When I lectured on Monday about Marcus Garvey and a little bit about Father Divine, what I was trying to get at towards the end was the complicated texture, for lack of a better phrase, of, pardon me, you know, one should always remember to turn one's cell phone off, especially if you're giving the lecture. One thing I wanted to get at was the complicated texture of that moment, as far as the position and ideology of these important black leaders. They're competing philosophies where their philosophies overlap and then the maybe sometimes unpredictable ways that their followers might embrace all or parts of their political, ideological agenda. There is no single leader for this moment that I'm talking about for today, which is, you know, loosely called the Harlem Renaissance. I'll unpack that later on. It's certainly an era and a moment filled with all kinds of conflicting and competing narratives. And one of my goal, really my main goal today is to sort of begin to add texture to the Harlem Renaissance and add some complicating narratives that I think get as closer to the truth as it was experienced on the ground. To help us in that direction I'm going to start with a poem. It's actually a very long poem and I'm only going to read a short part of it. And there's many different versions of the poem. But what I'll be, the parts I'll be reading from are really sort of the most common overlapping stanzas, as it were. It's poem by the writer County Cullen. Let me just launch right into it. What is Africa to me? Copper Sun or Scarlet Sea? Jungle Star or Jungle Track? Strong, bronze men or regal black women from whose loins I sprang when the birds of Eden sang? One three centuries removed from the scenes his father's loved, spicy grove, cinnamon tree. What is Africa to me? This last line here is often thought of as, you know, what is Africa to me? The question is thought of as the title of the poem. It's not the title of the poem. It's thought of as much more complicated as we'll see in a moment. Cullen continues in the poem, Africa, a book one thumbs listlessly till slumber comes. He then launches into an extended exploration of the naturalism of the African scene that defined to him what Africa was. You know, you would have herds of animals, flowing through the savanna while, you know, strong black beautiful couples were coupling in the savanna.  Africa, as you see in Cullen's poem, was not a place that he had any personal knowledge of, but it's a place that is, quote, a book one thumbs. It's a place that you discover through someone else's words, through someone else's interpretation, through knowledge that's passed down. And in this way, Africa is a place of heritage, and that's the actual name of the poem, it's called Heritage. Continuing along in the poem, after going through these sort of naturalistic, animalistic, exotic scenes, Cullen continues, quaint outlandish heathen gods, black men fashion out of rods, clay and brittle bits of stone, in a likeness like their own. My conversion came high priced. I belong to Jesus Christ. Preacher of humility, heathen gods are not to me. Father, Son, and Holy Ghost, so I make an idle boast. Jesus of the twice-turned cheek, Lamb of God, although I speak with my mouth thus in my heart, do I play a double part. Ever at thy glowing altar must my heart grow sick and falter, wishing he I served were black, thinking then it would not lack precedent of pain to guide it, let who would or might deride it, surely then this flesh would know yours had borne a kindred woe. Lord, I fashion dark gods too, daring even to give you dark, despairing features where crowned with dark rebellious hair, patience wavers just so much as mortal grief tells, while touches quick and hot of anger rise to smitten cheek and weary eyes. Lord, forgive me if my need sometimes shapes a human creed. All day long and all night through, one thing only must I do, quench my pride and cool my blood, lest I perish in the flood. Lest a hidden emberset timber that I thought was wet, burning like the driest flax, melting like the nearest wax, lest the grave restore its dead, not yet has my heart or head in the least way realized they and I are civilized. And I know it gave you like four or five stanzas really quickly here. So a few things that I hope that you are hearing in this reading. Colon wrestling with the cost of conversion, religious conversion, a complicated recognition of civilization and the very conscious evocation of race pride. Colon writes, my conversion came high priced, I belong to Jesus Christ. It's his own recognition, I think, that even when though, even though he's trained in the technique of high European arts, this is a very formalized poem after all, formalistic, the blessing in quotes of training in civilization came at a high price. I mean through this poem that you see the narrator talking about this Africa he doesn't know landing in this nationalized exotic setting and then wrestling with what he sees as religion thinking oh well this is really backwards and thinking well maybe it's actually something different, maybe I can't actually see it because of the way I've been trained. And that it he's talking about is civilization. Colon acknowledged or the narrator acknowledges as the poem goes forward that Africans were civilized. Throughout the poem, I mean by the end of the poem you realize that throughout the poem he's wrestling with the question well you know I know I'm civilized, I've been converted, I belong to Jesus Christ. But you know these dark, these rods, these gods excuse me they're fashioning out of dark and brittle rods, maybe there's something to that as well. And what he's really bemoaning I think is the fact that it took him so long to understand that these Africanist belief systems, this fashioning of any different kinds of dark gods that he actually saw something desirable in it as well that he often wished his god, something you can't see and you can't hear in the reading of it what you see in the print with you know he's capitalizing he and you often that he wishes his god were a god that looked black or looked you know black African. And so it's the pain of discovery that he has lost something in the process of gaining something. He wished that quote he I served were black and that if there were a black god, if one could imagine it, one could extend a belief system such that there'd be recognized, a recognition in the United States that black Americans might have some purchase, different interpretations certainly, but a purchase on one of those most treasured things of being civilized, formalized religious belief system, that a white god could be a black god and still be a god. It's a powerfully complex poem, speaks to all these different issues, verbalized pride in the natural beauty and bounty of Africa, at the same time speaking ashamedly of its simplicity, illuminating as it does that heritage is something of which one can be proud but also something of which one can feel exquisite pain. And the speaker clearly feels by the end of the poem remorse about being torn in these two different directions toward the end of the poem he asks forgiveness after all for the actions he takes that he feels are necessitated by the strange cruelties and ironies of heritage. He says, Lord forgive me if my need sometimes shapes a human creed. This last phrase, Lord forgive me if my need sometimes shapes a human creed, really is a metaphor that I want to use, I want to use it as a metaphor, deploy it if you will, to help us get a purchase on the New Negro Renaissance. And one quick caveat here, I've already, in fact I've already done it. I'll talk with the Harlem Renaissance and the New Negro Renaissance. Just for your understanding, I'm talking about the exact same thing. This is actually old habit. For the longest time when I was being trained and educated, if anybody talked about the era it was always about the Harlem Renaissance. In the last twenty years or so, that, well probably a little more than that, but the use of Harlem Renaissance has faded in many quarters with a reference to the New Negro Renaissance as well. And I should be detailing some of that in today's lecture. But for me this is just, it's old habit, but with a recognition of a much more common and I think accurate depiction of how you'd understand this era, and that is the New Negro Renaissance. Whatever I'm going to call it in this lecture, I want you to think of the Renaissance as a moment where issues of culture, where politics, where economics, where social psychology, and perhaps even social pathology, not even perhaps certainly, social pathology come crashing together. Collectively these things, culture, politics, economics, social psychology, and pathology collectively foraging a human creed out of a human need. In the time that remains, going to canvas the Renaissance, hitting lesser known moments, and suggesting some alternative ways to think about what the Renaissance actually is. Let's go back to County Collins' heritage. This is seen as one of the hallmark poems of the Renaissance. If you come across some selections of Collins' poetry and anthologies, you'll be sure to see this poem cited. But there's another poem also called Heritage that preceded Collins. It's written by an artist named Gwendolyn and Renaissance historians don't really have much to say about Bennett, much of her work, her paintings, her sculpture, her writings.  But it's worth pausing for a moment to reflect on her work, think about the fact that what we, and to think about the fact that what we see here, read about the Renaissance has far too little to do with the women artists during the period. There were a lot of them doing important work. Anyway, Heritage by Gwendolyn Bennett. It's a much shorter poem, but well, you'll see why I read it. I want to see the slim palm trees pulling at the clouds with little pointed fingers. I want to see live the Negro girls etched dark against the sky while sunset lingers. I want to hear the silent sands singing to the moon before the Sphinx still face.  