Hi, my name is Luke Pornall and today I'm here to introduce North West Coast Master Carver Dempsey Bob Dempsey has taught and lectured and produced art through a Canada, the United States, Europe, New Zealand and Japan He was a leader in establishing the Frida-Decine School of Northwest Coast Art in Terrace, BC His work is in major collections in the the Canadian Museum of Civilization UBC's Museum of Anthropology The Colombian Museum of Ethnology, the Smithsonian Institute The National Museum of Ethnology in Japan, Canada House in London and the Vancouver Airport He has been featured in several video productions and publications such as the smart one in the hands of the Raven and Faces in the land with Dempsey Bob Carver He received non-array doctorate of laws in 2011 from the Athabasca University As well as an honorary doctorate from Emily Carr University of Art and Design He recently was named an officer of the Order of Canada As a master tell-ten-clink-it artist Dempsey Bob has contributed to the revitalization and Perpetuation of Aboriginal art in Canada for the past 30 years Today he is a celebrated BC Aboriginal artist and a dedicated teacher Ladies and gentlemen Dempsey Bob and we're gonna start off by showing Start start we're gonna start off by showing a 30-minute video. Thanks See it goes down to there, but it gets pretty slippery down here. It's a little rain forest here I'd like to come here and look at the mountains Trees just being in nature being out there. It takes a stress away from you, too You get too busy And then it calms you down It's a healing thing, I think This is the time that we go and get our wood for carving On this ornament. I did some drawings of little baby killer whales that are locking with large to large killer whales I put it on that house and we got some of our students to paint it We're going right back to the class of what was co-styled Growing up in Port Everett. There was no television. So we drew and we carved who used to carve our own toys That's where I got started. I quit for a while and then I went back 1969 I met Frida Deasingen Went to our class. I got except good shows and then I got my pieces in Ottawa the National Museum And I got some pieces in UBC People see it people see it and that's how my work got known when I was young I used to see faces in the mountains and in the forest and then I stopped talking about them because people thought I was weird And now being an artist I see them again That's when we lose living in a high-tech society. We lose that connection to the land And so that's what our students. This is our future generation We want to show that we have one. I've done a lot of teaching and Teaching to me inspires me and gets me going too The young people were trying to get across to the important the land is And how important our culture is. I look at my life now and it sort of things fell into place for me I was lucky. I think it's just a time. I Grew up in the 50s in Port Everett and there was a lot of elders there And they told us stories. I only wish I had listened more this beautiful woman And she took out his hat and all the fog went into his hat Then he found his way back to the village And then he found out that she had salmon So he married her to get the salmon And after he became wealthy He was treated her and so she left him and as she was leaving she called back the salmon that she gave him He said all the salmon and the smoke house went down to the creek came back to her And he was chasing after her and he's trying to grab her as he grabbed her she tried to fog What I do is I look at the shape of the wood of these ideas and then I Try to fit the one that fits into the piece of wood or shape And sometimes I let the shape of the wood Tell me what to make through the trees and mountains Because wherever you live affects the way you are and what you do Also the way you see I think an artist you got to be connected to the land Because the land is magic The land is spiritual our people have always been close to nature and We learn from the animals and we learn from the land We say like our ancestors, you know They go back to our land And that's what I see the faces of the land It's our ancestors who say that if you lose contact with the land Your spirit gets lost That's what inspires me like this mountain. I call it the magic mountain because it changes all the time Each time I see different faces here. You look at the mountains You look at the trees You look at the rivers everything's big This sculpture country technology was good wood Our people were extraordinary woodworkers, you know carvers and carpenters They did everything. I like to go and choose my own owner and I looked for trees that are in really good locations And ones that grow inside so that there's not very many knots for about 10 15 feet up and then branches out I'll find a nice shape tree and it saves a lot of time on the roughing and shaping of it Here to get the older one is dormant And so you really you really have to know your trees too You see the red stain on this wood. That's from the sack the sack comes up in the wood We say and what what happens now when the leaves are gone All the sap is out at the wood So it doesn't stain very much and what I'm doing here. I had a small Piece that I cut off the back of a mask and so it was so nice wood that I wanted to make something So I made this sort of small piece But now what I'm doing I'm taking it in to make it more sculptural to bring it out And what I did on the top was a little human part hawk Then the hawk here with his wings coming up here and then the eagle coming out of the mouth And then this is the human here and our traditional way is that we wear a crest on our on our forehead to show our clan symbols I get it to a point where It's almost like it it I Wanted to tell me how to finish it and then I do it and what I finish it. It seems like they They've got their own life then they have to leave The answer is that our art is old it's thousands years old and it comes from here They come from these forests they come from these mountains and they come from these hills Close now what I'm doing. I'm doing the final sanding and finishing and painting on it. This one's It's a raven That frog on top And the frog is the helper of the raven raven is a scripture and He was also a teacher to the stories where that's like what when he was traveling They said after the flood the people were very intelligent, but they started using it against each other. So See that the great spirits gathered the people all over the world different groups land on different mountains That's when we're about to light the world. I want you to have daylight represented knowledge Teachings you have to feed yourself, you know Happens as artists is you're giving you're giving all your energy goes into what you're working on And you get empty And you gotta fill it up with something to see the land to be in the forest They fill me up and then I'm good for a while again Most people like, you know, you work and work and work all your life and a lot of them You never realize what you really can do where your potential is And as an artist you gotta keep pushing keep pushing because like an art you can't just have talent Talent is cheap It's the dedication that's costly and the commitment and the hard work. You gotta be able to do the hard work It's really nice when you start to get it close and It's like it's you can see the progress on it and it's getting better. It looks more real If you piece like this one, it's it's nice to get it close and finished I don't want it to paint to take away from the sculpture So I'll just paint the eyes And I don't know I just sort of be out using less and less paint I have my own style, but it's hard to explain This is the eyes I think. I've been trying to carve these eyes I've seen For 20, 30 years now, it's become my style Most people are blind. They look but they don't see Artists train themselves to see and feel If you find your style, if you find your art You got to go where nobody has gone and you got to go by yourself As artists you can go so far in your learning but eventually you got to go your own way The hardest part was getting it inside of this Taking that out Getting a nice shape in there and thinning it. That was the tricky part I'm getting the nice shapes in there like Sweeps and the depth. You have to get the depth in the right places Our people from our culture Because we're all connected. We're connected to the animals. We're connected to the environment Time to revive the art and if we don't teach, it could be gone in another generation So we're passing on what we know. It's like my whole life has been teaching the carving And if we don't pass this on, what does my life mean? There's the contents of society and great art comes from good people, great cultures And I realize what art doesn't lie If it's not in you, it's not in you either Like when I'm carving, it's like there's somebody with me What I'm doing, I'm carving for my teachers and I'm carving for my ancestors And I'm carving for my grandfather and I'm carving for my people that we're allowed to That's why it's important. It's a big responsibility I realize like this gift that I have, it's not given to everyone So you've got to use it and use it well I share it I'm carving about 1969 And when I started, I didn't say I was going to be an artist And I started with a lady called Frida DC And she was an incredible teacher And I was lucky because I was ready to learn And as a small child, we used to carve and pour whatever We had no money, so we carved our own toys And there was no television, there was no computers, there was nothing And we drew And we listened to stories from our ancestors, from our elders And I was lucky, I was born into this family, like my grandmother is clinkett, she's from Atlan She comes from the Ward family Her father's name was Judson Ward And he was a clinkett carver from Huna, Alaska And he made the goat horn spoons and the sheep horn spoons And he made things for my grandmother when she was a small child My grandfathers are from Talgraf, Taltan So my mother's part Taltan, part clinkett And my grandfathers are Taltan And on my grandmother's side, we're all clinkett And I was lucky, I was born in this family because my grandmother's mother was a basket weaver too So I got some stories from my grandmother and from my grandfather Johnny Sinkoots And I was lucky, I listened to the stories And this is one of the stories he told me of the first mask, this mask He told me a story about a man, they called him the smart one because he kept the stories He was the keeper of the stories And I seen him one day and I just drew him out, like I'll draw all the time And