage, a clear linkage between the WISIS process and the 2030 Agenda for Sustainable Development. I think it was a clear outcome of that meeting. And there was also very much an emphasis on still maintaining a multi-stakeholder approach. Exactly, exactly. So there was a clear indication that the linkage between the WISIS process and the Sustainable Development goals are only met, if it's only met, if multi-stakeholders work together in that process. So I think that is a very good message that came out of that. Also I see as positive to see that in a such high-level meeting as the one held under the UN General Assembly umbrella, there is a clear indication that ICT is the information society. It's not like just a jargon for some technical experts. No, it's part of our daily lives, it's part of our daily activities. And so this is also an indication about the progress that we made and the progress that we were able to build together in the last couple, well in the last 10 years or so. Very quick change that our society has made. As you say there's been massive progress in the last 15 years, a real internet and digital revolution. Exactly. Tell me about the country that you come from, Portugal. What steps have you taken in Portugal to build an information society? Well so in Portugal I think it's a very interesting case in a number of perspectives. So we went through a difficult economic situation, financial situation. So the public administration was not so keen to invest in this sort of issues. But then what happened was that the fierce competition between private companies allowed to have strong investments still in networks. So they were able to lay down the networks, the NGA networks, both through fiber or cable networks. And then which resulted in a coverage, the NGA coverage, which is quite significant even in the European Union level. So we are among the highest penetration in terms of coverage within our EU colleagues. But there's still some challenges. Yeah, yeah. But there are still some challenges. The challenges we face are exactly on the take up of broadband. So people, there is still a long way to go to have the full benefits of those networks, the full benefits of these broadband services. And I just would give you an indication. So there are groups of population that are highly educated, they have access to these sort of services and so on. And so they are full benefitters of this revolution they are facing. But then there is also a different group of people that live in rural areas or remote areas that are not so, not benefiting so much of this process. So there's even a digital divide in an advanced market like Portugal between rural and urban. Exactly, exactly. So the challenge that we face, sometimes we speak about digital divide among different countries, among different continents. But obviously even within countries we see that, we see different realities and different perspectives. And so we have also to work so that these services continue to become affordable to everyone, that there is literacy, digital literacy. So it's very important to work on the education, to work with young children since the beginning to, so that they can make use of these ICTs. And meet the benefits, yes. Absolutely. Manuel de Costa Cabral, co-president of SEPT, thank you very much for joining us. Thank you very much. And please do join us on the ITU YouTube channel where we'll be hearing from experts from all over the world on the impact that information and communication technologies can make on our daily lives.


Thank you very much Mr. Speaker. Mr. Speaker, my presentation was delayed slightly because of climate change. What happened there is because of climate change. Mr.  Mr. Speaker, the United Nations states on its website that climate change refers to long-term shifts in temperature and weather patterns. Such shifts can be natural due to changes in the sun's activity or large volcanic eruptions.  In fact, Mr. Speaker, the period 2011 to 2020 was the warmest on record, and each of the last four decades have been warmer than any previous period since 1850. Mr. Speaker, the average temperature of the Earth's surface is about 1.1 degree hotter than in the last 1800s, in the late 1800s, the period preceding the Industrial Revolution. In fact, based on data up to October last year, it is estimated to be the hottest on record and is currently 1.43 degrees hotter than the pre-industrial period according to Samantha Burgess, Deputy Director of CCCS. Mr. Speaker, on the face of it, these increases in temperature may not sound significant, but Mr. Speaker, the effects of these increases in temperature include intense droughts, water scarcity, severe fires, and of course, catastrophic rising sea levels, melting polar ice, and decline in biodiversity. Mr. Speaker, so serious is climate change that it has been called an existential threat as it represents a threat to many species and to human society as we know it. According to Kiran Setair, Professor at MIT, if humans do nothing to slow climate change, global temperatures may increase by 4.5 degrees by the year 2100. This indeed be a disaster, Mr. Speaker. Planet Earth has not been that warm in millions of years and such temperature spikes in our planet's history are connected to mass extinctions, extinction events that killed off a large percentage of species that existed at the time. These threats, Mr. Speaker, are going to be greatest for people living in coastal communities, coastal cities, and island nations. So, Mr. Speaker, St. Lucia, like other small island developing states, are the most vulnerable to the effects of climate change due to rising sea levels, intense storms, and droughts.  In St. Lucia's case, Mr. Speaker, it is estimated that we emit 0.0015 percent of global emissions in 2016. The source for this, Mr. Speaker, is our updated nationally determined contributions to the United Nations framework on climate change convention in 2021. In contrast, the largest emitters of greenhouse gases are China, the United States, Europe, India, and Russia. The emission of greenhouse gases has not been treated as a cost, and therefore, Mr. Speaker, those countries and companies responsible for greenhouse gas emissions do not treat the cost of mitigating these emissions within their own cost. This, Mr. Speaker, is a classic case of market failure and an example of what economies call a negative externality. The importance of climate change and the consequences of climate change have been elevated as the most important issue to our global multilateral institutions, including the United Nations, the World Bank, and the IMF. The bill before this house, Mr. Speaker, is indicative of the level of seriousness that St. Lucia places on climate change. We, like other seeds, Mr. Speaker, have the most to lose for activities that we are not responsible for. This further highlights the importance of cooperation and collaboration at the global level, as we all share, Mr. Speaker, an interest in protecting the planet that we all share. This bill, Mr. Speaker, puts into the law the agreements arrived at by the UNFCCC and the Paris Agreement, and of course, the other protocols, Mr. Speaker, on climate change. This bill, Mr. Speaker, clearly establishes the institutional framework for climate change in the government. In particular, recognizes the minister responsible for sustainable development as the minister for climate change and establishes a climate change committee, which serves as a technical advisory body and whose functions are listed in section 12-2 of the bill. The passage of the bill, Mr. Speaker, is indeed coming at a critical time, coming on the heels of the 28th Conference of Parties, or COP 28. It is clear, Mr. Speaker, the developing countries must collectively advocate for compensation from the effects of climate change, as we are incurring huge cost in dealing with climate change, which is likely to exacerbate in the future. It is also important, Mr. Speaker, that our countries continue to advocate that our temperature does not rise above 1.5 degrees Celsius as enshrined in Article 4 of the Paris Agreement. This requires, Mr. Speaker, for all countries to reduce the consumption of fossil fuels and to move towards renewable energy sources. Notwithstanding the foregoing, Mr. Speaker, it is now an open secret in climate circles that achieving 1.5 degrees Celsius is no longer achievable. While this target remains the official target set in 2015 by the Paris Agreement, the major emitters have not exhibited the political will to undertake the necessary reforms to achieve this target. Global coal consumption climb to an oil hide in 2022, and Chevron and Exxon Mobil have invested a combined amount of $113 billion in securing additional oil and gas reserves, in effect anticipating that demand for fossil fuel will remain buoyant. It has become evident that we are heading towards global temperatures of at least two degrees Celsius above pre-industrial levels. In fact, the International Energy Agency estimates that based on current policies, global temperatures will rise by at least 2.4 degrees Celsius by the end of the century. This, Mr. Speaker, is stark and gloomy news for countries like St. Lucia. In fact, Mr. Speaker, it is estimated that a future beyond 1.5 degrees Celsius above pre-industrial levels will look very different from our own current situation. At two degrees Celsius above pre-industrial levels, it is estimated that around 40% of the world's population will be exposed to severe heat waves while 1.3 will experience chronic water scarcity. The human cost, Mr. Speaker, in terms of displacement, lost livelihoods and early deaths