I want to breathe the lotus flower sighing to the stars with tendrils drinking at the Nile. I want to feel the surging of my sad people's soul hidden by a menstrual smile. Like Cullen, and this is, I mean, Cullen's poem is quite famous, this one is sort of an afterthought. Like Cullen, Bennett has a highly romanticized notion of what one would find in Africa. Also like Cullen, Bennett has an angry coda in her poem that recognizes the painful side of heritage as well. Africa has exotic strength, natural beauty, grace, but it's also been seen as the birthplace of a people who have to hide their pain behind a menstrual smile. So if taking these two poems together, if Black America's heritage presents such a quandary, what are we to make of the new Negro Renaissance? There are at least two critical things to know about the Renaissance, at least for the purpose of this class in the examinations. It needs to be thought of as a movement, and it needs to be thought of as a movement of binaries. I'll be getting to that in a moment. I'll be getting to it, I mean, you might want to take the notes down, I'll be talking about the binaries in a moment, but these are the binaries that I think are worth thinking about. Now what makes it a movement? As I said at the beginning of the lecture, it has no singular leader like Garvey or Du Bois or Father Divine, or Booker T. Washington. But I think we could consider it a movement because to understand the Renaissance, one has to understand a broad range of things that, taken together, have coherence. It's a movement that involves the written word. It's a movement that involves the theater. It's a movement that involves music. It's a movement that involves the material arts, sculpture, and painting. It's a movement that involves film. It's a movement that involves club life, as you see detailed in this very intense book I've asked you to read this week. And it's also a movement of white infatuation. Now as I said, and I'll start detailing these in a moment, it's also a movement of binaries that are on the screen there. It's American and it's African. It's urban and it's rural. It embraces high culture and low or folk culture. It's about racial independence and about patronage. So the Renaissance is this moment of astonishing cultural production, going in many different directions, expressed in many different ways. But it grows out of certain real demographic changes, political changes, social psychological changes as well. Very simply, the migration grows out of, I mean excuse me, the Renaissance grows out of the Great Migration. You can't have the Renaissance really without the migration. Now remember, the migration was not literally from a field in Alabama to New York City, New York City's Harlem, although some certainly did make that journey in that way. The migration was moving in fits and starts, forward and back, backward and forward, north to south again, a little further north, maybe to midwest and north. It's a movement of sort of a general level of chaos but tending and trending towards the north in urban centers. That soup of the migration is rather important because if you are from the fields in Alabama and find yourself six months later, say you've been picking cotton in Alabama and now you're working in a coal field, coal mine in West Virginia and you're there for another year. It's not just about your labor but it's about a kind of cultural exchange. Your ways of looking at the world, you prepare them, the songs that are important to you. There is, with this migration, a profound cultural sharing of experiences just by happenstance. When you move people, their ideas and their values move with them and they clash or they mix, depending on the circumstance, in generative ways. So the Renaissance develops out of the fact that the culture is moving with the people to different places. And when you have such an intense change in places like Chicago or Detroit or New York City in terms of demographics, there's a heightened sense of cultural tension. And that's what's really so important about the Renaissance's connection to the migration and why Harlem was often thought of as the, referred to as the Harlem Renaissance because Harlem does become the focal point for so much of these artistic changes although they are happening everywhere. The Renaissance develops out of World War I injustices, soldiers returning home, and the heightened racial awareness that grows out of it.  Often seen as sort of one of the, the call to arms in a sense for the Harlem Renaissance poets in retrospect. The Renaissance develops out of intense black political impatience. I'll explain more about that in a moment. It's, it would be nowhere the Renaissance without patronage and it wouldn't, and it wouldn't be nearly what it was if you didn't have technological developments in terms of the publication and publishing industry and the entertainment industry. Literally how you produce records. Mass marketing. The Renaissance wouldn't have spread as broadly as it did without these changes as well. So there's some technical aspects to it. You've got to narrow things down a little bit on the Renaissance itself. You know, it involves these different things, these different kinds of artistic expressions, it involves these different forces, you know, sort of combining such a way to make such an important moment. Well, you know, what are its boundaries? The Renaissance, I mean, the short answer is we don't really know. We kind of generally agree, we being people who agree with me. The, but most historians really point to the Renaissance starting in 1919. There are certainly moments here and there where you have, you know, artists coming together doing some bold and interesting things prior to that. There's no doubt about it. But in terms of a self-consciousness, a collective self-conscious, a will to change, it's when the black soldiers return home. It's when the cities go up in flames and black communities are targeted. And it's again with County Cullen publishing this really spectacular poem. Excuse me, Claude McKay, publishing If We Must Die. And if I said earlier, mental rewind, if I said County Cullen with If We Must Die, it is Claude McKay just to make sure I didn't misspeak. Now that beginning, so we'll, you know, we'll stick with 1919 for this course. This is a pretty accepted start point for the Harlem Renaissance, New Negro Renaissance. Its end point is really much murkier. Many will point to the stock market crash in 1929. And there's compelling reasons, because once disposable income dries up, it's much harder to patronize a club or support an artist. So if the Renaissance continues after 1929, it's certainly diminished. But if you stopped it in 1929, you would actually cut out from the Harlem Renaissance conversation a lot of its most famous artists and writers, whose work really comes to be known in the 1930s. So 1929 is a bit harsh of a cutoff. You can move it into the 1930s easily with the growth of the federal government and the New Deal and the support the New Deal gives to artists of all colors and backgrounds. And you might even carry it up to 1941 when the U.S. enters the Second World War. You know, this might be stretching a little bit. A few people will even say the Renaissance never ended. It just kind of quieted it down. And I think for our purposes, to have a useful understanding of the Renaissance, we really need to think of it as an interwar phenomenon. 1919 to certainly the early 1930s, with less clarity maybe to 1941. The endpoint is less important to me. Now within this vague realm of the timeline, there is an important marker that there's no debating. 1925 is universally recognized as a pivotal moment in the history of the Renaissance. Maybe it began with Claude McKay's poem, but a pivotal moment is the 1925 publication of a journal, a special issue of a journal called Survey Graphic. It was edited, this special issue, edited by this man, Elaine Locke, a professor of philosophy at Howard University. People recognized, Locke was one of these people, that there was something happening in terms of cultural production. There were a lot of, you know, art shows, a lot of new music forms and the rise of popularity and certainly consumption. You know, I want to tap, I want to gather up this moment as we can do it in a journal. And so he gathers a collection of poems, excerpts from plays, essays, and short stories that represented in Locke's mind the new spirit in Black America. The special edition of Survey Graphic is published as a book. It's expanded and published as a book, edited by Locke, that is recognized as the Bible of the Renaissance and that book is called The New Negro. Now, you remember that the phrase New Negro goes back to Booker T. Washington's, you know, popularizing over the turn of the century. It becomes more commonplace with this change of mentality. It comes from World War I and really starts to go through the culture with Elaine Locke's publication, The New Negro, in 1926. The journal becomes, especially the journal becomes an expanded book. I mentioned earlier that one of the things you need to think about the Renaissance is thinking of it as a movement, a movement engaging politics. Locke, a philosopher, was convinced that culture, that thing he's trying to gather up to call New Negro, culture was a political battleground. He was explicit on his terms, on this issue. The Renaissance in Locke's term, in Locke's opinion, was all about a fight for cultural recognition. And then, once that recognition was gained, it was about political freedom and equality. That once Black Americans can demonstrate that they have something to contribute to the world, a cultural standpoint, others would have no choice but to recognize that they had something of value and they would be embraced and given their political freedom and full equal rights. You can hear this in the opening and closing quotes from Locke's introduction to the book, The New Negro. On the New Negro mentality, Locke says, the younger generation is vibrant with a new psychology. The new spirit is awake in the masses and under the very eyes of the professional observers is transforming what has been a perennial problem into the progressive phase of contemporary Negro life. On the value of culture to political possibility, Locke says the following. It must be increasingly recognized that the Negro has already made very substantial contributions, not only in his folk art music especially, which has always found appreciation, but in larger, though humbler and less acknowledged ways. A second crop of the Negro's gifts promises still more largely. He now becomes a conscious contributor and lays aside the status of beneficiary and ward for that of a collaborator and participant in American civilization. The especially cultural recognition they win should in turn prove the key to that reevaluation of the Negro which must precede or accompany any considerable further betterment of race relationships. Culture is the key for Locke. So Locke really, I mean literally saw the Renaissance as a political movement shrouded in the cloth of culture. Locke talks at some length about the folk culture that's so often defined for good or for bad black life in America and to be sure this is part of the heritage that many Renaissance artists hailed in their work. But the celebration of folk art styles, rhythms and voices becomes very complicated when we consider white infatuation or what scholars will often use the phrase the white gaze, the white gaze. What do you mean by the white gaze? Talking about literally in some ways the people who come to Harlem clubs to witness and experience the quote delirious social scene in Harlem, white patrons coming to clubs, clubs where blacks are performing in Harlem that blacks could not go into as patrons themselves. Now that's literal, I mean it's talking about white bodies buying tickets to see black performances. But less literally the gaze I'm talking about described white patrons fascination not just with black cultural performance but cultural ability. You have prominent patrons like Albert Barnes, the famous art collector, a white man who praised black's quote authentic and native talent and these are very loaded words what is authentic after all? What do you mean when you say native? What kind of baggage of being carried with that? Now Barnes is recognized as a great patron of the arts and as a great, as the phrase was at the time, a friend of the race. No one doubted his credentials in that regard. And Locke recognized this and wanted to have Barnes in his collection. It's an important figure, playing an important role in the cultural development or the propagation of African American cultural skills. So Barnes is the second essay in the new Negro and he says the following. That there should have developed a distinctively Negro art in America was natural and inevitable. A primitive race transported into an Anglo-Saxon environment and held in subjection to that fundamentally alien