I don't say, well, today I'm going to be creative I live it, I think about it all the time, I keep it in the back of my mind And what I do is like, I know certain things that work for me, like I read a lot I find if you stop learning as an artist, you stop being an artist And a true artist, you have to master drawing, you have to study And you have to do a lot of work, you have to do the exercise And what I realized that, like in our school, the best drawers are the best painters The best drawers are the best carvers, because the drawing trains you to see That's what I'm talking about seeing Like that mountain I was talking about, I brought my Mari friend from New Zealand, Darcy Nicholas You know what he saw in that mountain? He saw Mari faces And he saw a Mari dog, a war dog that they used to use in the war And he went back and he painted that And this guy, like what I realized in art, like I went to New York I went to the Museum of Modern Art in New York Early in the morning, I went there early because there's 10,000 people there So I went early in the morning and I looked at Monet's water lilies And the light was hitting it just right And you know what I saw in those water lilies? I saw masks, hundreds and hundreds of masks And I was just struck like this, oh he smoked and I started looking I was looking at all these masks and then he sort of, I snapped out of it like that And I said, he didn't paint masks, he didn't know any masks But I saw what I knew And that's what I meant, that you only see what you really know In art and life too And if you don't train yourself to see, it don't wait for you And it won't even look at you And that's what artists do, you have to train yourself to really see And I was lucky because I had Frida and Frida made us learn how to draw We had to learn to draw And how Frida did it for me was that she sent me to Alaska to teach And then I realized, like talking to Phil Genzi, he said You know, we actually taught for nothing Because when we went to Alaska, I had to carve them a mask to be able to teach in their, in their, at the museum I had to carve them a mask and give them a mask to teach And I had to do it in one day But I did it Anyways, those pieces we gave them are worth more than we ever got paid for So that's why Phil Genzi said, we get, we work for nothing And he said we did it because Frida told us to He said, because Frida said, and we went And I realized now why she did it for me because that's where my people are too I've got relatives in Alaska, on the clinkett side On the clinkett side And I met some and I started working with them And I learned some of our songs and our stories And it was really great opportunity for me And what I realize now is that she was really smart because that made me do my homework I was drawing and drawing I learned to draw a salmon from a little girl that was about 10 years old in Hoonah, Alaska And they could really draw Because she had innocence and she had the wonder and she was just open And I learned how to draw an eagle's beak from an elder there that made blankets He showed me how to draw the eagle's beak But I learned, I went there and I learned And a true artist is this You have to do your homework There's no other way Because what happens, the truth of art today is that You can't mature as an artist if you didn't do your homework And that's the truth of it all And that's why there's so many problems Artists have so many problems, you gotta do your homework And how I did my homework was teaching the children Drawing and drawing and drawing That's what Vincent Van Gogh meant that you have to draw like your life depended on it Because artists have always been seeking the magic line The magic line is the perfect line It's the line that has life The trouble with most sculptures today, they're like this They're stiff and they got no life It's because people can't draw You gotta get that motion in there The motion, the movement, the proportions Everything is in the drawing Drawing is a foundation of art It's a language of art That piece, the smart one I did that one about 1989 I got the idea and I drew it down In the morning, real fast I'll draw it, sometimes I'll draw eight hours just drawing Things will come to me Sometimes I'll think about a story Or somebody will tell me a story Or I'll see something, I'll see something in the clouds Sometimes sometimes in the water Sometimes on the mountains And then I'll start seeing things And it's sort of like These images start coming to me And I'll start drawing down real fast I find you gotta do it really fast Because you lose that feeling I try to draw really fast And I just get some real gas Then I clean them up later And then I'll work on them And what I've been doing with this one here I started that piece And then I was working in my basement And I had a workshop bench And I had a little light, a little window I put them on there And I went up to get some coffee And I came back down I turned the lights off And he was sitting there in the dark And I was just gonna turn the light back on And I looked at him And he was looking at me really strong And I said, holy shit, he's there So I just left him I just left him And then I sort of just let him finish himself I just I studied him And I let him finish himself And then I realized when I finished him That he was smarter than me Because he ended up exactly the way he wanted to be And then I thought about it He's better than I ever thought he would be And he was bought by a collector That was on the board of the Museum of Modern Art And he bought out one of my shows And he bought 40 pieces He bought 40 pieces of my work And he didn't even come He just sent his agent to buy it But This guy When I look at him now He looks totally different From what I thought Of what I did What I worked on him But that's the way it's supposed to be, I think But now I think I'll be remembered by him The smartphone Okay I did this mask, it was a wolf mask It's one of our stories about the wolf And it's about the woman that She ridiculed the wolves And she married a wolf And it's part of our history of our clan How we got the wolf and our family And that's one of the wolves Sons riding on the wolf headdress That's made out of alder That mask when I finished it Is the raven and the frog mask Most of my pieces are made out of alder And When I work in alder I work in green when it's wet And we get it when the trees are dormant And I do a lot of I study the trees too You got to know the trees You got to know the wood You got to know where it grew Because if it grew in the water It's going to be rotten in the middle If it grew out by itself There's too many limbs Too many knots Too many branches are broken inside the wood So you won't get good wood So you got to know the trees too These masks I did for a show It was at the Grace Gallery And this is the show that I sold the whole The whole collection to one collector When I work on ideas Like I'll start this one here That's actually a spoon The frog is a spoon It comes off of there And this is a piece bowl with the raven and the frogs And this was one of my nicest designs I went to school in 1972 In Hazelton, British Columbia And then I had to drop out We were starving And I had no money So I went back in 1974 And I did the advanced carving And after that I just studied it myself And as art is You got to keep You got to find your own way And that's what I've always done Because like I'll talk a little bit about My family and about When I went to school Why we left our home was because they They were trying to take us To the residential school That's why we left And They took my My older brothers and sisters And Why I teach Because we weren't allowed to do it And I said why Why should we let our beautiful art die That's why I'm teaching Okay I worked in jewelry I've done a lot of jewelry too And I've taken some of my sculptures And what I've realized That you've got to learn sculpture Sculpture is what gives things life The depth The feeling And I found that I like jewelry but I love sculpture And what I think you have to do What you do best And the sculpture is always Always with me I felt it And When I got into jewelry I did it for quite a while And then I decided that I was going to go into Sculpture because I was going to do jewelry when I got old Because jewelry too It's an art form And if you're going to be good at jewelry That's all you're going to do And if you're going to be good at sculpture That's all you're going to do Okay I got into bronze too I went to Italy And when I was over there I met this guy from Australia And he said, you know, like What are you doing here? Why did you come here to be like Michelangelo? And I just looked at him Because some really bad was going to come out Because I can't be Michelangelo You've got to be who you are I'm a Telfed I'm a Klinkett artist You know who I am And that's who I am And I could never be Michelangelo And why? Why should I be? What I want is to learn their techniques Just to put it into bronze Because I need a new challenge I probably did about 600, 700 carvings in wood And I think you've got to change Or you're going to go crazy This one high to artist He said, you know, if I have to carve Eagle and Raven bracelet I'm going to puke, he said And that's how I felt too When I was doing earrings I couldn't do them anymore I was going to puke And at Christmas time All the women, that's all they wanted Was earrings But I was lucky too Like I met some really good artists And I participated like at Commonwealth Games In 1978 in Edmonton And I worked with artists from Australia, England All the Commonwealth countries And we lived together And we told stories Like our stories, I told our stories And I've seen the familiarity Of all Indigenous peoples All over the world And so I've always been interested In traveling and sharing And I've been working now With the Maori from New Zealand Because their culture is so slimmer To ours And now, you know Like starting the school I felt that Prita Didn't get her full recognition As an artist So we named the school after her And because traditionally Women in our culture They didn't carve And women didn't even come around The carvers while they're carving That was our tradition But she was the only school We had, she was the only Place we could learn And Prita was our thread And anyways What Phil said about the teaching In Alaska was he said that We did it for the love of Prita That's why we did it All that teaching And she was smart too Because like what Prita did to me Was like after I got to Kasan And then she said I kept trying to learn from her And then one day she kicked me Out of the nest anyway She said, I've taken you That's the way you got to go by yourself