will be unprecedented with vulnerable communities largely in power countries bearing the heaviest burden. Mr. Speaker, we are one of those countries. It is therefore important that we develop the proper institutional structure to ensure that we can measure these impacts and to make vociferous representation at the global multilateral theaters to advocate for our own very survival by way of receiving adequate compensation through loss and damage and for climate adaptation. Mr. Speaker, this legislation provides the platform for ensuring that we develop the institutional capacity for putting in place the necessary mechanisms to advocate for climate justice, develop and implement projects to ensure that we can protect our people and the necessary resources vital to our survival. This is indeed a very serious matter, Mr. Speaker, and it represents an existential crisis to St. Lucia and its people. Mr. Speaker, I am aware that St. Lucia has prepared a 10-year national adaptation plan for the period and sectoral adaptation strategies and action plans as well as national adaptation policies. These plans and policies will be given greater importance as they will be recognized in law, Mr. Speaker. So why is I paying that picture? A very serious one indeed, Mr. Speaker. This government is responding by putting the necessary legislation in place to respond to this global threat. Mr. Speaker, this issue of climate finance is particularly important for St. Lucia. And while the minister and his team will be advocating for more finance, for mitigation and adaptation activities, it is important that we have the institutional framework to ensure that we can effectively engage in dialogue with the multilateral agencies, including the Green Climate Fund, the Adaptation Fund, and now the Loss and Damage Fund, which was approved at COP 27. And seen as a major breakthrough for developing countries as it provides for loss and damage funding for vulnerable countries hit hard by climate disasters. This act, Mr. Speaker, provides for putting in mechanisms for loss and damage. I must say at this point, Mr. Speaker, that implementation and the absence of capacity has been an area that we need to improve upon. And it is an area that we need to consider in the implementation of this bill. It is expected, Mr. Speaker, that developed countries will stop hesitating on the promise to provide 100 billion US dollars annually for climate change to develop in countries and hopefully will fulfill that promise. Maybe COP 29 will be the breakthrough moment. I think COP 29 will be taking place in Azerbaijan from November 11 to 24, 2024. I'm hoping that they are going to be a serious breakthrough for that. Equally important, Mr. Speaker, is that we stand prepared to ensure that we can maximize the utilization of potential funds for climate change. Mr. Speaker, I do not intend to belong. And as I take my brief intervention to its logical conclusion, I would like to say again, I give my full support to the climate change bill as it provides a governance structure for the government to effectively manage and deal with all issues relating to climate change from an international, regional and national perspective. Mr. Speaker, I commend the bill and I commend the minister. I thank you for granting me leave.


This seems to be clearly a political case to many people, other than a lot of our politicians in Australia, but not Julian Hill. So, Julian, if I could come to you. The mantra from our foreign minister is that we can't intervene in another country's legal process. Why is that not a tenable position in your view? And what will Labor do about Julian Assange if they're in office next year? I think the legal issues have been well covered and I'm not going to delve into them, but I agree with you. I think it's an inherently political case, and that goes to the core of this issue. Personally, I think that the US should have frankly banked their win in the first outcome, in that they established Tamisha Green, but they established every point of principle they were seeking, except they didn't get their man. They could have banked that point of principle in the precedent that they've said that's a terrible precedent in substance, the argues of principle, but accepted the humanitarian grounds and just let it go has gone on for long enough. But it's an inherently political case. I suspect sadly that this issue may never be resolved ultimately through the legal system and the courts. If the US lost this, they may well try something else at some other time. It's an inherently political case, and that's my core point. That's an understood principle from my perspective, that political crime shouldn't be the basis of extradition. This case is designed to mute whistleblowers and invest in the journalists and have a chilling effect on the reporting. And as I said, even the last case outcome, so it's a dangerous precedent worldwide, that anyone, anywhere, anytime can be charged by the US government if they publish something that embarrasses them in effect. Now, people shouldn't be prosecuted for their political beliefs or journalistic activities. So therefore, I say that this case needs a political resolution between governments. In answer to your direct question at the start, Maurice Payne's got Morrison hiding behind trite little throwaway phrases. They're not engaging in the substance of the arguments. They never have at any point.  What does that mean? He's never been convicted of any crime. There's no credible evidence put up. Maurice Payne, we can't intervene in the legal system of any country, but they do that all the time. Like, really, I help. The department provides consular assistance at a minimal level. But we make critiques of the legal system of many countries. I've got citizens, I was just on a Zoom about issues in Cambodia. We make criticisms of all sorts of flawed legal systems on behalf of our citizens or in support of our beliefs. So I'll leave it to others to make those criticisms. But I think that point, the political observation is our government currently is just batting this stuff away because they don't want to engage in the points of principle. We can talk about them at some point. Your final question there was, what's Labor's position? Well, Anthony Albanese is the opposition leader. Alternative Prime Minister of the country has made his statement. I asked him a question in caucus, I think, and he made a clear statement. This has gone on for long enough and thinks that the matter should be brought to a close. And there's many ways that can be achieved. I know we've had a bit of criticism from some of our left comrades out in civil society that, oh, you're using weasel words. I can't make specific commitments. I don't know. If we form government, we've got a very clear position that was adopted unanimously at our national conference that this should end. The circumstances in which that ends depends on the time and what's happened in between now and whether there's a court case afoot and so on. But I'm confident that a Labor government will convey our position to the US government, hopefully the Biden administration with Elbow as Prime Minister. So that's a clear position from our point of view. I moved that resolution at national conference. It was unanimously passed. It sets the context for Labor governments to operate within. Thank you, Joanne. There seems to be a very simple question that needs to be asked right now by our government. And that is that twice now we've heard reports that the CIA plotted what's surveilled and plotted to kidnap or murder an Australian citizen. There's been absolutely no comment from anyone in government about that. They should at least, at the very least, shouldn't they, be asking the US, please explain what's this about? Is there any truth to this? At the very least, Mary, you spot on. This is not a spy movie. We're not in a spy movie. This is not the James Bond premiere. This is real life. This is a credible allegation, not by some fringe nutty conspiracy theory website. This is a credible allegation that has sources behind it that the intelligence agency of our biggest ally and security partner was seriously contemplating, drawing up plans to murder one of our own citizens in an extraterritorial killing. It sounds kind of mad when you say it, but in the country where our head of state lives, the foreign queen, that's another that's a whole other panel. I want to go off on that tangent.  She can't just ignore it and pretend it didn't happen. It requires a formal discussion with the US government. I'd be very happy to hear that these are not true. These reports are not true or that this was a rogue, silly conversation in the previous administration. We apologize. Whatever it was, you can't just pretend it didn't happen. Yeah, I think that the government can and should say and do something. It's actually not that hard to get an appointment with the US embassy if you're a politician. It's not always that easy either, but it's not impossible, particularly for the government, like really. I organized a delegation for George Christensen, Andrew Wilkie and myself. We went down. We had a fair hearing of the Chageau Defense. We went in. We had a robust discussion. I think there was a degree of surprise that we were actually quite civil about it. We're not crazy. We've got a view. It's a principal view. We explained our view. We discussed the view that was relayed back to Washington. If I can do it as an opposition backbencher, I'm quite sure that the foreign minister can get in there to convey the view and ask that important question. It's not acceptable. Countries pretend it didn't happen.