influence was bound to undergo the soul-stirring experiences which always find their expression in great art. The most important element to be considered is the psychological complexion of the Negro as he inherited it from his primitive ancestors in which he maintains to this day. The outstanding characteristics are his tremendous emotional endowment, his luxuriant and free imagination and a truly great power of individual expression. He has in superlative measure that fire and light which coming from within bathes his whole world, colors his images and impels him to expression. The Negro is a poet by birth. The white man in the mass cannot compete with the Negro in spiritual endowment. Many centuries of civilization have attenuated his original gifts and have made his mind dominate his spirit. Now, I've never talked about civilization and civilizing ideology a lot to date in this course. But one reason I share this quote because it is the currency that a lot of these black leaders and white leaders share in terms of really who is to be saved, who is to be fought for, who has certain gifts and barns as sort of dated as this language sounds today and even condescending, who is being quite clear in his admiration of black's cultural gifts. Now, he also thought that that's because they were really not quite fully civilized but they were in touch with something more primal than whites. Whites no longer, they used to have it, they could no longer be in touch with this part of their spirit because their minds had become overdeveloped. Now, fascination with, pardon me one second here, the fascination from the patron's standpoint would be complicated in the sense of Albert Barnes, an incredibly important art collector, supporter of the arts and black artistic production but with these sort of interesting worldviews. You have other patrons like Charlotte Mason who rather wealthy and supported the artists in a different way than barns. Barns would buy their art. Charlotte Mason, you know, had artists on retainer, most famously Zora Neale Hurston and at one point Langston Hughes as well. And Zora Neale Hurston, whose work, whose most famous work comes out a little bit later in the 1930s, this is sort of the issue of stretching the renaissance a bit.  Zora Neale Hurston had a training as an anthropologist and Mason would send her down south to go explore an area and then come back and tell me stories about this native folk in, you know, the backwaters of Georgia. Now, and Hurston would do this. I mean, she didn't have any other resources but there were times when she would push back against the patron who insisted on being called godmother.  And Mason said, well, I want you to do what I ask you to do. So this patronage thing would become very complicated, especially when you consider that Mason also was asking Hurston to be your housekeeper at the same time. Langston Hughes was under Mason's umbrella until he got in a fight, Langston Hughes, incredibly sort of the poet laureate of the renaissance, got in a huge fight with Mason and with Hurston and was sort of cut off, essentially. So patronage was complicated in terms that are quite literal in terms that I'm no longer going to put food on the table for you or I'm going to kick you out of my apartment. Patronage could be complicated in other ways also, and this is actually a local story. It turns out that if you want to study the Harlem renaissance, the best place in the world to do so is a few blocks away at the Beinecke. It has the largest collection of African American literature, arts, sculpture, and paintings for this period. The other great repository is down in New York City, the Schoenberg Research Center, but for the renaissance, you need to come to Yale. Carl Van Vechten, white writer, artist, photographer, and a great supporter of the arts in New York City and sort of salon culture, really connected a lot of black artists and white artists together, a lot of black artists and white patrons together.  And then he convinced a lot of his white artists friends to give their stuff to Fisk University, historically Black College, when it was their time. The thinking was that black scholars would study black artists and vice versa, and they would have to go to these other institutions and sort of cross-pollinate in some sort of way. I mean, and there's actually a lot of truth in what Van Vechten set up as a model. It's also rather funny the way that libraries, you know, have these coding. Like, you all know that, you know, you'll find U.S. History in E185 point, whatever. Well, in the Beinecke, a lot of their holdings are, I think, Z is the beginning of a rare books collection, Z-A blank, and for the James Holden-Johnson collection, which is the umbrella for the works that Van Vechten got brought over to Yale, it's Z-A-N for Negro. I mean, it's just this, it's just the way things get coded. I mean, this is a culture in which we live. Anyway, Carl Van Vechten was responsible for having created at Yale an amazing repository of black arts. He's also responsible for writing a very controversial book, and this is a not super high quality, but a copy of its cover, Negro Heaven, a book that a lot of other black leaders were horrified that he would turn on the race in a sense. But some are saying, well, I mean, it's about Harlem, it's about the Renaissance, and it's about the, and it's really not, shall we say it's a clumsy book, it's very overwrought and dramatic, but it's about the mysterious beat of the Tom Tom and, you know, the whirling dancers and all these sort of things, highly romanticized. You can see here, you know, highly stylized African material forms as well. Some black leaders thought this was, you know, spot on, exactly, but others most were actually horrified that Van Vechten would publish a book like this, certainly with this title. So patronage coming in different forms was complicated. Just flat out complicated. And that's partly what scene of Harlem Cabaret you're reading for this week is getting at. Now I mentioned earlier we need to think of the Renaissance as a movement and one that involved white fascination. And also it was a movement of binaries that combined, a movement that combined in one space seeming opposites. The most important binary in this regard is America and Africa. That Africa was being hailed and celebrated at all was revolutionary. I don't want to dismiss this point of the Renaissance. It's really quite important that Africa, the land mass and its people, was being interpreted as contributing something worth a while to civilization was a radical break. And one can see this often in the famous work by Aaron Douglas who actually did this cover, but also produced a lot of other art from the Renaissance that is recognized as some of the most important paintings, visual art from the Renaissance. And you see in Douglas sort of an artist doing sort of the heavy lifting of bringing African cultural styles, you know, starkly angular and bringing them into an American narration, into an American scene. And we can see this really in several murals that he, it's a six panel mural that's at the Schomburg Research Center in New York City.  And I'll show you four of these panels. In the first you have the Negro in an African setting, an exhortation of the culturally vibrant African past with the ring shout, religious tradition, being practiced in drums, dancers in the state of ecstasy. And you'll see in these images I'm going to show you here themes of, well stylized forms, but also circles and light. So it ties the images, the paintings together. You have the rival of the ships in this painting, Africans now in shackles, not knowing what their future possesses, holds for them, ships coming to see them. You have a beam of light coming in from the distance as you'll see, sort of forming a triangle you'll see in other images. You see it again right away here. Now you have an ideal of the deep south. We see echoes of the African past, certainly in the body forms and shapes. We also see right, going from right, from your right to your left, expressions of hard labor, of celebration in the circle, again evoking the ring circle, playing instruments with African roots like the banjo, but also playing guitar. The movement heads you from right to left, and you see in the distance to the left, the north star, this is that beam of light cutting through the north star as a path toward freedom. What you also see though, and I can't reach it, is the mouse to get up there. Up here, right here, see somebody hung, and a lintrope coming down. So the ideal of the deep south is hard work, cultural celebration, tragedy, horrific tragedy, and a future elsewhere. And what was elsewhere? The promised land. Shackles are broken right here. The civil war is mentioned visually. The promised land, the land of factories in the future. You have in these images, I've gone through very quickly looking at my time, the binaries of African primitiveness. I can't be the right word. Civilized, organized, north, freedom, industrial. The tragedies and the triumphs. Involved in the migration from one place to another. You also have in, and that's in the visual arts in one sort of expressive moment, you have this binary, this wrestling with African-ness and American-ness in poetry as well. I mean, you've heard some of the messier versions in County Colen's Heritage. Langston Hughes, the, again, one of the most famous artists, a prose in the Renaissance, writes the poem, The Rivers, is often hailed as sort of one of the great documents of the Renaissance. The poem is, the negro picked the rivers. It was written when I was 18 years old. No pressure. I've known rivers. I've known rivers ancient of the world and older than the flow of human blood and human veins. My soul has grown weak like the rivers. When I was 18 years old, when dogs were young, I don't mind how to live in Congo and as long as you can sleep. I looked upon the Nile, raised a pyramid above it. I heard the singing of the Mississippi when Ike Lincoln went down to New Orleans and I've seen his muddy bosom turn all golden in the front sack. I've known rivers, ancient dusty rivers. My soul has grown deep like the rivers. I don't think we need to spend much time interpreting this poem, but it is seen as, again, one of these great documents that ties together a lot of the different strands of the Renaissance. Hughes is talking about the Great Rivers of the World and he's also talking about places where there were ancient civilizations and he's connecting these great rivers with ancient civilizations that were black African civilizations. And he's saying, sort of deep in my blood, I've known them all.  My soul has grown deep like the rivers. So there is, in the Renaissance, a hearkening back to an ancient time and a place. Even in this poem's simplicity, we see this hearkening back and this reaching for something of value in a civilized past. Now this reaching back to an African past, which is remarkable for even the fact of celebrating anything African, was not without controversy. A figure named George Skyler, a popular syndicated columnist and author who's a gadfly, sort of, and becomes incredibly conservative over the next 30 or 40 years. He's politically unpredictable at this point. He says it's called the Negro art hokum in the nation, the magazine called the nation. And he says that Negro Americans, his words, were little more than lamp-black Anglo-Saxons, that the best black artists merely imitated white style, highly stylized European style, and failed to demonstrate their own.  