And that really made me mad Because she kept teaching Donnie Omens So I was always competing with Donnie Omens But anyways That was the best thing she could have done For me because I realized that I had to find my own way anyways And then I had to Find my own art And my own truth And it's like art is like this It's like It's like the blues You can't play the blues if you didn't live it What are you going to say? What are you going to express? You've got to know that You've got to have the feelings You've got to have the experiences You've got to have the knowledge You've got to have the talent But you know like talent Is only a part of the gift There's about three parts Four parts of the gift The other part of the gift Is there's knowledge There's a work ethic And the other part is passion You've got to find your own passion And your own passion has to be real Otherwise you can't only go so far And then you're stuck And actually I think In a way artists you actually hold yourself back It's even your lifestyle It's your thinking It's even your learning It's like what I'm going to try to do Is something really different I'm going to make this sculpture really different Sometimes I'll start it upside down I'll start it upside down Because if I start it the same way And use my same processes It looks like my other work It looks the same as my other work So what I do I try to trick myself Into thinking different And starting it different And inventing whole new ways of working So it ends up different again And that's really tricky Because if you fall back on what you know It looks the same again Because you're using your same processes So these are some of the challenges I challenge myself I always try to challenge myself Like when I'm thinking about ideas Like for bowls or masks I think about bowls inside of bowls And I've made masks with rattles inside of rattles Inside of the bowl Inside of a bowl And I've made rattles inside of masks In sculptures I try to think really different And I draw a lot And what works for me On the creative part Is I read a lot I read all kinds of stuff And I find it gets me going Gets me going I'm going to read about other artists too And it inspires me And I travel I like going to New Zealand And when I come back from there I'm energized I'm renewed And I can work again And I'm filled up again And that's why I go there Okay I've been making these pieces And some of them are getting longer And some of them are getting bigger too But this is all I don't know why I like carving frogs I don't know But my grandfather told me a lot of stories And as children You're not supposed to mistreat them And if you do You get bad luck We call it awi Which means it's really bad And you're going to get punished Okay I did the fog woman And I carved her in a year And I took me one year to carve her And I spent all my time with her And she ended up different But it's a story It's a story about the raven And the salmon And the fog woman had two beautiful daughters And they were so beautiful That's why the salmon Come back to the rivers to spawn Just to see them one time Before they die And she had this basket That you could put her hand in And take out a salmon And that's her basket You'll see on the side there And we say when she combed her hair She combed out salmon out of her hair And that I used her hair as water And that was the hardest part Is to get the hair to look like water But I've done about 20 big totem poles And I wanted to do it Just a three dimensional sculpture So I did the fog woman She's 6'8 and the raven Is carved out of red cedar I moved the raven away from her Because he was He's a little bit taller than her And he was sort of dominating her And they wanted me to put her on this pedestal But I said no So we moved him We moved him down finally But we say that she lives at the head of the creek And that she's carved out of yellow cedar And raven's carved out of red cedar The red cedars are a spiritual tree They're a spiritual tree And yellow cedars are One of our main, main carving wood It's one of the best carving wood Okay I've been doing these sculptures now And they gave me this piece of wood In New Zealand And I had this idea in my head And it didn't work It couldn't work I was going to do a warrior The theme was we were doing warrior sculptures And I wanted to do a clink at warrior With his helmet And his visor and his face And so what I did was I switched it And then I could get the scale That I wanted in it And from that I started I started these sculptures They're like wall sculptures They're quite large And I had this one dream one time And I seen this mask And the faces were bubbling up Right over the top And right around the back And it was like It was like It was like It was like It was coming out all over the place And ever since then I've seen how the pieces went together How the faces fit How they should go How you could draw them How they would fit into the piece And that's what I've been doing With this piece here Like there's an eagle transforming there And there's an eagle up top And humans And these are transformations Down here too Faces I see them And they come to me Sometimes just before I go to sleep though I'll start seeing these things And I have to get up and draw them Otherwise they don't leave me alone And sometimes if I don't do something They turn ugly So I gotta get up and draw Okay This is a birch It's about And it's gonna hang It's gonna hang And it's a beaver It's hollow inside It's hollow inside And I thinned it all out And I glued it all back together And there's a woman on this side here This birch comes from Saskatchewan I've been working with some artists out there We've been working together On different sculptures This piece is quite long It's quite long It's all frogs again too I'll get an idea I'll start like I started on top I've seen this big guy I've seen him first And then I'll I'll start fitting it in Sometimes I don't draw the whole thing But I have an idea I'll have an idea in my mind And what I do is if I don't I don't make it Final the design I'll change it If I have to change down here I'll do it If it's going to get better The only rule is it's got to be good It's got to be better I'll do it I'll leave my mind open until I get it Close But I'll draw this whole thing on Just freehand And I find that's the best way To work is freehand Right on the piece You're not working with a drawing A flat drawing Trying to wrap it around it You're working right with a piece And here's a bear mother story And that the bear on bottom The bear mother and the cub there And I carved this I carved him right through Like I sculpted him right out Right out of the piece And I've been getting into These little sculptures And trying to push it Really push it And you see how it emerges From the wall These sculptures are just emerging From the wall But I'm using sculpture Still coming from our tradition But stories But pushing it in a different way And it's a different challenge And what I'm doing now Is like if it's not a challenge To me I don't want to do it I just don't want to do it This one here I started this one And we're going to do a collaboration With one of my Maori friends But it didn't work out And I went downstairs And I drew the top The eagle on top With a little man He's traveling, he too And the eagles are stories The eagles came from the north Came from our culture From our people in the north And that's the eagles That's the eagles coming That's the little guy In the bottom there with the eagle He's holding the eagle And the little man in the bottom I probably did about 20 totem poles now And so What I've been trying to do now Is I've been trying to change And challenge myself And I've been working on Some different bent boxes now And panels and all kinds of Carvings I've made Probably I said about 600, 700 pieces In wood And what I'm doing now Is I'm working with the Maori Experimenting with their wood And learning from them Learning their tools They use a lot of chisels And gouges We use our traditional Adzes and bent knives And what was really neat About Frida was She taught us our traditional tools With the bent knives and traditional Adzes We didn't have no money to get them So What we did was We just made our own tools We made a lot of our own tools And I was, you know, like myself When I started I didn't say I was going to be an artist I just sort of Kind of led that way And now I realize too Like my grandmother My mother They told me stories And they kept telling me stories That I was going to do something But they didn't know what it was And now I realize now That they They told me all those stories Because they knew I was going to do something And they knew I was going to be an artist And I don't know how they knew But they knew And they chose me and they did it And I remember those stories And that's what I've been carving That's what I've been doing And, you know, people Just want to talk about contemporary and tradition They always want to put us in the traditional Side with the dinosaurs But we don't fit Because if you understand Northwest Coast art It's some of the greatest Sculpture ever done At any time, by any nation At anywhere in the world That's how great it is And the modern artists Were inspired by Northwest Coast Not only Northwest Coast But it was valued art African art Because it was great art Great artists are not inspired by junk And what they stole from us Modern art stole from us Is freedom Freedom of forms Like our pieces One story could be a mask Could be a bowl Could be a song Could be a story Could be a canoe And, you know, we talk about modern art This is some of the things we talk about As artists, okay Like, I talk with artists all over the world Like, we had these discussions Like in England, New Zealand, Japan, London What was modern art in the beginning? Modern art was the Rebellion against the institutions And teachings of that time Like, what if Vincent Van Gogh came back And seen what we're teaching? Because what he rebelled against And what he died for Has become the institutions Of today Think about it So how do you teach rebellion? You can't teach rebellion That's the government side And, you know, that I think about our pieces Like, when you understand Really understand our old pieces They were more contemporary than us When we talk about contemporary art Or traditional At one time Everything was traditional Everything Was traditional To that time And everything was one time contemporary To their own time of making When they made that art It was contemporary to that time It became traditional through time And use and belief and acceptance of the people That's what makes it traditional Also When you talk about Traditional