Putin, entire so-called civilized West, is fighting against us. Ukraine is a mere tool in the hands of the collective West, which is using it to fight Russia President Vladimir Putin said. He was speaking at a military hospital in Moscow, where he met servicemen wounded during the ongoing conflict. Asked about the enduring Western support for Kiev, the President said the elites of the collective West were actually the true enemy of Russia rather than Ukraine itself. The point is not that they are helping our enemy, but that they are our enemy. They are solving their own problems with Ukraine's hands, that's what it's all about. Putin stated, the conflict between Moscow and Kiev was orchestrated by Western elites, who seek to defeat Russia, he suggested. However, the collective West has been unable to achieve its goals, with the failure already showing in the change of its rhetoric on the conflict, the President explained. Those who only yesterday were talking about the need to inflict a strategic defeat on Russia are now looking for words on how to quickly end the conflict. We want to end the conflict too, and as quickly as possible, but only on our terms. We have no desire to fight forever, but we are not going to give up our positions either. Putin said, despite the fact that from time immemorial the West has had such a goal to deal with Russia, it looks like we deal with them first. And this is happening despite the fact that the entire so-called civilized West is fighting against us. Putin stated.


I'd like to focus in on Gaza. I'd like to focus in on the fact, the well-known fact, that without U.S. support, Israel could not do what it's doing in Gaza and that what it's doing in Gaza is a textbook case of genocide. Now, what do we mean by U.S. support? About 20 years ago, when Bibi Netanyahu was in the living room of one of his constituents, he decided to lay it all out there. And so he said, turn that video machine off. The fellow forgot. He forgot. And so we know exactly what Bibi Netanyahu said. He said, the Americans, let me quote, I transcribed it. The Americans can be very easily moved, moved in the right direction. 80% of the Americans support us. It's absurd. And quote, whoa. Well, is it still the case that 80% of the Americans support genocide? We have to make clear that it is not. That is no longer even close to 80%. Despite the Zionist influence in the administration, in the Congress, and in the media, it's a tall hill to climb. But we're doing it, okay? I bet demonstrations here in a small town called Raleigh, North Carolina, thousands of people, most of them with only a tenuous connection with Palestine, but a big deep connection with justice, okay? Now, what I'd like to do is tell you of an experience that veterans for peace, a group that I'm proud to belong to, experienced when we went to the West Bank, the occupied West Bank in Palestine six years ago. I'm going to show a couple of clips. One is taken in the, pretty much, begins in the living room of a man named Bassem Tahini. Now, his daughter is Amit Amini, and she's more prominent and more popular and more well known because of what she did in the face of the Israeli soldiers. I mention that because what follows our program here is a film about a father-daughter relationship, it seems to me, the same between Bassem and Ahad. Now, so we're in Bassem's nine of us, nine delegation from Veterans for Peace. We're in the living room there, and the discussion turns to what the protesters against occupation, and specifically what the young children suffer, and what the very brave women do to stop it. So, may we have that first clip now, Dave, to show this, and then I'll talk a little bit. It's only three minutes, so if you fall asleep, you're going to miss the whole clip. Thank you, thank you. Beautiful, wonderful, and you are a hero, a great hero. Yes, you are. I saw the soldier was he trying to take your son? We have a demonstration, and then we come to the to the hill here, and then the soldiers were hiding around us. He was broke in hand because they shot him before two days of this by a rubber bullet. And they said, did he throw stones? How he throw stones with a broken hand? He was eleven, eleven, eleven years old. And they took him for five months in jail, seven months in jail, and this boy, you see, we have the youngest prisoners now, he's 13 years old. They give him three years in jail. 13 years in jail. You were a big rock star when you were on tour because of this video. The price is high. When you lose part of your cousin and family, it's not easy to say it's famous or not. It's important to be famous or not. Yeah, the worst issue that we have still under occupation, we need a lot of time to reach our goal and mean a lot of suffering and mean a lot of losing. For that, the future is not easy for us. Well, that was Bassem Tamini. I asked him after seeing that video, I said, Bassem, your sons, one of them's in prison, another one has had his leg shot, and it has to limp for the rest of his life. Your brother-in-law was killed with a rifle shot just outside your door here. How can you persuade or how can you allow your children to keep this up? And he looked at me like I was from Mars or maybe Saturn far away, and he said, Ray, you're asking me to stop my children from fighting for freedom, freedom from occupation, and I swallowed. Put note here, Bassem is now in jail. He was arrested last week, so is Ahad, his daughter. I will see more of them in the next clip, which will show what happened after we had a demonstration that is simply walking down the road and stopping at a trail, and the settlers came, and they beat up the women who were with us, and they beat up the women press who were with us, and