A week later, Langston Hughes, who you just heard him reading his own poem, responds with a very famous document, The Negro Artist in the Racial Mountain. This is in your reading, of course, seen as almost another central text of the era. And he says in that piece, it's the duty of the black artist to reach back, to sort of speak of rivers, if you will, and develop the culture that defined their life, be it African, rural, or southern. They had to make a claim, according to Hughes, had to make a claim on their own blackness, articulated in their own terms, and in their own ways. They were not lamp-black Anglo-Saxons, they were their own being. But articulating blackness could mean different things, of course, even if one distanced himself or herself from the highly stylized African past, something that is often seen in sort of these condescending ways, like through people like Carl Van Vechten or, you know, the mysterious Tom Tom and such, were black Americans, if they're not African, well, are they southern? What does it mean to be southern? Are they rural? What does it mean to be rural? These are some of these early things I mentioned at the beginning of the lecture about what the Renaissance was. It was pulling from all these different kinds of lived experiences and imagined experiences, but never without controversy. Black leaders were angry at Langston Hughes and Zor-O'-Niel Hurston, and if you remember back a week or so and even for writing in dialect, for using folk dialect.  We don't want to celebrate that. We want to celebrate these highly stylized forms. So what do you get? You get profoundly mixed messages about what is valued, what is valuable during this era. Revealing black folk dialect is counterproductive to the political project that Locke envisioned of demonstrating black excellence. Hang on a couple more minutes here. The desire to move away from the rural folk experience was also accompanied by a heightened sense of blacks as exotic. The white gaze in the U.S. and abroad made superstars out of performers like Josephine Baker, who in this publicity still you see here one of her most famous images that was marketed, famous for her banana dance. Not getting any traction in the U.S., she goes off to France and becomes a humongous star in France. But it makes you wonder at what cost, you know, at what cost did this conversion come, harking back to the beginning of the class, what was lost when Baker develops her power and her international fame when she dons the banana skirt, often topless, as a native African woman using the bananas in her skirt to entice a sleeping white explorer. What's being lost in the transaction, even though something really quite amazing is being gained as well, is it a step forward for one, but a large step backward for the people. So the renaissance is many competing narratives, as would inevitably be all these different people producing arts and ideas and culture. And then it begs the question because of these competing narratives. Who was the renaissance for? Was it for blacks? Was it for whites? Was it for the wealthy? Was it for workers? Was it just about art and notions of beauty? Beauty is a complicated thing. I'm just going very quickly here. This is also the era, celebrating blackness, celebrating African forms, but also Madame C.J. Walker becomes the most powerful black businesswoman, multimillionaire by selling hair straightening products and skin lightening creams, idealizing white beauty. I already showed you this image earlier that the renaissance is about, the new Negro mentality is about a certain kind of anger and political stance. And then the last image here, in this image you start seeing the renaissance as being larger than just the arts. It's larger than just Harlem. It's more than just words. This is a picture of Freddie Washington, one of the great performers of the renaissance and dancer, most famously, and an actress. And she forms, she joins a group called the Negro Artist Guild during this era. You know, and it's no mistaking the fact that she has lighter skin and she has good hair, as the phrase would have been and actually still is in many places. But notice her armband. She's wearing a protestant armband. It's of a person being lynched. That there is such resistance to, you know, anti-lynching campaigns that artists were joining these campaigns through their artistic slash political guilds, in this case. So the renaissance is all of these things in small ways and going in these different directions. But taken together, it is a movement of an ideology that comes out of movement of people that wrestles with the current sort of racial ideologies of the time, upside down, celebrates at the same time it dismisses and engages in the world in terms of producing new art in new ways, but also visiting old battles in images you see like here with Freddie Washington protesting lynching in the lack of anti-lynching laws in the United States. Thanks for hanging on a couple more minutes and have fun in the snow.


Good morning everybody. Buenos dias. One of the first times I got the chance to travel far away from what at that time I called home, I went to Honduras. I worked as a social volunteer in rural education and reforestation project. And every morning at 5.30 when the sun went up, we were climbing with my friends onto the roof of the house we were living in. And we all overlooked a beautiful tropical rainforest valley. There was this meandering river slowly going into the deep green tropical forest. The clouds were coming out in the early morning sun and being dismantled slowly. And an incountable number of parrots or other birds were flying through the canopy, just out of the canopy and just doing circles around the air, around our house, around our hill. And it was in one of these moments of deep consciousness, of one of these moments where you just feel with your whole being, with your whole soul that something fundamental is being revealed to you. It was in one of these moments that I could understand what incredible power of life I could find for myself in what nature meant to me. I chose to study forestry and I think that comes from most of the environmental professions that many of us have here. I chose to study forestry because I wanted to combine two key elements with my profession and in my life in general. And one of them was that I wanted to be able at any point of my life and at any point of my work to always relate to this incredible power of life that I found in nature. I wanted to be able to always take it back into my work. And the second thing I wanted to combine was, and remember when I grew up, forests stand for catastrophic human impact on the environment. So pictures of deforestation and destruction. I wanted to be able to combine my work with a passion for driving change, with something to make better in this world, something that I could really get down to myself and work to make it different in this world. And at the same time make a living out of that. I was not fulfilled by the education I received at university and that's not because I wasn't interested in the topic or I found an other education of insufficient quality or anything, not at all, actually all the contrary. But there was something, there was something crucial missing. We are dealing with global issues, we are dealing with deforestation in the tropics somewhere. I was in Germany by that time so it was very far away. We are dealing with local communities, indigenous communities, we are dealing with innovative technical solutions to climate change which yourself was something pretty big and far away. And it was all somehow very static, very theoretic. And yeah, too far away from my personal reality.  But that missing part we found somewhere else. In the following years we spent 90% of our useful, powerful energy as we called it. In one of the most, for me fabulous, greatest playgrounds I've discovered in my life. And as Abby said, yeah, I was working in the International Forest Students Association and I guess that's an example of any of the youth groups that are here today present. We found something that was missing in our education. We found it there. And what we found was a platform, a ground to innovate, a ground to be creative, a ground to at the end take action and really do something in our world. Going around with other, going around the world with other fellow students and be able to, yeah, in an interactive way. That was the way we could truly appreciate the knowledge we learned at university. At that same time it allowed us to explore this fascinating international world, this fascinating professional world somehow in these big conferences. We organized conferences to our delegation to international conferences to use a fancy term we were engaging in youth empowerment processes. And we debated quite a lot of time or we tried to debate about topics that we tried to understand and pretty often we pretended to understand at the same time. And here we touch upon an important issue. There is a perception of a big ditch, a wide canyon between the youth and the professional sector. And that counts especially in the lens use sector or to use a more topical term, a more sexy term, the landscape sector. This can be overcome or at least this ditch, this canyon can be made a little bit smaller. I think today is a great example of how we can achieve this. Events such as the Global Landscape Forum play a double role. On one side the youth, the professional world, the elders can help us youth harness and channelize, condense our youth, powerful youthful energy into our work. And at the same time we can inspire the elders to revive this youthful energy and this drive for change in their day-to-day work, in their own life in general. I'm tired of hearing youth generation out of future. Why? Because it implies youth again to remain as a marginal group. Yes, that group has to be, the youth has to be considered, has to be involved in these processes because youth is powerful, youth is dynamic. What we require is to be seriously and honestly involved at the center of the processes. And speaking here to us young people, we have to seriously define again what our role is and find that role that fits to us, a role that is natural to us. And then we have also to demand it, to demand it, to require it and actually actively take it and live it. We can start here right now today. And then I was asked to give you some take-home messages, some key messages I in my life found always very important, especially in the last years. We are all embedded in a set of barriers, our work, our studies, our culture, our society. Each of us from time to time should try to forget who we are, what we studied, what we work and look into ourselves, deeply into ourselves and try to understand who we truly are, what drives us and to understand what our talents are. Because using the talents is using the most powerful tool you have inside of you. That is something that is given to you and that is something you can use to make change in the world. And second, as I said before, we have the wonderful chance in our professions to be able to combine energy for change with our professions. Don't let your studies and your career drive yourself away from this deep inner force. Instead, use the studies, use the tool you have, use the studies, use your careers as tools to drive the change you want to see in the world. Yeah, I'm very excited to be here and let's get started. Thank you very much.