And contemporary now If you really understand art True innovation Has to come from tradition It has to come from the traditional art forms It's like this Like if you think about Picasso and those boys Their ancestors were the Greeks and Romans Their tradition was the European art history and theory So That was their tradition They knew that tradition They could draw you or me perfect But they chose to do this And they could make it work Because they knew their tradition They came from that tradition And they were great artists To be able to do it In a new form In a new idea New way And that's what they did And that's what my people did too If you understand our art now The great old art pieces They're in New York They're in Moscow They're all over the place They're in St. Petersburg and Russia But that is some of the greatest sculpture ever done If you understand it It's like they were more contemporary than us And if you understand now what's happening today We're actually the primitive ones Because we got the tools But we don't have the knowledge We don't have that knowledge That they had And that's the difference That's the difference And what we've been trying to do Is just try to get back to that level To the level of our ancestors But I don't think we'll ever get there I mean, wow Maybe somebody will get close Maybe, I think But I think like My idea now is I'm thinking about where would the art have gone If our people didn't stop If they didn't stop for all those years Where would it have gone And I want to go there When you think about it There's nowhere else to go And what I meant about You have to go your own way That's where your truth is That's where your style is But you got to earn it And it's by your study And it's by your hard work It's by your experiences It's by your learning It's by your pushing Because art, great art Comes down to the individual It comes down to the individual The knowledge, the talent The hard work You got to be willing to do the hard work And you have to earn it Because if you don't truly earn something in learning It's not yours And you don't understand it anyways You can't give it to somebody They have to understand it in their own way And that's what true learning is And that's what we're trying to give people But they have to accept it And they have to learn it And I was lucky I was a teacher And then I studied it myself too Like I always said I went to art school at the Prince Rupert library That's where I went to art school And I just studied people I liked If I didn't like them And if I thought they weren't truthful I didn't read them I didn't study them But I studied sculpture And I studied our history too And our stories And I was lucky that I met certain people in my life And I listened And I had this I was born into this family And of artists And I was lucky too that My mother told me stories And my family supported me And all the things that I did My brothers and my sisters And I was lucky that Frida came along when she did Because after that She changed my life She changed my old What I was going to do And I was lucky that She was a great teacher Because teaching there's It's an art form too People know stuff But they can't teach it Great teachers have a certain gift It's a gift But art's a gift too But it's a curse too Because you got to live it And when you're shopping on Saturday I got to go carving You got to do it That's the difference A true artist you have to do it There's no other way And that's what I mean And you got to live it too And I was lucky This is a story I tell My students That there was a lady She was outside a Penn Station And she was asking this policeman How do you get to Carnegie Hall And that's when you got to do an art too And this other one too This guy You know how people are always waiting For their boat to come in And said well If your boat doesn't come in Swim out to it And that's your knowledge That's your learning That's all the things you got to do For yourself Or you're never going to get there And that's some of the things I think art is We call it the magnificent struggle Because that's what it is It's frustrating It's hard You don't know why you're doing it sometimes And you don't know why you have to do it But I have to do it And that's part of my gift And I think about myself now Like I want to I want to do what I really know And in life you only do You only use about 10% of what you know I'm trying to use what I know now I've been busy learning all these things Over these years Just learning all these things And I actually learned by teaching Like from my students Giving my students projects Like I teach a spoon class And I make them do 20 different spoons So by the time we leave I know how to do 20 different spoons Plus I learned from those spoons How to do another 20 different spoons Because I figured it all out in my mind I figured it all out And that's what I do That's what I do when I draw I'm figuring out I draw like a sculptor I'm figuring out designs How things fit How things work How the lines go Scale The movements Forms I've been to a lot of different museums All over the world Because I love art I just love sculpture And I love to learn And I love to That's why you should look To really look Because there's so much there There's so much So much to learn, so much to share I did about Like I've been to Europe About eight times And I've been to Japan About three times And I've been to New Zealand nine times And I'm trying to quit now It's too far Though it's time, eh Like it's a time It takes a lot of time to get there And then I want to be working I think about my time Is valuable Because You only get so much time And I've been lucky like And I got to do my work My work calls me so And what I was talking about The land where you ever live Affects the way you are Who you are The way you see The way you think The land is spiritual to us That's why We live there That's why we teach there It's our home too Those things inspire me And you've got to find things that inspire you That really inspire you And things that work for you Like myself, the teaching Gets me going too Gets my mind going And also the The drawing I draw all the time It's It's an exercise for me now Like if I get an idea I'll sketch it down Really fast I'll try to get the essence of it And then I could always develop it I always think I could make it better I could always get it better And when I do these things too I forget them I try to forget the pieces that I've done I forget them Because what happens is They'll come back and I don't show my pieces in my house Because they'll come out Those images will come out In my new things Somehow And it affects me It affects me Those things affect me So I just I don't show them And then What I do now is I I hide them Or I'll put them somewhere else Anyways Things affect you And you have to find the right things So What I did was I I know what I like And I know what I'm looking for And then I'll go there I'll go there and I'll search I One of the best times of my life Was teaching in Alaska in the 80s Because people just wanted to learn And we shared so many good things So many things And that's how I actually Done my homework By teaching And that's why Frida was smart She was smart because She made me do it And She knew I had to do it And I'd have to do my homework And I did Because You know To really mature as an artist You have to do your homework And you have to know your You have to know a lot of things You have to know more than A university professor of art At our school Like our school At Frida Deasing School It's a really unique school Because We're real artists I mean we're really Practicing working artists And we've carved All these things We're talking about We've carved them We've made them We've taught So that's why Our school is so unique And it's a really I think about it now It was Frida's dream And we're living it And we're doing it And I just want to ask you If you've got any more You want to ask any questions I'll try to answer them Because I think I talked enough I got a whole bunch of other stuff To tell you But I don't have much time I don't think Yeah Is there any questions You got any questions? The way the natives The way the people Started to carve Essentially You mean the old one changed? Yes Yes, your form line Because in your mask You had eyes Done in a very Traditional ancient Flat form line style And you have developed Your own hooded eyes That is more sculptural And not flat And I'm wondering where Where you think that the Ancient form line style Which is shown now in In two dimension On your Houses And elsewhere But where form line originated Big question I just wanted to know Your opinion of Where the line Sculptural And lines came from that style That's so unique to the west coast Nowhere See nowhere else in Africa Or anywhere Yeah Aside from the Marys Yeah, that form line style It's really unique It's I think What I've studied It comes I think from the If you go way, way back And you know the petroglyphs The petroglyphs had some Beginnings of that The forms The really old forms And those are really, really, really old And then the painting style came But I think it came from those Stone petroglyphs forms And then there were some shapes In nature too Like see, like some shapes To us They're spiritual too But we don't really talk about them You know, but that form It's a spiritual shape to us too We use them for certain Like for the eyes And for the joints And they were like Energy in them too And spiritual power And those forms too It all comes from nature, yeah Yeah But I think it developed through the carving The form line had to develop Through the carving Yeah Yeah, that's pretty tricky too Because like, you know Like when you talk about it Like the abstraction There was all great art forms Actually they move into abstraction And Northwest Coast was already there You know, like in the bent boxes In the designs In those traditional flat designs That was all abstract And some of the forms that we don't know We don't know what they are Because they're so old That all the people are gone You know, from that time You know what I mean So a lot of those things Like those shapes We don't know where they originated Or where they came from But they came, you know Our style is from the north You know, the northern style Is the Tlingit Haida in the Simpsons That's considered the northern style And our style comes You know, originally They painted on They painted on hides That's how the robe started And then when they got the blankets From the paintings They cut the applique And they got the cloth And then the buttons They used them But you know The Avaloni shells on the buttons Those were spiritual to us too