then they went after the small guys. They never touched. Matthew Ho was about six foot four. That was really a terrific example of how cowardly these people were, and as we climbed back up the hill, I heard shots that I hadn't heard in about 40 years, and I said, are those rifle shots? And the Iraqi and Afghan veterans were like, yeah, Ray, get your head down for God's sake. Those are rifles whooshing over us. What you're about to see is after that event, the Israeli army was not satisfied with defending the settlers who came armed. Each of them had a sidearm. Some of them had rifles, okay? But they came up and pursued the little kids, the little kids in the Navisale, the name of the town where we were, where we were staying with the Tamini family. Okay, so the next clip we'll show that, and then we'll have just a few more comments. May we have the next clip, David? But it's a good experience for you to come and see and touch the meaning of the occupation. It's not a word.   This generation, how they deal. How they deal? Yeah, these are the bravest people I've ever seen. These are the bravest people I've ever seen.  Well, when we were putting this together, we thought it was really important for the group to get a really good sense of the nonviolent resistance and the persistence and the dedication and the long-term steadfastness of the Palestinians in keeping to this nonviolent resistance in the face of really brutal occupation, in the face of a lot of guns, in the face of tear gas, in the face of racism, their refusal to be drawn into that and how they manage every day to keep getting up and doing this work when the forces of occupation and oppression are coming down on them. What you've just seen and what has been going on in the West Bank for decades is what I would call slow genocide. They go in every week to some village and they pluck out some young kid and they put them in jail. 11 years old, I ask Bassem, they can arrest and put in jail 11-year-old? Yeah, they can. And the 13-year-old got three years. That's what's going on here. That's what we have to stop. The overt genocide actively advertised by Israeli leaders. That is so blatant that it's up to us to do more. They just write articles as I do, participate in demonstrations as I do. We have to do more. The reality is captured by this headline in a recent article in consortiumnews.com. Benjamin Netanyahu and U.S. President Joe Biden know that if they lose the American people, they are both in serious trouble. Well, they're losing the American people. I don't think 80% of the American people support Netanyahu in what he's doing now. It's a textbook case of genocide. It's against the Judy of Convent. It's so manifest and it appears on our TV screen and the president apparently will say on Tuesday, go ahead, go ahead, defeat Hamas and if that means killing another 5,000 Palestinian children, well, you know, so what we have to do is something more than make speeches, something more than what we've been doing. We need to organize, organize, organize. That means that if you only have two friends, two friends who feel as strongly as you do, you get together with them and you figure out what you can do because we could all do something. Now, as an example of a laudable writing that came out just a day or two ago after seven weeks of slaughter in Gaza, one author, he wrote a letter to Biden, okay, and he said, your unqualified support for what the Israeli leaders have announced, have announced openly as the determination to slaughter unlimited numbers of Palestinian civilians. This constitutes the crime, the crime of all crimes defined in international law, the crime of genocide. It makes every American complicit, complicit to the extent that you do not, that we do not, that I do not directly and actively, I say actively oppose such policies. I'm going to quote my favorite rabbi, Abraham Heschel, who said, when such crimes take place, few are guilty, but all, all ALL are responsible.  So we have examples of very brave, very nonviolent Palestinian citizens on the West Bank where slow genocide is taking place. We have examples in Gaza of fast genocide with half the population already routed from their homes, moving to South Gaza. So what are we going to do? Well, we need to get out there, folks. And you know, to those who think you can change things, well, LBJ was going to do even worse in Vietnam. Now let's see, was there a genocide in Vietnam? McNamara, the Secretary of Defense at the time, said that 3 million Vietnamese died in that war. Oh, 6 million in the Holocaust genocide. Does it have to be 6 million? I'm not trying to be funny here. 3 million is quite enough. And after World War II, the law was written to include part of an ethnic group, okay? 3 billion Vietnamese, 2 million in Gaza? Is that genocide? Of course it's genocide of the international law. Now, my point is simply this. We stopped the Vietnam War. It was later than we hoped, but we stopped it.  Real loud, we know. We know now from revealed documents that that had an effect. That prevented LBJ from going north into North Vietnam and getting China, almost certainly getting China involved. So what do we need to do today? Well, it occurred to me, we have to have a new slogan. And here's what I'd suggest. Ho, ho, sleepy Joe, genocide has got to go. Everybody, ho, ho, sleepy Joe, genocide has got to go. If we don't do it, nobody else is going to do it. BB Netanyahu cannot do it without the support of the American people. He's probably depending on American people just watching TV and then we're cheering for their favorite football team. We're not going to do that this time.  We're going to say, ho, ho, sleepy Joe, genocide has got to go. Thank you very much.