This is stock number 9C26A. We are here at Summit Automotive in Fond du Lac, Wisconsin, your new and used Pacifica and Chrysler headquarters. Today, we are checking out this super clean 2017 Chrysler Pacifica Torino. This vehicle has the award-winning 3.6 liter Pentastar V6 motor and from this HD video You will be able to tell just how clean this van is all the way around inside and out Jazz blue is the color. We shoot all of our videos in 1080p So if you have HD capabilities on your computer tablet or smartphone device Turn them on right now because it is like you're right here looking at the van with me And definitely your best way to check out the vehicle before seeing it in person factory Alloy rims these are 17 inch painted rims and they have Yokohama Avid 235 65R 17 tires with right around half the tread left No denser dings on that front fender you get the projector lamp headlamps the LED running lights the projector lamp fog lamps Front bumper is in really nice condition. I didn't see any major dense dings cracks or scuffs on it Coming around to the passenger side fender. No denser dings on that and the passenger side rim is in nice condition as well I didn't see any scuffs or scrapes on that Going down this side of the van notice how clean the body is how reflective and mirror like that paint is We take these HD videos So if you are far away or even if you're close by and just cannot make the trip down You can still see the vehicle hear the vehicle and have confidence in the vehicle that you're looking at before You even get here so that when you do get here. There's no surprises. It does have the stowaway roof rack Which is a really nice feature And on this side is very very clean did see one little ding on that rear quarter there Nothing too major though Back rim no scuffs or scrapes and the back tires have just as much tried as the front tires on these vans I always like to Show you how the doors open so you can be confident that they're working properly We do have the quad seating back here Which we'll check out in a little bit It does have the rear window shades as well as the second row window shades that one's just down and to close these doors You just press this button right here Has a stow-and-go system of course Very very clean on the rear quarter here Rear bumpers in pretty nice condition. I didn't see any major dents or cracks has backup sensors Can really get a good idea of that metal flake in the paint really like jazz blue That rear gate is an excellent condition. It does have a power lift gate In the back storage areas and really nice condition as well. No rips or tears in the carpeting Third row seats these seats you just pull that tab and then it'll flip on down for you And then all those seats do go down nice and flat so you can haul up to you know All four by eight sheets of plywood or whatever you may want to be hauling Just flip it up like that and you're all set to go To put that gate down you press this button. It'll beep at you one two three times and they'll come on down Actually beeps at you a total of four times, but LED tail lamps In the back the running lights and Down this side of the van just as clean as that passenger side Didn't see any denser dings on that rear quarter and for full disclosure This back rim is in excellent shape. No scuffs or scrapes on that Show you this door opening Goes nice and smoothly No rips or tears in the second row here To get into the third row they've added this little lever So you pull that and then the whole seat kind of folds up Third row seats no rips no tears on them You do have Spots for latch child safety seats up back there So up to two car seats looks like or if you wanted to put them in different spots Maybe just one car seat and the passenger seat back here is nice as well Both of these second row seats are capable of the latch system as well And we do a factory floor mats back here to close that door So this is the touring L package in the front you get the heated Alloy leather seats no rips or tears on them power driver seat with lumbar And we got the factory floor mats up here as well auto headlamps tilt Telescopic steering wheel power windows power locks and power mirrors as we hop inside the van here You can see that this one has 29,756 miles get the digital speedometer outside temperature and compass display And you get a nice blue ring around the instrument cluster there very similar to the old Chrysler 200 instrument cluster as the leather wrapped steering wheel Cruise controls on the right Bluetooth and information center controls on the left and on the back of the steering wheel are your audio controls This one has the 8.4 touch screen radio This one does come with the factory navigation system AM FM and Sirius XM radio capabilities This is also where your backup camera shows up This van also has blind spot monitoring which we can check out in the mirror in just a second has the nine-speed automatic Transmission dual climate control and all your other controls right there your backup sensors your stability control and you can turn the screen off and everything and Passing aside seat and format are in really nice condition as well has rear air controls Back there and that headliner is in really nice clean conditional rips or tears And that has the home link buttons for your garage door security systems and lighting systems, and you do get your Power sliding rear doors and rear gate button right there as well 9-1-1 and assist buttons in the mirror and we'll take a quick look Under the hood that blind spot monitoring is right there in the mirror So that'll light up if somebody's in your blind spot Personally like to thank you for checking out the video today. Hopefully from this HD video You have been able to tell just how clean this van is all the way around inside and out under the hood We have this 3.6 liter Pentastar v6 motor Engine base very clean runs very smooth This van has been fully safety to and inspected by our service shop has a fresh oil and filter change All the fluids have been checked and topped off and this van is 100% ready to go To see more pictures of this van or one of our other 450 new and used cars trucks SUVs minivans Wranglers half tons three quarter tons one tons you name it We got it go to our website www.summitauto.com full pictures and descriptions of every single vehicle from both locations all at summit auto.com And if you'd like to check out more HD videos you can go to youtube.com slash summit auto Remember to like subscribe and share on this video and all the videos that you see there In fact in a second you will see a link to subscribe to our YouTube channel on your left a link to more used Inventory videos like this one on your right if you have not been to our website on the bottom link to this vehicle on our website Click those check us out. We really look forward. I'll be with a super clean 2017 Chrysler Pacifica touring out. Thanks again


Good afternoon pastor David. It is welcome everybody to a random moment with pastor David unfiltered Today pastor as I've shared with the with our church audience and want to welcome those who are joining us here this afternoon You know on Tuesdays, I like to kind of keep it current events Some topics may seem political. They're really not in nature Just getting your feedback on certain things with headlines that I try to stay current with and then Thursdays we look at more of the Christian principles and application our lives and so being that it's Tuesday today I wanted to ask you a question regarding our presidency The question just point blank. Do you believe our president has lost control of our country? I don't believe that that the president is Is leading us properly I believe very very deeply and again seeing that we're just discussing Opinions, you know, I'm not giving any any pronouncement from Mount Sinai for sure But if the question is do I do I think that president biden Is adequately leading the country and engendering a confidence in his leadership I would say that He has lost popularity steadily over the last several months to the point where he's In terms of polls that are taking concerning the Confidence that Americans have in his leadership and decisions and all I would say that If the polls are accurate That that he has some of the least Approval ratings that we've seen in In many years president biden has Has lost the confidence of quite a number including His own democratic party and so has he has he Maintained a level of of behavior and decisions that Have made Americans comfortable and hopeful. No, he has not I don't know if our president Is actually in control even of himself Let alone of this country. I actually have a Compassion on him because I have a strong impression john that That he has diminished mental Faculties I really do I I have ministered to and have been close to Those who have lost their memory over time my mother had a You know had dementia and Very slowly over the course of her last year You know couldn't remember her own children and all I I I have seen at firsthand I Have seen those whom I love dearly whom I've known very well go through The loss of memories slowly over time And I'm no doctor god knows that But I see similarities in the way he Looks at the camera the way he fumbles his words the way he forgets where he is or what he's doing So I have compassion on him. So from that aspect I I believe that his behavior and his obvious mental Weaknesses and his frailty that his body you can see when he walks that He has a particular walk that doctors will say seem to To reveal certain conditions of physical and mental conditions that he has I've heard doctors who have Who've gone on record saying that so He isn't he isn't causing people to have confidence in him. I don't have confidence in him for the decisions he's made from From leaving americans behind in You know in danger and abandoning them the way that he did in In opening up the border and allowing people who have Have coded covet who have not been inoculated and just sending them to various states by At night where people don't even know they're being put on planes or buses and then shipped to different places You know the the lack of strength that he He he evidences by not cracking down on on this amazing crime that's taking place in various cities The lack of confidence his own party has Concerning him. I'm I don't believe that in general People have a sense of confidence in him his leadership and I most certainly don't myself and as uh As a pastor as you mentioned, you know, we we have to keep him in prayer Uh as a pastor, what do you say to the the church? In a time where confidence has been lost in our in our in our nation's leadership in terms of Where do we turn to and because obviously we can't turn to our our government for What we can only find in christ, but what would you say to the church pastor for? Uh in times and such as these where we see it all around us and as you mentioned, you know, there's Putin saying all kinds of crazy stuff, you know, it just there's this loss Like there's this feeling of there's a lot a lack of trust in leadership Well, there is a lack of trust in leadership. I mean if my son did what biden's son did if my son had uh had uh the kinds of clear evidence that he's Taking money he's he's getting half a million dollars for paintings when he has no Credibility and they're selling his paintings anonymously said nobody knows who's purchasing I mean, there's too much that that if you watch the news at all that you're aware of so No, the the erosion of confidence in in In the present it should awaken Uh americans, especially should awaken christians to realize that That you don't put your hope or trust in in a government or governmental system You don't put your hope and trust in in an elected official that you think is going to lead us into the promised land You have to be aware of the fact that um That we have one king and he's the ruler of the universe and so we give him our full confidence And then do what is the proper thing in terms of us being american citizens We vote we vote our conscience we We invite others to do the same And uh, you know, we exercise the rights that god has given to us god given rights that are guaranteed in our constitution We do those kinds of things Our ultimate hope though is going to be in in god and in god Lifting up one and putting down another even as nebuchadnezzar said It's god who determines who the king's going to be He's the one who gives the power and the authority and so What we do is we do our best to submit to it You see one of the problems I see in the church today is we have angry pastors Creating angry congregations. We're mad at the politicians and we forget that That these whom we are now proclaiming to be enemies Are in fact those that are our mission field We're supposed to be praying for them. We're supposed to be praying that god will We'll bring people into their life that can Influence them for the good that that god will save their souls. I'm not saying that's easy It isn't especially when you see the injustice and you see the unrighteousness and how it's getting apparently It's becoming common, you know in our entertainment and in the music in in in our government It's it's just spreading that americans are are Are forgetting that that that god can god can save god can god can forgive god can heal and I don't want to be speaking evil of our rulers. You know, I don't I don't I don't believe well Titus chapter three tells us not to I don't I don't I don't want to be the pastor that stirs up people to march But I don't stir up people to serve christ and to love their neighbor and to pray for those who have despitefully used them and And to trust the lord to do what is right. I don't want to be that pastor because There are there are quite a number of angry pastors right now who who seem to be stirring their congregations up into In a militancy, you know, we're we'll show them show them what? You know what I'm supposed to show them is the love of god and the grace of god and And I'm supposed to have an answer Concerning the hope that lies within me and it pertains not to Elected officials alone, but it pertains to where are you going to spend eternity? You know I know there are people right now perhaps you they may have already turned me off but There are people who oh, I disagree so much The church has to stand up and and look at what we were like in 1776 and this and that This isn't 1776 And we may have a mythological belief that there was some kind of incredible godliness But then we're forgetting that there had to be two great awakenings in the united states because apparently this This christian nation Had fallen asleep at the wheel more than once and that's why we need revival. That's why we need awakening. That's why we need Pastors who thunder with righteousness not just political persuasion john. Amen.  