It was a symbol of wealth too And so when they got the trade buttons You know, they went to town too Because they could make so much more They could do so much more But they were always adapting the art forms They were always adapting and changing Because when you think about it Like innovation At that time was survival Like say in the canoe technology If you don't make it proper You're gonna die That's it And a lot of those things Depended on it And you gotta know your trees You gotta know the trees You gotta know how strong that tree is You gotta know so many different things Any more questions? Here, Dancy Over here? Yeah I'm wondering At what point Does the mask Become alive And an entity onto itself? What, for me or for her? That's what I've been trying to do all my life I think it's in the finishing It's gotta be finished proper You gotta push it so far You know, and you gotta have You have to know how to draw first And it's like this What I think about art is like this You gotta have it in here If you don't have it in here You can't put it in there It's like trying to give a child Something you don't have You have to have that knowledge And that feeling in here Because art is like, it's a belief If you don't believe it If you don't believe in your work You don't believe yourself Nobody's gonna believe you Nobody's gonna look at you And that's a tricky one too Because I'm always pushing it But I think it's at the end It's at the end You know, when he starts to look back at me That's what I know he's done I just finish him Just leave him Because who am I I think about it like who am I To judge him, you know Who am I Because if you look at the old great Mask, they had life And that's what the modern art Is seen in our stuff Is the life in those little carvings Those little ravens, little eagles Little masks and animals Had great life in it We've been trying to do as artists To put the life into them Because art has to have life It's not only has to have life It has to have power too It's got to have its own power And like how do you do that? Like when I was in Copenhagen I liked the blues I just loved the blues You know, it got sold Blues got sold Anyways, these guys took me To this Mojo blues bar And so I went there And there was these Danish guys The blonde guys playing really good Technically good But there was no feeling You know, I thought What, you know, and they thought Something's wrong here, you know That I realized there's no feeling And that's what I mean about the blues You gotta know how to play You gotta live it Otherwise you can't play the blues That's how artists do You can play You can do it That thing is like finding yourself You gotta find yourself And your own truth and your own style And your own art And you gotta make it real And that's the challenge of an artist That's the challenge Like it sounds simple but it's hard It takes a whole lifetime And that's what the drawing does That's what the... Myself I think it's in the finishing You gotta finish it proper It's gotta be the best Our traditional way is like this Like I'm from the Wolf Clan When we show our traditional things It's gotta be the best That's what we say My grandmother said If we're gonna show our face It's gotta be the best And cause that's who we are That's who we are Art was such high standards Very high standards Because that's our face That's our family face And that's our clan face And that's how I pushed it Artists try all their lives To get the life into And power into it That's what I've been trying to do all my life But I find at the end You know like myself I've done a lot of work I realize it's like this If you're a painter You gotta paint Or you're not a painter And if you're a sculptor You gotta sculpt or you're not a sculptor That's it And you gotta do it And you gotta do it hard And learn and do your best Always do your best Because Art comes down to the quality The integrity The belief The knowledge The spiritual The Habits The lifestyle of the individual That's what comes down Because That's what you got to give That's what you got to give You gotta find it in here And that's what I've been trying to do all my life Just through the art And doing it And what I realize myself I didn't carve all those things I'm never gonna get there I'm gonna get somewhere But I'm never gonna get there So I got it carved all those things Just to get a chance And what I feel now is at least I feel like I'm in the ballpark Or close to the ballpark anyways But I'm still way out of left field yet though So I was lucky though Just to get that far Any more questions? And that's gonna be it I got a couple of pieces I brought a couple of pieces You could take a look after Thank you Dempsey Just a reminder that in room 123 at 4 o'clock There's gonna be a guided Mindful meditation That's for anybody who wants to finish the day in a quiet way Thank you


Hello, and welcome back to theCUBE and our live coverage of Forward Six, UiPath. We are here in Las Vegas. I'm your host, Rebecca Knight, along with my co-host and analyst, Dave Vellante. We're joined by two guests this for this segment. We have Leila Delchich. She is the Global Head of Value Realization at Aeon. Welcome, Leila. theCUBE alum, I should say. Welcome back. Thank you. And Taiso Dwyer VP Global Financial Services, UiPath. Also a CUBE alum, so welcome, both of you. Great to be back. So I'm going to start with you, Leila. I remember on the keynote, there was a Aeon executive, I believe it was Mindy Simon, who said one of the things that is so critical is to know when to use AI and when not to use AI. That really stayed with me, then the wisdom to know the difference, really. We should add that too. So how is Aeon using UiPath, the platform to drive innovation and growth, would you say? So our journey and the new journey that we introduced is about hyper-automation. So we said, for us to gain the maximum outcome, an outcome is not just financial outcomes, but client and colleague experience weighs into the outcomes very heavily. We do need to consider a combination of capitalizing on our systems to start with, standardize the processes where you can, capitalize on our systems, leverage AI ML capabilities, and that's where UiPath becomes a big part of our foundation. So we are leveraging UiPath as a platform of multitude of capabilities. Intelligent document processing, communications mining, process mining, NLP. We couple that with our internal integration capabilities and there you go. You hand up with end-to-end capability, you drive outcome, that's where we are embarking on and we picked UiPath to be our partner in that journey. We have done a lot as Aeon in the past few years. We are now just quadrupling, hopefully our outcomes in automation, hyper-automation. Tais. It's really great to hear you tell that story because it is a journey for a lot of customers and Aeon has just done such a terrific job making this an enterprise-wide strategic imperative for the organization. And they're getting the kind of value that we really hope to see from all of our customers. As I mentioned, it's not just about the productivity or efficiency element of it, but they're seeing value when it comes to risk. They're seeing value when it comes to growing their business. And so in all these different dimensions, we're seeing UiPath's platform really help the organization take that next step into their digital future. The amazing thing, Layla, about having you back on is we live in an age where it used to be, if you were in manufacturing, bottling, you would be there for life. Absolutely. But we see Amazons in music and Apples in financial services and they're able to traverse industries because of, I'd say, because of data. It changes everything. Absolutely. But there are still some, there's still tribal knowledge but there are many similarities across industries now. So I'm curious as to what your learnings were from the manufacturing world that you've been able to bring into financial services in terms of getting adoption, building hyper-automation and getting scale. What an amazing question, Dave. And a topic that many of us discussed, those of us who joined Aeon very recently, it has been six months, an amazing journey, and an amazing company that is providing services to clients and it's all about making better decisions, informed decisions and better advices to help our clients make better decisions. In manufacturing, we deal with raw material and last mile and lots of shortages and lots of the volatility in the markets that impacts us. The big difference between the two is how we look at cost to serve and the sense of urgency, obviously. So in the professional services we are in, in broken and insurance, we pretty much have intellectual property. It is people that make the difference, it's our employees that are making the difference and it's our clients so that relationship is so personalized, so unique and we rely heavily on data. I have never seen an enterprise and an industry that is so data literate. We know the value of the data and we know how we can use that data to serve our clients better. It's just amazing. You don't necessarily find that in other industries. You have to go through a data literacy and training and upskilling and riskilling whereas when I joined Aeon that was one big difference that I noticed which is making our life very easy. What we bring as a different perspective is, like I said, that sense of urgency and cost to serve. In manufacturing, the minute, for a second that production line stops, you start losing on client expectation, experience, outcomes, financials. So that's a big difference that we bring sense of urgency and then the cost to serve. The way we look at cost to serve in manufacturing is very different compared to professional services. Data in the DNA, which is obviously very common in the industry. It's the case of the kingdom really when it comes to financial services and one of the other dimensions about the parallel that you just drew that I think is so important for this industry is that we're starting to see really an explosion of new ecosystems as you see in manufacturing, for example. There's organizations that are interacting with each other that might have been competitors in the past or maybe they have complementary services and now there's these new ecosystems where these companies are really being knit together by data and intelligent automation in order to make their businesses run seamlessly together, which I think is really exciting and really speaks towards the future of where we're going in insurance. There's a lot of optimism and excitement in this conversation, so I don't want to throw water on it at the same time. There's also a lot of fear, anxiety, skepticism among the rank and file. Maybe not everyone is as data literate or as data excited as you all. How are you helping change perceptions internally and deal with the change management issue so that the rank and file understand just how impactful AI can be? Two things. One is I think we are all learning to embrace AI and live with AI and the capabilities and how we can make our life much easier and the second is how do we bring certain examples within our enterprise so that we create internal advocates and champions with the change? I think I'm very lucky when I joined AI on six months ago, one thing that stands out about the culture is a very quick adoption and change because it's all about serving clients. You have to be very adaptable, very flexible. That resonates internally to the way AI operates so our job in driving that change is much easier and our colleagues are willing to spend more time with clients and less time with some of the tasks and monotonic work so they are all very open and willing so we are very lucky at AI on to have colleagues like we do. That's definitely making our life easy and then showcasing examples on how it's actually impacting their life for the positive and helping them gain more skills, learn more skills, but also serve clients, give back time to serve clients.  