okay hey guys what is up welcome to my channel for today's video we are going to do one of my most highly requested videos and also one of the most fun videos for me to film I'm going to be ranking all of my Charlotte Tilbury eyeshadow palette from at least most favorite I have 20 palettes so if you are interested in seeing what comes out on top then just keep watching alright so let me get this info out of the way of course all of my rankings of videos are inspired by my friend Kelsey Breonna J here on YouTube she is the first person to do these ranking videos that everybody does just need y'all to know so make sure you go check her channel out I do have a whole series where I rank palettes and if you don't know these are some of the videos that I take the most serious a lot of research and work goes into them I've spent the last three or so months testing out these palettes thoroughly just to make sure I can give you the most accurate information possible this is important to me because of course Charlotte Tilbury eyeshadows are quite pricey so I want to make sure that if you are looking to purchase and invest in some that I can give you the most accurate thoughts possible to help you make your decision I did just post yesterday a whole tutorial compilation of me doing looks with 14 of these quads actually so if you want an even deeper dive into what the palettes will look like on the eyes make sure you go check that video out I have timestamps and everything in the video if there's just specific palettes that you wanted to take a look at so all of the looks that I'm showing you today in this video the full tutorial is on that video also something that I feel like could really help you out that I did just happen to see yesterday Charlotte Tilbury's website they are doing a gift with purchase so if you spend $100 you actually get this free mini darlings eye palette I don't personally own this one but I mean this is very typical Charlotte Tilbury colors I think it's a great introduction to her shadows I think that's a really awesome gift with purchase that caught my eye so I wanted to share that with you and if you're looking for anything else in the Charlotte Tilbury line I also have a full in-depth overview of the entire Charlotte Tilbury makeup collection I go for pretty much every product that she has in her line so that one also took me a lot of time so I will link that down below in case you're interested in everything else that her line has to offer I tried to get through that as quick as possible I don't think I did a very good job but let's start off with number 20 my least favorite palette from Charlotte Tilbury and this is the supersonic girl luxury palette of pops if you don't know Charlotte Tilbury in her line she has a pop formula and basically it's a glittery lid topper kind of formula I'm not the biggest fan of it there are a few shades that I really like that she has in her line but I personally find the formula not good enough to buy a whole quad of this I mean her quads as you guys know they are quite pricey and if you actually do the price program her eyeshadows end up being more pricey than Natasha Denona and Pat McGrath so that is why it is imperative that you pick up a palette that you actually know you're going to love and I just don't like her pop formula I really tried I find that as I wear them throughout the day it just ends up on my face the fallout it's unbelievable you need to use a glitter glue and for this price I just don't think it's worth it I think that the formula itself doesn't have enough pigmentation they all kind of give that same glittery lid finish which is fine but they don't differentiate from one another enough for my taste to justify paying all this money for this to have just a palette of all of this formula it's just not good enough and like I said they're pretty as lid toppers on the eye but I don't think it's worth spending all of your money on an entire quad and that is why number 19 same deal here this is the pillow talk luxury palette of pops I picked this up because pillow talk is so iconic to Charlotte Tilbury that I just wanted to have her whole line so I did pick this up same deal with the supersonic girl I just don't love her pop formula enough to really justify this and I'll use this from time to time I'll pop a little bit of the glitter on top I mean that's about it I don't get much else out of it I just don't really think it's worth it I think the one pop shade in each of her regular quads is just fine you don't need to add this on this one is a little bit better than supersonic girl and I just generally like the colors in here more which is why it ranks above supersonic girl but definitely her palette of pops for me they just aren't the highlight of her brand number 18 this is the vintage vamp this one I purchased from the most recent Sephora VIB sale which by the way how I justify buying these palettes is I usually pick them up during the Sephora VIB sale so of all the Sephora VIB sales that have happened I do pick up like one or two every sale because the cons aren't really expensive so I always try to get at least a deal with them a gift-growth purchase something vintage vamp is definitely the quad that I've been most disappointed by that's in her regular luxury non-palette of pops formula I find that it's patchy the formulations a little bit drier it just doesn't impress me the price is way too much for the quality that you're getting this is one that I definitely think is bad quality I mean you can see in my tutorial on this I did struggle with patchiness I've always felt like it looked really splotchy on the eye it's just too expensive for what it is I don't really like the color story here either I feel like I don't care to create a look using all four just for me this one it doesn't do it for me I don't really recommend it I don't think it's worth it and I think that she has so much better palettes to offer and this one isn't one of them a lot of you guys said you love the looks whenever I wear this and I'm not saying it doesn't create a pretty look but it's a struggle to get there next we have the glamour muse and a lot of you guys have been eyeing it I did notice that this is going to be discontinued it's already discontinued from her website but you can get it at Nordstrom so if you do want to pick it up I linked it to Nordstrom down below before those run out because I'm going to assume since it's discontinued once they're gone they're gone and I know a lot of you are surprised that this is ranking at number 17 so low it's not a bad quad at all I just think that the star of the show is the purple and by far the most disappointing shade in this quad is the purple it's very very sheer and I absolutely love the look I came up with but you can see in the tutorial it gets a little clumpy this doesn't have a lot of payoff and it is that pop formula I used the brush wet to kind of work it out more but I feel like if this is going to be the pop of color it needs to be a pop not really sheer and I just this took a lot of work so that was kind of disappointing for me I think overall though it's a nice palette and if you're looking for a wearable kind of purple palette this is a good choice because I do struggle with this color and because of the price that it is that's why it's ranking where it's ranking so just be prepared that this purple isn't all that amazing but if you are eyeing it it is getting discontinued so pick it up if you would like I don't think it's bad and I actually really love these three colors a lot it's just I bought this for the purple shade and that's what I was most disappointed by number 16 this one again you're gonna have to run if you would like it this is super blue this is from one of her newest collections that just came out and from here on I pretty much love all of these palettes I think all of them are amazing and it's more so coming down to color preference and how often I use the palettes to kind of put them where they are ranked but from this point on formulation everything top notch definitely don't have too much bad to say about these this one is ranking where it's ranking simply because it's blue and I feel like sometimes blue makes me look washed out so I'm not as inclined to reach for it but the quality on this is amazing the looks you can get are stunning especially with this launch in particular all of the quads that came out her formula went from here to through the roof a lot of you guys were eyeing this I noticed on the tutorial video that I posted today so if you want it it's out of stock on her website it is available on the Nordstrom website I put all of the applicable links down below next to the palette names so that you can get it because I'm really worried this is going to sell out and you're not going to be able to find it Nordstrom was the only store that I was able to find it available so many people want this because it's a truly good blue palette that is made wearable the thing that Charlotte Tolbury does that's very special is how wearable she makes her colors and this does nothing short of that I really enjoy this palette I love the really deep blue navy smoky glittery eye that I get with this absolutely gorgeous and I love this taupe shade a lot so this one is very nice it's just ranking where it's ranking due to the fact that it's blue and blue isn't my go-to color number 15 unfortunately this one is discontinued you can't find it anywhere but this is dreamgasm and this is where we're getting into that kind of typical Charlotte Tolbury eye in my opinion the Charlotte Tolbury eye