I was before Why wouldn't I be now?  Why not drop drugs when you want to why not sleep with whoever you want to that was me I got saved when it got saved. I started reading scripture scripture changed my mind I was transformed by the renewing of my mind the way scripture says So Now i'm the enemy of those who present Of their liberal agenda as being the right and true way to live well But i'm not going to swing over to this side over here where I say You know what we got to do will elect righteous officials, you know there Once you get into the The the mud of political influence. It's very hard to clean yourself from it. It really is it cleans to you So the hunger for power And the power I might gain by being an advisor or a political person or whatever It's a very dangerous place to be because we can lose sight of What matters and so I I you know me anybody who's watching who goes to our church knows that That I don't mince words as it retains deliverance for the lord and doing the right thing But I really think that when you're talking about talking to me about whether I think the president has lost any Good influence. I would say he's lost 70 percent of it and almost 70 percent of it because the polls are saying that And his vice president has lost even more credibility. I mean I could go on but that's the answer Well, thank you pastor and and it's a good reminder for us to wake up And it's a good reminder for us to keep our eyes on jesus and to uh And to find churches that preach that teach and preach god's word Not filled with smoke and mirrors and and ruffling and just getting people pumped up It's about Righteousness and living for god living for jesus loving your neighbor and telling the truth and That's what a christian does and we vote our conscience. We influence others to do the same We have the right to vote let us vote run for an office if you feel called go You know run for the school board if you feel called a mayor, you know representative perhaps Run for congress run for senate whatever what if god would set on your heart do it and if you love the lord and And uh, your brothers and sisters and the lord have confidence and you perhaps the lord will allow that you would be elected and be a good influence you know, it's I think is what we're supposed to do but I don't put my hope in A righteous president You know because there's none righteous. No, not one You uh save from the pulpit Sometimes you'll say I don't I don't have a president. I have a king. I have a king and uh, that's what we need to live for is that we do have a king A king who's superior than anything So, you know, we have an exciting week coming up pastor Tomorrow night's wednesday or wednesday evening services is you're taking us through the book of Titus, right? Just a little close to our clothes and we're having communion. What a great way to go into the christmas Time with having communion with the church family invite your friends and family to come on out church family at 7 p.m On wednesday and then uh christmas eve We have service on christmas eve at 7 p.m And then christmas morning at 9. What a great way to invite friends and family to come on out and join us to worship the lord And to celebrate uh, I think pastor It's a good time to put all that stuff aside and just come focus on the lord during this time The real season the truth sees reason for this season the reason for this season So pastor david, thank you so much church family. Thank you for tuning in with us We say god bless you and we look forward to seeing you this week. Amen. Thank you pastor david


Hello and welcome back to the craft box. My name is Brenton today. We're back on was a 101 today. We're doing a Crafting quest. We're doing we're saying crafting. So yeah, let's get into it Wizards and the most Greetings young wizard So you're interested in learning about crafting Wonderful Let's get started with your first lesson the first rule is to have a clean Well-lit place to work for that. You'll need a basic crafting table I'm happy to make you one if you can gather the supplies We'll need some mist wood You can find mist wood growing all over wizard city Bring the mist wood back to me and we'll soon have you a nice new place to work. Okay See I decided I was doing sequest.  So we're doing crafting not sell by Three agents mistwood mistwood Mistwood That's actually a lot for mistwood. That's a lot.  So That's probably why it's Not a lot at all. Um, yeah, let's go back to adora That mistwood should do nicely Miss tangle tree gets to work with hammer plane and saw in a few moments You have a nice little work table now with a basic crafting table. You have a place to work Hey Races itch Now with your work table you can begin to learn the fine trade of crafting making your own items First you should place the basic crafting table in your dorm room or castle Your first assignment is to make two daggers of Absolution you should have no difficult You'll need to buy a recipe from me and then gather the required ingredients When you've got all your ingredients use your basic crafting table to make the athames when you have made two daggers of Absolution bring them back to me, and I'll award you a novice crafter badge So remember to bring them here when you're finished. Good luck. I can't wait to see them Okay daggers of absolution By that How many we need to Good enough of that. We just need eight black coal and eight sapphire eight And sapphire how many sapphire Four sapphire Boom there we go perfect easy peasy Was it city crafting way too easy? Have you brought the two daggers of absolution I asked you to make? I didn't talk to you. If you don't have both of them, I can't help you, dearie Let's put it there. Yay Oh And you were 27 seconds. Oh, no Well, we only we yeah, we only have one thing Yeah, so you get time slots The more levels you go up, I think the max is like 13 or something and harder Things take longer to the like time time is longer. And if you remember you have a I think it's like half time Yeah, I think it's like half time for members. So if something's like 24 hours, then take 12 So I'm so forth So ye let us here on the bag Do And I think that's with the city crafting Which is great and probably all we're gonna do in this video We'll go world by world Whenever I feel like it See let us Hello Those are quite nice indeed. I am pleased to award you a nervous crafter badge Display it with crack when you earn a new crafting badge Okay, I think the next one is crock watch it. Yes, so we'll collect that later on So, yeah, thank you for doing this very short video I'm running to the like and subscribe and if you subscribe this way little bells, you know, exactly And remember crafts outside the box


We try to make the combo teams as even as possible for every spot But just know that some cards also may be pulled early in the print run. So just keep that in mind before buying So again 32 total spots everybody gets a list of combo teams, so we use a dice roll here for the customer names the team combos Three down to 31 and there you go And of course guys if we hit any Milwaukee Brewers cards, that'll be randomized since we did not put them in the list If there is any left so dice roll here, let's roll it And we got ourselves a four and a two six times. Good luck six times one two three four five Six Roger down a Tyler six times one two three four Mazorials down to the Washington football team Reds All right six times So Roger with the Mazorials Matt with the Cardinals T was BJ with the Astros Jax BJ with the Cowboys Jax Matt with the Twins Ravens Knicks Alex with the Phillies Falcons Blazers down with the Blue Jays Colts Hornets Jeremy with the Rockies Packers Wizards roar with the Angels Texans Chen with the Bangles 76 Just Kevin with the Bill's Jags Padres TJ with the Mets rounds calves BJ with the A's Broncos Anthony with the Seahawks Cardinals Saintos Cardinals and Celtics Chen with the Bears Bucks Grizzlies James with the Royals Pirates or Patriots Hawks TJ puller you have the Pirates Lions and Milwaukee Bucks Roger with the Nationals Dolphins and Clippers Matt with the Marlins Panthers Lakers James with the Texas Rangers Tennessee Titans Yankees BJ with the 49ers Pistons Tigers combo as well as the San Francisco Giants Raiders Bulls Matt with the Rays and Pelicans Dustin with the Indians New York Giants and Nuggets Jeremy with the Braves and Eagles Nick Stover with the Mariners Raptors Vikings James with the Dodgers Brown Suns Matt with the Chiefs and Thunder BJ with the Red Sox Sacramento Kings Taylor with the Chargers Nets Spiro with the White Sox Steelers Warriors and Taylor with the Reds Washington football team combo So again, I'll give you guys a minute or so. There's some trade activity maybe extend it anybody wants to try to attempt to make a trade and Just really quickly though. Let me roll randomize the case numbers to see which case we're gonna use here So it was a six. Let's randomize this one two three four five six Case 29 is what we're using here Case 29 I'm assuming no trades guys TWC All right in case 29. Very nice All right guys, good luck. Wow, we got a dual autograph That's Bill Fitch and Larry Bird 3 out of 49 Boston Celtics coach and forward. There's three of them for you, buddy. I'll show it to you right here really quick You got the twins Ravens nicks you got the Rays Pelicans and you're up here with the Cardinals T Wolves That should be through it one two and three But that'll be going to the Celtics guys Celtics gonna go to Anthony V with these Seahawks seeing those Cardinals and Celtics combo. I'm problem. That's all good. I Do make mistakes like that, so This is the rare ones where I'm not wrong All right, next one a One of one of Geong Carl Stanton, and that's Miami Marlins edition as well. What about that? 2020 Jersey letter patch card Look at that rare when you see a one-on-one like that Miami Marlins Matt L with the Marlins Panthers and Lakers combo.  Yeah, I'm focusing a little bit DJ, but I never actually started by name until like after the break for the labels Of four out of five very nice boys of summer America's pastime for Nando Tautis Jr. four to five 2020 America's pastime baseball supposed to be from Chronicles, I believe That's San Diego Padres Padres Kevin Sullivan with the Bill's Jax Padres combo, and there you go man All aboard is one for you all aboard the big hit express And a one-of-one season ticket Tim Brown Raiders with this one. There you go. Who has the Raiders? BJ San Francisco Giants Raiders Bulls combo, and there you go man. It's a nice one right there All aboard the big hit express PSA 10 Deandre Hunter very nice 2019 Donner's optic choice black gold is gonna be out of eight Very nice six out of eight for the Atlanta Hawks Very very nice here right there James Connell with the Royals Patriots Hawks combo very nice and the last box guys. Good luck This way nine five One-of-one Wow, that's a nice one right there Mike Trout 2015 elite all-star salutes black one-of-one Very very nice. There's the one-of-one a ten centering nine corners nine five edges and nine five surface almost a pristine And that is for the Angels Rory I left you hanging on the last one, but didn't leave you hanging on this one Angels Texans combo for you, man, and there you go all aboard the big hit express Nice case again guys One-of-one Mike Trout graded nine five Deandre Hunter out of eight one-of-one Tim Brown Out of five Tauti's one-of-one June Carl Stanton and a out of 49 do autograph Larry bird Bill Fitch So there you go guys. This is big hit express multi-sport series five number 22 Unfortunately guys, I know there is some hit list customers the majority do go hit listen this but You will have a chance to win back some money Remember top 20 at the end of this long randomize once we fill up all 33 cases win back 50 bucks each and 20 to 25 should be 21 to 25 when a Jaspy hat So let's copy and paste this list of names right here It's gonna be a long list guys, but hey everybody has a fair shot and like I said we did 22 so Confirm it now. There you go Right at 12 We'll take out the hit customers there So they go that's appreciated Jatsby's case breaks calm


Suppose we were able to share ideas freely, without a compulsive urge to impose our view, or conform to those of others, and without distortion and self-deception. Would this not constitute a real revolution in culture? Then speak.