So I could see, I mean, what is your experience in terms of the industry in terms of leaning in to AI? I would think they want to be ahead of the curve. For sure the industry wants to be ahead of the curve and financial services does take some risks I will say and steps into new technology to see the power that it can really bring to the industry but I think it's really important to remember that this is additive and so when it comes to the employee nobody goes to work thinking I can't wait to process that form over and over and over again. At least I don't think so anyway. What we have in our employees that's really valuable is their minds, their ability to think critically, their judgment, how they think about the customer, the way that they engage with the customer and so this really gives them the ability to focus most of their attention on those aspects of their work which I think is really exciting and so yes I see that there is still trepidation a bit amongst a lot of people as you know how is this technology going to be embraced? What is it going to be used for? Will it be used for things that will impact my job? And the answer is probably yes but most likely in good ways that make your job much more satisfying and rewarding to be engaged in. So this idea of end hyper automation and end-to-end automation and we talk about ecosystems I'm curious as to how end-to-end automation extends into ecosystems, how you deal with sensitive information, privacy, data sharing, things of that, differences in workflows and the like. Absolutely, our focus right now is to achieve the end-to-end and hyper automation within Aeon so in Aeon first and making life easy for our colleagues especially our colleagues who are facing clients so that we decrease the cycle time and increase responsiveness. The second part will be extending into ecosystems ties to your point. I think in other industries we do see more of ecosystems in our industry, the industry we are in the broken and insurance, as I mentioned, we live every day we are in the business of helping our clients make better decisions. So we are in an industry that's a bit more personalized hence when we talk about extending to an ecosystem it's more personalized, having more personalized touch points and where it makes sense standardizing and working with industry associations. So we are actually embarking on few of those that are more industry associations but more focused on personalized. And to your point Dave, top of mind is data privacy compliance, right? Working with our clients on being very open, very transparent but for now our big focus again is within Aeon and how do we make sure that we add value in Aeon. That's going to be interesting because you're regulated industry so you have to be concerned about those things although the frameworks that you use might be different from the ecosystem so that's why you've got to have that framework at some point extend public policy will be involved and then once that's determined and agreed upon then growth occurs. Absolutely, absolutely, absolutely so. And in addition to that even before public policy let's say is drafted around something like this a lot of companies are already concerned about how to take advantage of this in the most responsible and ethical way. How do you train models for example with the right data so you don't introduce bias into it? How do you make sure that the decisions are appropriate decisions? And one of the things that we're proud of here at UiPath is being able to introduce humans into that loop and so you have the ability for somebody to continue to validate that the answers that come out of models are the right ones for the business. But I think as we continue to grow this kind of technology growth usage in the industry we will continue to be very concerned and make sure that we're respecting all the global laws and regulations when it comes to privacy. Make sure that we're respecting our customers and what they expect out of us in our businesses. So are you, I'm thinking about what you were just saying about financial services being such a highly regulated industry with so many concerns about security, governance, privacy, similar to healthcare. How are you leveraging the learnings from working with financial services companies and applying them to other industries and sectors or are you quite there yet? Well I would say it's bi-directional and so you use healthcare as an example, they have very strict privacy laws as well and so when we think about what it takes to protect the individual that is on the receiving end of the output of this technology, they're very similar goals which is to respect privacy, to maintain confidentiality when it comes to information, security is of utmost importance and so when we think about the design and the way that we train the artificial intelligence, those become principles by which we use as a foundation for that training and development. Leila, your CEO on the main stage this morning shared in her video that she thinks of UiPath as a strategic partner. I'm curious to hear your thoughts on what that means actually and why an insurance company needs an automation company as its strategic partner. Great question. Strategic partner for me is a partner that whatever keeps me awake at night should keep my strategic partner awake at night. Whatever my outcomes are, should be the outcomes of my strategic partner so that's kind of what we are looking for. A little like a marriage maybe. Yeah, it is in a way and the reason for that is we heavily rely on, in this case, a technology company. We do have many other strategic partners but in the case of UiPath, it's a technology company. It helps me with learning curve, speeding up the learning curve, helps me with speed to market so that I can actually produce some of the results for my clients and for our colleagues internally at speed. Reliance on the talents and upskilling and the risk-killing of my internal talent and they close the gap until we risk and upskill. So all of that put together, that's kind of how we look at strategic partners. We have a few strategic partners in our portfolio and UiPath is the one that we picked for automation. Very critical. If you look at our industry and the processes, we are a process people and process company so we actually rely on automation equally as other industries, whether it's manufacturing or any other industry out there. So one of the first strategic partners we picked as we embarked on the new journey at Aeon. Layla, having been at several forwards, how would you describe the evolution that you've seen just in terms of when you talk to your colleagues from RPA to end-to-end automation, hyper-automation? First of all, how would you describe it but could you even have predicted that? Is that, was that your vision now coming true? How do you think about that? In the world of technology, many of us have been discussing a platform as a capability and if you look at UiPath starting as RPA, that's many of us started with just automating an individual task. That was very important to get excited and generate some quick wins and showcase, you talked about change, actually that's how change happens when our colleagues start to understand what it actually means and how it makes their life easy. So that's the advocacy. Now very quickly, what we had to start to develop is the platform capabilities. So instead of going and gaining individual capabilities from many different technology companies, how do you gain a platform capability where you have all of the capabilities and you can choose based on your use case, that's what gives you a greater value. When you automate one piece of the puzzle or the process, you only gain one fraction of the outcome and you forget about that outcome very quickly. When you look at end-to-end process, upstream and downstream, and when you bring the colleagues together in that upstream and downstream, everybody realizes, ah, I automated this piece, but I'm actually creating a problem downstream, right? Or hey, I'm taking some of the waste from the upstream.  So we are embarking on the journey. I hope next year we'll share some outcomes. What a testimonial, I mean. It is, it's wonderful. It is such an honor to have customers like Aeon as part of the journey for UiPath. And Lila's right, you know, we started off with our roots deep in RPA and we have grown so much into a platform, now offering all kinds of AI capabilities on top of it. And I think it's also because that partnership that you were talking about before, it's what informs what we need to do. And so we're not here just to exist to produce technology, we're here for our customers. And so they're the ones that help us shape what they need for their businesses. They help us understand where the business needs to be optimized more, what are the challenges that are facing, what's complex about the way that they run their business, and that helps us build technology that solves those problems for them. And so over the last couple of years, we're really proud to have customers like Aeon take us on that journey to our future as well. Tais and Lila, thank you so much for coming on theCUBE to talk about the state of AI and automation in the insurance industry. Thank you very much. Thank you. I'm Rebecca Knight for Dave Vellante. We will take a short break and be back with more of theCUBE's live coverage of Forward Six. Stay tuned.