is basically skin tone with a glowy finish and this really gives you that this one even though it's discontinued I don't really find that to be a big deal because it looks like a lot of her other quads in my opinion exaggerize and pillow talk this gives a very similar ethereal finish it's really gorgeous I really like this one it's easy to reach for it's just that kind of looks like a lot of her other ones so it's not special in her line but it gives that Charlotte Tolbury look which I really enjoy and this next one will probably surprise you number 14 this is the original classic kind of pillow talk quad and I mean I love it again it gives a very similar Charlotte Tolbury a glowy eye it definitely is a little bit more pinky coral compared to the dreamgasm I think it is a bit overrated I will admit that I find that these colors they look so beautiful soft and pink in the palette itself but then when I put them on the ice I feel like the color pulls very orange on me which is not a bad thing I think it is still gorgeous but that is the one thing that kind of disappointed me on this I just find it to be a bit overrated it's really gorgeous it's very popular for a reason I think it's going to look best on fair skin tones it's just a soft palette and I do like it a lot it's nothing special and I think it's a bit overrated but it's popular so number 13 we have exaggerize and this one is a more I would say cooler version of pillow talk you get that same kind of eye as the others but I like this one a bit more because I do prefer those more cooler tones I don't get too much payoff from this one which I'm okay with because it's about a very light glowy glimmery kind of finish I don't need too much pigmentation from this I like this I think this is very much a good representation of that Charlotte Tilbury eye it's just a nice one it's easy to reach for you don't have to think about the look number 12 we have copper charge this is that same release as super blue so just know if you love these colors I definitely highly recommend this one because you are getting the best of the best Charlotte Tilbury formula they are so buttery smooth even her pop formula in my opinion definitely got a lot better than what was in those palette of pops if you like coppery orange warm shades you will really love this I'm not even that into warm tones and this makes me love warm tones the look that I created you will see in the tutorial it was so effortless so easy and it just looked bomb this is a great palette it's ranking more so in the middle because it is more warm tone so I'm not as inclined to grab for it on a daily basis but just now it is phenomenal number 11 is quite the opposite as copper charge this is uptown girl so this is cool tone lovers dream now even though I say I love cool tones I more so prefer like cooler browns on the eye this reaches a bit too cool for me but the quality on this is really great I absolutely love the looks that I get from this one this one is gorgeous if you love really cool gray tones this would be my number one recommendation for you I just think it's the best it's a beautiful formula and your eyes look incredible when you wear this it's just on a daily basis I don't grab for grays or silvers very often so that is why this is ranking where it is but the quality on this spectacular the eye looks you get are really really great and the pop shade in here a phenomenal shade I really love these two shades a lot a lot of times I'll make this with different quads and then I'll steal these two but the grays are really nice as well I just don't grab for those as often but highly recommend this one if you're into grays it's a good one number 10 this one I am so excited it's still available I for sure thought this would be a discontinued by now because it came out a while ago and I believe it was supposed to be limited edition and this is the icon palette and this is the palette that I actually recommend to most beginners into Charlotte Tilbury because this is the best value the formulation in here I'm not going to lie it is a bit different than what is in her regular line but the formulation still kills it it's better than some of her older luxury quads if you ask me and it's reminds me of that Natasha Denona wet to powder formulation it has that kind of same finish it blends like a dream the shimmers are very very creamy even though this formula I do notice is a bit different it doesn't mean it's lesser than it's still just as good as her higher quality one and just the price per gram this is by far the best value in her line I don't know why or how that happened but beginner on a budget I mean you can't really be on a budget if you're buying Charlotte Tilbury but this is the best value and you also get the best range of colors so this was the winner today for what I am wearing I used this green and then I mixed these two colors as well and popped a little bit of this gold in the center of my lid now keep in mind I know when you look at these you get excited because of the colors she made these more like wearable pops of colors so even you can see right here the green is not as vibrant as it looks it's still stunning but it's a more wearable smoky kind of green anyways I love this because of all the different colors and tones and this I actually find is close to a lot of the other quads so you're really getting a lot of similar colors that's already in her range with this the quality is really nice and I just think this palette deserves so much more hype I'm very excited to see that it's still in her line I mean why is this ranking number 10 it's just how it falls I just don't grab for it as much but this palette really does excite me and I do highly recommend it I was so excited to be wearing this one today number nine is the pillow talk instant eye palette this is her newest larger palette and I always recommend go for her larger palettes if you're very turned off by the price of her quads because the formulations in these bigger palettes I felt like we're always a little bit better than in her quads which is crazy because these are a better value I think with her newest quad launches she did step the formula up to where the quads are now even with these guys but again these are always a great place to start now this one I don't necessarily recommend to everybody you have to like these tones the only kind of downside to this is no matter what look you do I feel like it kind of looks the same you can only do so many looks with this palette but it's ranking so high for me just because I love the look that this creates I love the colors here the formulas buttery creamy smooth all that good stuff if this isn't your color story I wouldn't get it if this is your color story I mean go for it I love this color story I will say the colors like here especially you thought they would be more brown they do pull more warm her shadows do that and that's very weird the pillow talk the original pillow talk quad that pulls warm this pulls warm I don't necessarily love that something that I noticed but I do love this palette I reach for it quite a lot and I have a lot of different looks on my channel of me using this so for sheer amount of times I've used it is why I'm putting this where it is number eight is stars in your eyes palette this is currently unavailable it came out almost two three years ago and I really like this because the colors pool a little bit more purple which is more in my everyday kind of color story so for me this is ranking where it's ranking just by the fact that I feel very comfortable reaching for this I don't think the formulation in this is as good as her newer formulations it's still incredible it's still buttery smooth she's you know she notched it up but I've just loved the color story here I don't want to talk about this too much because you can't get it anymore but this one holds a special place in my heart number seven is mesmerizing maroon even though it's called a maroon quad it really it's more plummy to me they have a maroon color in here but on my eyes and on my skin tone this pulls more plum and I do not prefer any other of the tutorials that I did with these quads this one actually was one of my favorite looks by far one of the best in her formula I feel like this color story is actually kind of unique from the rest of her quads as well so this one stands out in her line it is more special and if you have brown eyes this one is really going to make your eyes pop I love this one highly recommend if you're into this color story number six also from that collection as mesmerizing maroon is green light this one used to be called the rebel though I will say she said this is the same as the rebel but I looked online the rebel looked more blue and teal no anyways I've never owned the rebel so I can't speak for that but anyways green lights you guys know I love I have this thing for green eyeshadows and I love that this is a green and gold because I don't think there is a better combination and this is one of my most used quads from her every time I think I want to do a respectably wearable green eye this is what I go for so I reach for this one a ton and if you like greens I would definitely go with this one in her line it's an incredible formula it makes wearing green easy and approachable and I also recommend you buy the corresponding duo liner with this that look is just scrumptious number five is the newest one that I own from her and this makes me want to buy this sophisticate which is a cooler matte palette because this is her newest one that came out this is Desert Hayes and it's