what's up guys grain boy is back to show you a healthy quick and balanced breakfast that I feel good eating which is probably the most important thing out of recovering your health is you got to feel good because it might be a pretty long journey so after experimenting with a few different oatmeal recipes you guys have seen the whole overnight growths you guys have seen the quick all recipes this is the best one that I've made so far from a taste perspective a balanced perspective and how I feel perspective so we have six ingredients here and as with everything the goal is to remove all the negatives by going organic you know get rid of the herbicides pesticides fungicides as well as have a complete nutritional profile so here we have just a mountain valley water that we're using to cook the oatmeal in these are some organic quick oats that we have on Frankie syringe foods calm this is the liver detox smoothie which is a very important component of this because it's a balance of grains fruits and collagen protein so it's giving flavor it's giving protein it makes a huge difference adding this if you don't have my liver detox smoothie you could add some collagen powder you could add some of the collagen broth from Frankie syringe meat which would be probably way higher quality protein and you might have to add some more vanilla a little bit of salt to season it we're using honey as a sweetener you can use organic sugar as well even flex shows and we're gonna add a little bit of vanilla so the reason I like this is because it's quick it's easy I don't have to make like sausage or anything on the side it's just one bowl of oatmeal for breakfast that takes very little time so we're gonna put our burner on high heat and I like these markings on the inside of the pot because I know to pour the water to about a little over two cups for this recipe so we're gonna do about half a cup of oats three to four scoops of our liver detox smoothie nice pinch of salt little a little bit of the vanilla powder and then we're just gonna mix this up a little bit in the cup so now I'll go do something else for a few minutes while this is getting ready to boil all right a minute or two then it's boiling don't burn your hand on the lid now I just want to be careful with this that it doesn't boil over so I'm taking it off the heat I like to stir this for about a minute while it's pretty much boiling and then we turn the heat off so we turn the heat off after about a minute and now this has to sit for 10 15 minutes it's a quick breakfast from a prep perspective but you know it's a little waiting around so like if you got to take a shower do other things in the morning this is perfect so that's about 10 minutes I want to pour this into a bowl so it cools off a little quicker and then we're gonna put maybe a tablespoon and a half of honey inside this is the raw wildflower honey this is on Frankie's your range foods as well I would say maybe two tablespoons of sugar if you're not putting honey in here but it's definitely not sweet enough without it still super hot so we're gonna let this rest another 10 minutes before we can eat all right guys so this should tighten up a bit by the time you go to eat it if not you just need to adjust the amount of water versus oats nothing too crazy I like this a lot it's very balanced it's not sweet it has a slight fruity flavor those are fruit powders in the detox movie give it slight fruity notes and then you have the floral aspect of the wildflower honey nice soft texture very plain perfect for someone like me in the morning who doesn't really like eating and isn't hungry and the reason I started doing this was because I didn't really like making you know sausage or something on the side and I wasn't eating that much of it like I could have a little sugar in the morning but I can't really stomach protein so by putting the by putting the protein in here in the form of collagen from the detox smoothie I'm able to get some protein in in the morning yeah and the reason I wanted to show you guys this was because out of all the breakfasts I've tried so far I feel the best on this one and I kind of ends up in my schedule because I'll get it ready I'll go do 10 minutes work on the computer I'll come back and then I'll go you know shower for 10 minutes and then I'll sit down I'll eat this I'll take my supplements I'll have a few other things and then I'll just go down to work but again most importantly I'll say it again I feel the best eating this and then and yeah I'll also do like my glans or those and stuff afterwards but you guys can check out Frankie strange meat.com if you want to use the collagen broth to make this which I like a lot more than the collagen powder or if you go on organ supplements we have the liver detox smoothie and if you guys don't have any of that stuff then you can just look up my other quick oatmeal recipe and try that but this this is so easy it's so convenient you know you don't have to add five six seven different ingredients to try to make the oatmeal taste good and and this is really really nice so all those businesses guys are available on frank-the-phone.com but as always please drop a like on the video leave a comment down below subscribe and check that notification bell and if you guys try this out definitely let me know how you like it. I guess I should have touched more on the detox smoothie we did a video on this a couple weeks back it can be used as a waking smoothie a meal replacement I called them my liver detox smoothie just because such high quality of organic ingredients and minimally inflammatory combination makes this really special but this is one of the ways I've been incorporating this into my diet.