The form in a big robot. SpongeBob SquarePants, the famous cartoon series that's currently reaching its 14th season. Did you know that back in season 3, an episode was accidentally released one week before the episodes Missing Identity and Plankton's Army was planned for release? The episode was called, Bikini Bottom's Blackout. Using the same production code for Missing Identity and Plankton's Army, the episode was secretly made by an ex-storyboard artist, Aaron Parkinson. Christmas had came, and one of my presents I received was the SpongeBob First 100 episodes box set, an amazing jam-packed box set of the first 100 episodes. My parents told me when they first got it, it was sealed. As I took it upstairs, I opened the seal and the case. All of the episodes were listed in season order until I noticed something. On the corner of the case was a wrapped package. Curiously, I opened it. Inside was a written DVD or disc titled, Bikini Bottom's Blackout, in beautiful cursive writing. Cool, a bonus disc. I thought as I put it in my DVD player and pressed start. It immediately took me to the menu, but something was off. It was bare and empty, with only the logo and three options, play, set up, and warning. The warning screen played the following message. Warning. This episode contains graphic imagery and psychological elements that may not be suitable for viewers. Viewer discretion is advised. After reading the message, I pressed play. It started with the episode's title, and instantly, I noticed the title card looking strangely harsh, with music from the title card of the episode. Musclebob of Pence playing in the background. It first shows the Krusty Krab, with SpongeBob sweeping the floors at night when Squidward decided to turn on the radio. A voice on the radio was heard saying, We might be having unexpected dry thunder strikes. We may experience a full white blackout. I look at the screen, puzzled. Starting off already, that's new. I thought, Oh no! SpongeBob explained. Squidward looked over and gasped. This is horrible! Squidward screamed. Soon, everyone started to go to the Krusty Krab. Mr. Krabs came out. Why is everyone coming here? I mean, I do enjoy my fair share of business, but... Mr. Krabs said, chuckling nervously. We're experiencing unexpected thunder strikes. One fish shouted. Our hones could be demolished. Another one said, The wind's all gonna pick up soon. Sandy was heard shouting. A loud thunder strike was heard as the sky darkened. Everyone held on to each other, as sounds of gusting winds crashing and clattering sounds were heard. SpongeBob, Patrick, Sandy, Mr. Krabs and Squidward all screamed as a piece of the chumbucket's claw finger crashed into the side of the Krusty Krab.  Suddenly, it shows a dream sequence of SpongeBob walking into the Krusty Krab. It was destroyed in multiple areas and Squidward was shown with a static face. SpongeBob walks up to Squidward and asks what happened. The quote from the SpongeBob episode, All That Glitters, was heard, accompanied by static from Squidward's face. Nice outfit, SpongeBob! Repeated ad nauseam. As it repeated, it kept getting louder and louder before Squidward shouts. Nice outfit! Another lightning strike explodes as SpongeBob lets out a manic scream. As SpongeBob opened his eyes, he noticed Mr. Krabs strangling Patrick in what looked like a blue sky Krusty Krab and at a weird angle. SpongeBob helped and covered his eyes. Sandy was shown. What's the matter, SpongeBob? Sandy asked as SpongeBob's eyes adjusted and it suddenly showed him waking up. What? SpongeBob groaned. What happened? SpongeBob asked as he got up on his legs.  Squidward said. SpongeBob gasped. I rarely have those. SpongeBob panicked. Patrick looked outside as his rock flew over and... Patrick's head was shown smashed, revealing bone and a slow trail of blood oozing out. The final shot of the episode shows everyone mourning the loss of Patrick and the storm clearing up with the credits playing. First of all, I couldn't believe the amount of disturbing detail shown in this episode and I'm still in shock with the amount of screenshots I caught. Secondly, the blackout part was never shown, like, at all. After the episode finished, I went downstairs and asked about the bonus episode I received. My parents were at first confused until I shown them the screenshots. My dad turned pale and my one passed out. My dad looked at me and told me that the director of the episode was a friend of his, someone named Carl Christopher who died of a stroke. It turns out the friend made the episode before he died. About the screenshots. I shared it with my friends who told me to upload this and along with the screenshots to show everyone that it exists somewhere. To this day, I kept the bonus disc somewhere in my closet. I know I'm not insane. I just know.


Hello, it's great to be here, great to have the opportunity in the studio to talk to our WTL and listeners out there. If you're listening in, thank you so much for engaging with our ministry. We're very grateful for what you do and very grateful that this program is a help to you. I pray that it'll be a blessing. And one of the things that we wanted to talk about today in our segment before the sermon begins is a conference that we're holding May 29th through May 31st, 2015. And it's our 2015 call for discernment conference entitled, A Call to Arms. And the conference is particularly about protecting our children and families from the menacing side, the dark side of media and technology. In today's culture, it's become such a serious issue. And with the advance of technology, just the staggering rate at which technology is advancing, we find that more and more an influence on our families, more and more an influence and a danger for our kids. And so we want to inform families, get them informed with how to protect their family from the dark side of media and technology today. And for that conference, we're very, very blessed to have guest speaker with us, Trace Embry. And Trace is a nationally syndicated radio host of License to Parent. And he's also the founder of Shepherds Hill Academy, which is a residential counseling program for troubled teens. You can find information about Trace's ministry at LicenseToParent.org. And it's our great privilege today to have Trace on the air with us. Hey, Trace, how are you doing today? You're wonderful, sir. But good. And we're glad to have you. So we're looking forward to this conference. I know our parents are getting very excited about this. They're looking forward to the information in large part because much of this information today is unknown to parents. Parents seem to be relatively naive often when it comes to their kids and their families and the impact that technology is having. You know, I've heard it said before, Trace, that if you're not training your kids, then someone or something else is. So where do you to see today? Do you see that education primarily coming from? Is it environment? Is it music? Is it social media? What do you think? Well, all the above. It's interesting. You should say what you said because I sign off every one of our radio broadcasts with that very line. If you don't train your children, somebody else will. And the truth of the matter is somebody else already has. And not only have they trained our children, but they trained us as well. And if people will come to this conference and find out just how trained they have actually been, how indoctrinated they actually have been. And when you look at all the statistics by George Barn and others, you'll find out that even those who feel like, you know, because they're in church every week that they have a biblical worldview, when they're tested, they find out that they really don't have a biblical worldview.  And if you buy into a false premise on anything, the rest of the story can actually make sense to you. But we want to get people straight on that and get them back to looking at reality as reality actually is. And that, of course, being filtered to a biblical worldview. Amen. So yeah, we definitely want to go to the word of God for our parenting instruction. And, you know, I know you've said before, too, that today, by and large, with our parents, although parents may be trying to be meticulously faithful to the Bible and how they raise their kids, the culture has also become an influence on our parenting. Can you talk about that a little bit? How is the culture today influencing or impacting our parenting of our kids? Well, certainly through digital technology, and we'll be talking a whole bunch about that. But of course, I think there's a lot of people who are going to understand really how the public school system is really creating our kids, shaping them to become not too unlike Hitler's youth. You go there for eight hours a day to get an eight hour indoctrination in the way things are done with political correctness and what evolutionary thought, an antichrist approach to reality. You've got all the sex drugs and rock and roll in the public school system.  