an all matte palette something about this matte formula push this pretty much all the way to the top of this ranking these are some of the most buttery smooth and creamy mattes I have ever dealt with and this makes me love matte looks every time I put this on I don't even want to put a shimmer on because I feel like this standalone is so gorgeous just know that this is going to pull a little bit more deep than it would seem so I think this is especially beautiful for medium to deeper skin tones as well but pigmented buttery smooth does the work for you maybe not necessarily the most exciting palette to look at but once you put it on your eyes you'll love it as well I think it's an amazing quad and this is also great because you can pair it with all of her other quads since it is all matte and most of hers are basically all shimmer this is a really nice way to cut into those shimmers number four is the Bella Sophia and this one okay it's not that amazing super smooth formula that I've been talking about it's still a really good formula but I think this is her older formula but I just love the look that this creates if you like those golden bronze goddess kind of looks this is amazing so every time I wear this I'm absolutely in love with my makeup I especially love this pop shade right here this is a very special pop shade I don't know if you just like the look that I posted you will like this palette again one of my most used palettes from her I think it is so beautiful it's so wearable I'm very comfortable with this color story so if you're more into neutral looks I would highly recommend this one I think it's stunning number three again surprise this is still available so I would jump on it if you are thinking about it this is a starry eyes hypnotized it's an older palette it's not even actually came out during the holidays this year but what I like about this one specifically is you really do truly get four looks so you know how it's complaining about the pillow talk and how they were all kind of the same color this really like you get a smoky eye a green eye a more maroon eye and then a more just neutral brown eye golden eye so this I love for the options that you get so if you're looking for something where you can get the best at a Charlotte Tilbury's collection the most variety while also having her formula I do recommend this one it's a really nice buttery smooth creamy shimmery gorgeous formula the same words I used to describe all of these other ones this one's really great I just love the variety that you can get in this and this one I felt like at the time contained a lot of colors that didn't exist in her line I will say now that she came out with green lights and mesmerizing maroon you do have some similarities in the quads but if you don't have really much from her line this is a great way to start number two this one was fighting for first place I actually had this in first place for a long time because it's the quad that I feel the most comfortable using every day this is my ideal every day I look this is the golden goddess and I actually saw on the website for Charlotte Tilbury this is limited stock but if you like cooler toned neutral browns this is what I'm talking about it looks so boring from the swatch but on the eyes this is everything I want in an everyday look so if you are curious about my ideal everyday makeup look this is what it is I really don't know what else to say because this is me embodied in an i quad I love finishing it off with the pop shade to add that little tiny hint of glitter but not obnoxiously so and then just staying more cool and neutral tone I love this one this one's one of her best so if you're like me and you like those more neutral brown kind of eyes with a little bit of glimmer that are still soft not dramatic love this and last one this is number one and I don't think I've ever talked about this on my channel because this one really crept in here just one day I used it and I was like wait this is the best quad from Charlotte I've ever used so this is the queen of glow it's so good you guys first of all you're getting a top notch formula the matte brown in here is one of the most incredible matte browns I have ever used it's so pigmented and so blendable it is a medium to deeper complexion friendly quad as well I find I have to go really light handed with this because otherwise I have like a very dramatic smoky eye and just the way with these top two shimmers how you effortlessly need to apply just a little bit and then you already have such a strong glow on your eyes and you have an option to go lighter here you have an option to go more golden here and then you also have a nice little copper glitter pop to add this isn't my favorite pop shade from her but these other three are just so good so go to so wearable and approachable that that is okay I I need to take a moment because I love it so much and it's just the best so we did it we got there I ranked all of my Charlotte Tilbury palettes and I do want to talk about my opinions on whether or not they are worth it because that is a very big debate and I will be completely honest if I wasn't blessed to have the platform that I do and the money that I am able to earn from YouTube to purchase these for you guys for videos like this I most definitely would not have the collection that I have value-wise I mean they are more expensive than Tom Ford Natasha Denona and Pat McGrath like that should say a lot and I think if you are tight on a budget there is no need to purchase any of her quads in particular now I do love her formula and I think if I didn't have a channel I most definitely would be on board with her big palettes because the formula is really special now it does take a special kind of eye to see it not everybody's going to see it which is okay like you can get so many gorgeous looks with many other formulas so when you use Charlotte Tilbury you may not be that impressed and I can totally see somebody not being impressed but again for me who looks really deep into formulations looks very hard into my makeup I I'm very judgmental of course of makeup I do see what is special about her shadows I don't think her shadows are worth having every single palette from if I'm being realistic here but I do think having one or two or just a few palettes if you can appreciate the formula is worth it but don't go bankrupt over buying her formula because it's not it's not that great but I do love her line and I do think she definitely has some gems and for the most part I think you're getting a good quality every time that you purchase so that is all I have for today's rankings video I hope you guys enjoyed it let me know your favorite palettes from her down below yeah I don't know what brand should I do next I was thinking color pop I don't have a ton of color pop palettes and a lot of mine at this point are probably discontinued from their line so I think I'll do like a quickie not like this one where I spent three months testing these out I am thinking of just quickly just ranking them without worrying too much about creating looks and all that okay anyways thank you guys so much for watching if you aren't subscribed to my channel already I hope you would consider taking the time to do so and I will see you guys in the next one bye guys have a good one


QuickBooks Desktop 2023. Budgeted Balance Sheet Reports. Let's do it within two weeks, QuickBooks Desktop 2023. Support Accounting Instruction by clicking the link below giving you a free month membership to all of the content on our website broken out by category further broken out by course. Each course then organized in a logical, reasonable fashion, making it much more easy to find what you need than can be done on a YouTube page. We also include added resources such as Excel practice problems, PDF files and more like QuickBooks backup files when applicable. So once again, click the link below for a free month membership to our website and all the content on it. Here we are in QuickBooks Desktop. Get great guitar practice file we started up in a prior presentation going through the setup process we do every time Maximize in the homepage to the gray area in the view drop down we got the hide icon bar the open windows list checked off open windows are open on the left reports drop down company and financial it's open up that P that L that profit that loss that income statement change the range from 010123 to 022823 and then customize it so we can font number change to 14 okay yes and okay open up the balance sheet and the reports drop down company financial the big balance sheet customize it with the ranges they are changing 010123 to 022823 fonts to the numbers are also changing times are changing ranges are changing font sizes are changing it's just crazy times these days so that's what we have here that's the setup process we do every time we've been taking a look at the budget process in prior presentations we considered the budget for the profit and loss report which is the main report we think of as a budget oftentimes that being the performance reports now we're looking at the balance sheet budget report in prior presentations we talked about exporting to from excel i mean i'm sorry exporting from quickbooks to excel the seeds of the budget we did so with a trial balance so that we can then create the budget accounts from it and then when it within excel we generated our budget and now we're going to import it or we have imported it back into quickbooks and we did so by going to the company drop down and we went down to the planning and budgeting and