My name is William. I'm part of the product marketing team here at GitLab. And today we are talking about microservices. So with that, I would like to share one of my windows and show a page I recently created about microservices and I'll talk through this page today. So if you go to the GitLab homepage under resources, you can find topics. And here we have several pages that talk about various industry topics. And today I'll be going through this microservices page. So in addition to this video, the page itself is a resource and we will continue to add content to this page. So the first question is really what are microservices?  And so it's how you're designing or architecting your software application where rather than having a single application, what you're actually doing is splitting that into many smaller component services. At a high level, this allows teams to innovate faster and to achieve massive scale, although there are a lot of benefits and a lot of challenges to microservices that I'll cover as we move on. So at a high level, the easiest way to understand what a microservice is, is to compare it to a monolithic application architecture. And so in a monolith, you have a single application. This is usually a single code base. This is usually written in a single programming language with a single database, et cetera. You can kind of get the idea here that everything in a monolith is all in one place. And that means all of the developers in the organization are all working on this one code base. And even though they might have different bits of functionality, so these different shapes here, this might represent the user authentication component or part of that application. And this might represent the UI. And this might represent some other type of business logic. And if things wanna change in the application in a monolithic architecture, those different teams need to coordinate with each other because one change to one part of the code base affects all of the code base. I'll give you an example. If all of your code is in one application, let's say you wanted to import a module and one of the teams wants to import version 1.8 of that module. But for another team, because of their dependency tree and the different parts of software that they depend on, if you upgrade to 1.8, it actually breaks their code. So their code relies on 1.7. So you can see here are two teams that are odds with each other because they're both using the same module as the dependency for their code, but they each want different versions for whatever reasons. And this is a problem with a monolithic architecture. All of that coordination, all that overhead, in addition to trying to deploy it, there are a lot of problems that exist with monolithic architecture. So a microservices architecture is where you take each of these components and you deploy them as their own application or really as a service. And a service has some other implications to it. So it usually means that there's some type of API that allows you to access that service. And within a microservices architecture, each of those services is meant to have one function. So you can see here that there are just a few individual here, but in reality, you could have five or 500 or even 5,000 microservices. 5,000 is probably a lot. Even folks like Uber, I think Uber has like 1,700 microservices. So you can imagine as you start to break these things apart and each component of the code becomes its own thing. This gives you a lot of advantages. It means that you now can just deploy that one thing. And whatever dependencies, whatever type of data model you wanna use, whatever type of database, each service can have its own storage. That team can make that choice. So you can have one team who develops in Node.js and another team that develops in Python and another team that develops in Scala and each is building their own service. And so you get this advantage of being able, each team being able to own their own service, each team being able to deploy dependently, each service being able to be upgraded independently. And you can see how this can help you scale because this part of the service, this is larger, and this might represent running either on a larger VM or potentially maybe there's more instances. So maybe this is say like the authentication service that gets hit a lot of the user service that gets hit a lot. So you need a lot more instances and a lot more power here. Whereas this might be a smaller part of the service that can run on a smaller bit of hardware. So each service can now be scaled independently as opposed to a monolithic application where in order to scale that out, you need to create copies of everything. So you could see if you wanted like five copies of this, you also need five copies of this, which you might not need in a microservices architecture kind of handles that. So at a high level, those are some of the differences between a monolith and microservices. A great resource that I highly recommend reading is Martin Fowler. This is the quintessential article on microservices. And in it, he kind of says like microservices, it's a bit of a buzzword or a bit of a term that nobody has a strict definition for. It's kind of like a DevOps, right? Everybody has a different definition. So in his research and in his industry knowledge, he's come up with these nine things that he feels are common to all organizations or to most organizations that are doing some type of microservices. They usually have these nine things. And I wanted to highlight some of these because it comes into play when you start asking the question, okay, well, if I'm either a startup that wants to do microservices, which there are a lot of reasons for startups to even start your microservices or in particular an enterprise that wants to adopt a microservice architecture, why would I want to use GitLab? Or what advantages does GitLab have if I'm employing microservices? And so as you look at some of these components of a microservice or attributes of a microservice, you can see that GitLab can really help with several of these. So one idea is this componentization by services. This is what I described above. This is the main idea that rather than a singular thing, you have each of these type of modular components. Another one is that they're usually organized around business capabilities. And I will pop over to the article as well because Fowler has some nice visuals. And I thought this one would be helpful. And rather than just copying all of his visuals, I just linked his resource because it's great. So you can see in a traditional enterprise organization, they might organize teams based on like technology. So you have a UI team that just builds the UI and then you might have a middleware team that just builds those middleware components and you might have a team of database administrators. And so each of these are siloed by their function technologically. But more typically in a microservices architecture, which should be familiar to us because this is also similar to DevOps. When you move to DevOps, DevOps and microservices go together like peanut butter and jelly. Instead, you usually have a team that owns a service end to end. So they own the UI, they own the data model, they own everything about that service. So a single team will usually own that service end to end and own the uptime for that service. And so you have a cross-functional team. So that's one of the cultural differences as folks move to microservices. Another concept is products versus projects rather than I'm building this new feature and it's a project and it's gonna take two quarters and then we're done with that and we move on to something else. As you have these cross-functional teams that own a service end to end, that becomes a product for them. So they might own the user service and they own it long-term. It's not just a project, it's more of a product for them. Smart end points and dump pipes. If anyone is familiar with another term called SOA or services-oriented architecture, there's probably some contention between the term microservice and SOA. I'm gonna give you my opinion on it. My opinion on it is that SOA is just a bit of an earlier or an older term and that microservice is a newer model and one of the differences between those two is that in an SOA model, which is a services architecture, the difference was you had a lot of this middleware. So this would send data over to here and that middleware would do a lot of translation of that data or the pipe itself was smart as it was translating things. And microservices is a bit different. All the intelligence is at the edge, is in the end points. And so you use dump pipes. And so in particular, most microservices are just built on HTTP. So the same technology that runs the internet or that actually the internet in general, that's too many protocols that runs the web like your web browser. So the same way you make an HTTP request to a web server to receive your web page, HTTP is the protocol and the mechanism that most or in many microservices employ as the API mechanism. And so there are other protocols you can use, but the idea is smart endpoints dump pipes, decentralized governance. I don't wanna talk through all of these, but one that is key here is infrastructure automation. So as you move from a monolithic application, that deployment cycle can be very manual here. I have a bit of code and everybody commits their code. We do a code freeze and now we're gonna do a release and we cut a release. And then the operations team deploys that one monolithic application. When you move to microservices, you really just can't handle it. If you could imagine doing that process for let's say 1700 microservices that Uber has, it just would be impossible for an operations team. So instead you need to automate that deployment process. So continuous integration, continuous delivery and continuous deployment become a critical part of doing microservices. You really can't employ a microservices architecture at any type of meaningful way without automating your infrastructure and without doing CI CD. And so there's some other components here for the sake of time. I'll just point to the article. He also gave a talk on it. I've linked the video. That's a really good video to watch. So at a high level here, engineering teams reap some benefits of microservices. So essentially what you're doing is you can imagine this is a lot more complex than this. This is simpler, easier to design, easier to deal with, easier to deploy. This becomes a lot more complicated. So there are trade-offs. So by accepting more complexity, you are gaining some of these other benefits. So the benefits that you would gain would be that services can scale independently. Talked about that a little earlier. Individual services can fail without taking down the entire application. You can imagine if your application is what makes you money. Let's say you have an online store and an e-commerce application. As long as your application is running, you can take orders. But if one component fails, let's say there is a recommendation algorithm that recommends products for you to buy. In a monolithic application, if that recommendation component fails, the entire app goes down and you're not making any money. But you could completely imagine that in a microservices architecture, where each of these services is independent, if the recommendation engine fails, your website can still work. You can still take orders. It's just this one little component may not be working at that time. So real advantage of microservices. This is a big one I talked about. Earlier teams can choose their own technology stack. You can have somebody who uses a MySQL database and another team is using a NoSQL database. And another team is doing some other type of caching. Each can choose their own stack, their own language that they write in. As long as the API between the services is consistent, each team can choose their own technology stack. So this allows you to attract and retain more talent. This allows you to build faster, et cetera, et cetera. Functionality can be tested and swapped out more easily. That if you wanted to test a new recommendation engine, instead of having to build it into one application and deploy that entire application to test a potentially good or potentially bad new recommendation engine, instead you can just A-B test that service. You can send some traffic to the test and continue routing off of your recommendation engine that you know that works. So you can test and swap functionality easier. And the huge one of course is developer productivity. Developers can ship faster and they tend to be happier when they own their domain. You can imagine a team owns their service, they own it end to end, they pick their technology, they can run faster. So there are of course some business value, faster pace of innovation, as I've kind of talked about, business being able to move faster, be competitive in the marketplace, greater stability and resiliency. So a lot of times we talk about moving to new technology or digital transformation or modernization. And we'll say the reason to modernize or the reason to go through digital transformation is to move faster. And that's true. You do get a faster pace of innovation. It's very important. But for many initially enterprise organizations, moving to better technology, I say better, but moving to more modernized technology, it's not just about moving faster, but it's actually about running more stable. It's about being more predictable. It's about having less downtime. Those can be a lot of times suffering less downtime is actually less loss of revenue than shipping new things. Greater scale, the software keeps up with business demand. And of course lower costs even.  So just to move quickly along because I do wanna get some time for Q&A, talking about using GitLab with microservices. There are several benefits I have to reformat this a bit, but of course built-in CICD. Infrastructure automation is critical. And so the fact that GitLab is built-in CICD makes it perfect for migrating or adopting microservices, migrating to or adopting. Our built-in container registry in Kubernetes integration. Kubernetes and containers are really, really helpful for microservices for many reasons in terms of the automation, in terms of immutable deploys, orchestration, et cetera. So the fact that GitLab integrates and works really well and designed around these technologies makes it excellent. Of course, when you have a single application and you wanna know what's happening with my application, you've just got one place to go look, it's very easy. When you wanna say, where did my code break? You've just got one place to go look, it's very easy. When you start breaking apart into many services, now monitoring that network because the application itself is actually running across the network, monitoring that network and monitoring the interaction between those applications is absolutely critical. And so the fact that GitLab comes with built-in monitoring and packages Prometheus makes GitLab ideal for microservices is something critical. We have specific features because we embrace this architecture pattern. We have built features today and we're building features in the future. So these are things like multi-project pipelines. If each microservice is in their own project or their own code repo, being able to run a single pipeline across all of those repos, you can imagine can be helpful in a microservices. We have even shipped the ability to have what's called a mono repo. So one way to do microservices is each service has its own code repo and then you can run a pipeline across all those repos or many companies have what's called a mono repo where they have one code repository and each service puts their code in let's say a different folder within that or different directory within that code repo. And so you would say, I just updated my service. I don't wanna run a pipeline across the entire code base. I just wanna run a pipeline to test my service and you can do that. We've shipped that feature, I believe in 11.5, maybe 11.4. Group clusters, then we even have features on the roadmap, things like a global Docker registry, first class container builds and the ability to define multiple pipelines in a single CI YAML file. These are on the roadmap. So GitLab is great for microservices today and we're even shipping more functionality to make it better. So with all of that, I have some additional resources and links on this page. You can get to it from the topics page of GitLab. And with that, I'd love to stop sharing and stop the recording. Thank you to everyone on YouTube.