now we've got two budgets that have been set up we created a new budget you can create more if you like and so now we have it in place so we can run the reports although we noted last time that we're out of balance so we're gonna have to do a few little adjustments here to put this back in balance but first let's go back to the balance sheet let's go to the reports drop down the main couple reports and the budgets will be the budget overview and the budget versus actual this one in particular budget versus actual is quite useful that's why we put it back into quickbooks so we can run reports such as this let's first look at the overview report and adjust any problems we have in the data input so i'm on the balance sheet report next finished and there we have it now i only have three months of data in the system so i'm going to change the range up top to go through 03 31 23 and then let's make it a little bit larger so we can see it a little bit better fonts and numbers change in the font bring it on up let's say to 14 okay yes and okay so there's what we have thus far now remember that when we look at the balance sheet if i go back to the normal balance sheet that the assets liabilities and equities will always remain in balance as we enter data in the normal balance sheet because quickbooks forces us to use the double entry accounting system with every transaction that's a great tool when we enter the data into the budget however there's no such restriction so we could enter things out of balance as we can see here we're not in balance because for example assets do not equal liabilities and equity so we um we did have it equal in our budget over here that's an indication that there is something wrong in the data input so now the question is how do we double check in as efficient a way as possible i'm going to see if i can hide this and say i'm going to show tabs only so one way to do it is to is to check the totals so i could say okay total assets and liabilities for january for example would be from here down to here and i could just sum them up the way i have it formatted debits positive credits negative that adds up to 226784 so because those are all the assets right so if i went over here on the balance sheet i could say does that add a 226784 so that's a good indication that my assets are not what's throwing me off i could do the same for the liabilities which should tie out to total liabilities down here boom 83065 so liabilities start at accounts payable going down to the first equity account that's going to be 86064 so dollar difference but we have uh 83 it should be 83064 83065 so that looks good so let's do the same for the equity which should come out to 111447 20 so if i do that that should be these three 1437 20 versus 1447 20 so i know it's something in equity it looks like the 65 000 looks correct the 500 is there and then the 79 but look at this 500 looks like it's it's going the other way it's a contra equity account so i could see that if i was to say what am i off by here i'm off by a thousand dollars oftentimes the other way you can kind of check this to say let's pull up the trustee calculator and i could see the difference here is going to be this this 226784 minus the 227785 thousand dollars if i divide that by two then i could see oh it's that 500 it's going the wrong way i can also add these up and say okay that comes out to 143720 for total equity which should tie out to the total equity here which is at 144720 it's off by a thousand dollars so i gotta flip the sign on this 500 is the bottom line so let's go ahead and do that i'm going to go into my budget stuff again budget planning set it up scrolling down set it up and scroll it down i'm going to say this is a negative i'll do that all the way across and see if that fixes the problem all the way across okay and then back to the balance sheet now do my assets equal my liabilities and equity so<PHONE_NUMBER>84 24940 so i'm still got something 230 let's do let's check that out february still has a problem 238237 minus the minus the 240900 so there's a difference of 2663 there okay so i don't know what that is let's try to do the same method for february i'm going to go okay february winning capos so let's add up my assets here down to here that's 279484 if i go back on over here total assets are 238 so it looks like there's something in the assets then i can look at the subtotals for the assets so i might look at total current assets 145 210 and that's going to be from here actually wait a sec that doesn't i messed up hold on a sec it goes from here down to the liabilities start there it should be 24899 total assets and so i'm still off okay so then current assets should be 145 210 so current assets go from here to here i'm at 147 so it's something in current assets is off so cash is 106212 and it should be<PHONE_NUMBER>4 this is 24 so it looks like here's the problem in the ar okay so let's go back on over company drop down and go to my budget again ultra base and we're going to say this is going to be for february is going to be 258125814 so this one should be 25814 and then march should be 28673 this one in march should be 28673 is that right 28673 i think so let's do it again let's save it and check it are we in balance now finally 24899 248900 we're off by a dollar i'm okay with that so then 25660 and 25662 once again off by a dollar which once again i'm okay with actually that's off by two dollars i'm still okay with it i'm still okay with it you can obviously go in there and and change one of these items by a dollar it's a budget so it doesn't need to be of course exact because we don't know what's going to happen to the future that's why we're kind of rounding here and the fact that i rounded as part of the reason that we're off you know by a dollar or so but no worries that looks good to me so then let's go up top that's what we have thus far for the reports then this is what we have for those three month period because we only entered the budget for three months we could of course do the budget as a total column notice that it's different than the income statement just like the profit loss versus the budget in normal times whereas we're we're measuring a point in time and therefore when i go to the months when i break it out by month it's not going to give me a total of the three months because this is showing where we stand at the end of each of those three months whereas the income statement is performance that went through kind of like how far did we go in those uh in each of those months now we could also do it by quarter clearly and so on and so forth let's bring it back to the months and then the other report is going to be the reports drop down and the budgets will be the budget versus actual report which we'll do as uh proclaimed there we want the balance sheet one it's going to be comparing the budget and the actual just like we saw on the income statement let's bring it just for the three months that we have we'll bring it out to 033123 and let's increase the size of the fonts again let's take it up to just 12 this time okay yes and okay so now we've got the same kind of thing we saw with the income statement each month will then be broken out by the actual data we have two months of actual data that has happened we don't have anything yet for the month uh of march that has happened there's still balances in it but we haven't had any new stuff that happening these are permanent accounts that's why there's still those balances in there we've had activity for for uh january and february so if we pull out the trustee calculator we can see the differences here and the percent differences so clearly uh if i go all the way to the left we can see the difference is 88645.25 minus the 95259 on the budget negative uh 6613 and the percent then the percent difference or the percent then is going to be the 88645 the actual divided by the budgeted amount 95259 that's moving the decimal two places over 93.1 about so that's how we calculate that percent and clearly now we can kind of say okay you know where did we budget we're going to be after the month of january what actually happened in january what's the difference between the two what's the percentage change and that can lead us to then think okay you know what was what was good or bad about it then we can then we continue on with the budgeting process in the following month hopefully refining it down hopefully getting a better understanding hopefully doing it better going forward same items in february and then we had march although we didn't have any activity uh in march these being so so they're permanent accounts we still have the balances but no new activity happened in march so those are the the main budget reports budgeted the budgeted versus actual and the budget overview for both again the balance sheet and the income statement just to quick recap note that the income statement is probably the primary thing that you think of as the budgeting tool first you know as your performance report and then you can get into the budgeting reports here you probably as the accountant are are going to help out with the budget but it's not something that you would think that you would automatically be doing uh if you know if you just were hired for a bookkeeping job or an accounting job right because your job is to do the past data and you need help with the future data the general process i would think would be something like export prior data to excel adjust it within excel then import it back into quickbooks so that you can run reports such as the budget versus actual reports