And so when you send your kids to Babylon, we cannot be surprised when they come home Babylonians. And so I'm a real big homeschool proponent. And unfortunately, I wish I could say private schools were a whole lot better. In some cases they are. You find the right private school you'll do real well for yourself. Unfortunately, there are very few and far between. Again, some of them are a little bit better than public school and some of them are a little bit worse. And that's largely because the public schools are kicking these kids out. And an ill equipped Christian school who have been eaten up with postmodern thought themselves are taking these kids in thinking they're going to evangelize them and disciple them. Unfortunately, just the opposite happens. The kids, because they're so ill equipped through apologetics and discipleship and whatnot, they're not too good at evangelizing these kids. Ruffer kids, the kids are getting kicked out of public school, but these kids that are getting kicked out of public school are very good at evangelizing our kids. And again, just look at the statistics and you'll see what I'm saying is true. Yeah, definitely. Trace, what would you say to that parent that maybe it's a single parent, single mom, the kids are in public school and it just doesn't seem to be another option for them. But they notice a distance, maybe even a hostility from their teen. The teen is spending most of their time behind closed doors of their room or sneaking into a bathroom or staying up all night. The mom notices them with the phone more often or more often on the computer. What kind of instruction or can you give to that mom or what might you say to that mother who's very concerned about what's going on and maybe doesn't know how to start or how to begin getting control of what's happening in her home? First of all, I would say that mom needs to make sure she's got a husband that will take the bull by the horns. We have a terrible crisis of manhood in America. And I think we almost always assume that moms are the ones that are going to be involved in this. Dads have better get off the couch, they better get back in the home and spend some time doing what men were called by God to do and be the leaders of their home, the spiritual leaders, the enforcer, the provider of their homes. This is tragic, but I think the biggest problem is that we as parents have bought so much into political correctness that we're afraid to do what we have to do with our children. We don't like conflict or peacekeepers rather than peacemakers. And all we're doing by being a peacekeeper is keeping the peace for the moment, but we're just prolonging it to where something small in a month or two or three or even a year or several years then becomes a big volcano that explodes. And then you've already lost so much ground to the enemy that that's about the time you need a place like Shepherd Hill Academy to get things straightened out. And we want to take outside the gate of Shepherd Hill what we know is transforming the lives of kids and the families inside the gate. And so a little preventative work. And that's probably what you had in mind here with the call of arms conference. Yeah, definitely. And yeah, we're very, very grateful for your ministry there. Grateful for all that you do. And it's such a needed resource today. Trace, if our listeners want to find more information about you or the resources available to them from your ministry, where would they go? Yeah, licensedapparent.org. We have a one minute daily, just packed full of just really rich stuff. We have a weekly 30 minute program. But you can go to the archives and you can hear programs from far back is well, I'm not really sure how far back, but you can get caught up on a lot of things by just going to the archives there. And that's at licensedapparent.org, licensedapparent.org. And if you want to know more about the residential program and get a lot of good information too, at shepherdhillacademy.org, which you can go to shepherdhillacademy.org, but no one knows how to spell that. So we always give over the phone or over the radio, helpmytroubledteam.org, helpmytroubledteam.org. Fantastic. Thank you, brother, very much. And we look forward to hopefully seeing some of you out for the conference May 29th through the 31st. It's our 2015 call for discernment conference entitled A Call to Arms with great information to help you protect your children, your family from media's menacing dark side. You can find more information at the conference website, protectthefamily.net, protectthefamily.net. This is a ministry of Cornerstone Baptist Church right here in Orlando, Florida. You can find more information there at our website at cornerstoneorlando.org. Or feel free to call us<PHONE_NUMBER>. Please register. We look forward to seeing you there and God bless you.


Being humble, in my opinion, is way underrated for trading.  And that's how you get killed, guys.  I'm always learning every day. And I'm learning from members. Alex is learning from members. You know, there's a lot to be learned from a new trader, as much as an experienced trader.


One of the most common questions I get asked is, you know, how do I start day trading? So what me and my mentor about it for our viewers on YouTube is create a free mentorship course that reveals our 12 secrets that every single brand new day trader should know before they get started. But please take note that there is limited seating every single week. So please reserve your spot at myinvestingclub.co. Link is in the description. All right, enjoy the video guys. What's up everyone, it's Tom Diesel here. Hope you guys had a great weekend and also a great trading week this week. I mean, you know, this week has been pretty slow compared to the last few weeks.  You know, I couldn't find, or like I couldn't see real some optimal setup that could have size on. So, but you know, it's just like sculpting here and there. You know, just try to kind of live to find another day and on, you know, basically, this is like MIC process, right? This has been my process. I like spout James like almost everyone. This is what we're looking for every day. Broken stocks. So what is broken stock, right? Broken stocks means, I mean, I think I'm probably gonna put it really in a simple way for you guys to kind of understand.  As a short seller, I don't wanna be anticipating the front side. And that's the key part here because, you know, if you track your stats or if you have all that red days, you know, try to look back and see what are those, you know, common problems.  So, and the one thing in common that I found in all those red days or the one that I didn't wait for the stock to kind of, you know, tank or like, I didn't wait for the backside. I didn't wait for the confirmation. Instead, I was guessing the tops, okay? I was basically shorting the front side. I was just guessing here, okay? Here might be the top, here might be the top, here might be the top, you know? And it's really exhausting. And, okay, so broken stock, so what do I mean by that? I mean, you know, if you draw a trend line, you can clearly tell that this is the trend, right?  This is the trend and the stock is not broken yet. So, how do I know that the stock is broken, okay? And I think I'm gonna put it in really simplest way as possible, you know? When the stock is broken or when the top is set, okay? Just wait for the stock to kind of, you know, dip below view that, okay? Just gonna put here. This is the great example on Friday. Yeah, look at this. You can clearly tell that this is the front side, right? And this is the back side, okay? So, after when the stock kind of broke to this line, you can see it's how far is it from the view app. The stock is broken, okay? You know, this is the key support and, sorry, here. And it just happens to be, you know, the view app, where the view app is as well. So, you can see here 2.9 line, okay? The moment it cracked this support line, the stock is going down, okay?  And, you know, and that's why you lose money, right? For the broken stock, it's more on like the day one. And what I like the most about them is, is that this one, yeah, I think this one, it's pretty key example, how you should not be greedy, okay?  And then you see it was dying, right? In, you know, at the open. So, basically, this is the broken stocks. I mean, the top is side, you can reach, you know, to that top accordingly. So, you know, when right at the open, we draw a line, you know, at this one and that one here. And then right at the, when it pops, right? It offers you a draw for you to kind of, you know, it was pretty decent.  And it has, you know, another popular view app and also calling to that. But if you look at the range of the stock, it's like 1.5 to like 2.50 cents right there, right? And you got the mid of the move here is almost like 20 or 30 cents. But if you end up with, you know, being greedy and you try to hold, you know, which is for like 1.5 years since I gave you already 1.6.  So, our process has been this. We try to look for the broken stocks, like let the pre-market chart form, let it, you know, let it go as high as it wants, right? I don't care.  And then let it tank, okay? Let it tank here. Hey guys, my name is Toss Bradley. I'm one of the head mentors and moderators at my investing club. If you have any questions about getting started in trading, getting started in the MIC, MIC in general, text me at two, one, three, four, five, eight, five, nine, nine, seven. This is not a robot. It is me directly on the other end of my business line and we'll get you in the club. We also have special promotions going on that I can get to you depending on your trading needs. Hit me up, back to the video. It's a good indicator because it's everyone, like every retail traders are looking at it. So that's why it's so good, right? Everyone is trying to kind of, you know, base off view app to kind of form their thesis or form their trade. So everyone is looking at it. So you have to kind of use it to your advantage, like in a good way, right? And so that's why I made a video on that, how to use view app in trading. So you can use all that. But, you know, as you can see a lot of long or short buys trader, they do kind of trade or like their thesis is around the view app, right? As a short seller, you wanna, you know, for it to kind of test view app here and rejects and then you end up shorting here, right? And for the long buyers, it's like they wait for the view app to kind of reclaim, dip back and hold view app. And that's why, you know, the thesis is formed for them, you know, and also a cube with, with, you know, time of the day after the zombie, you know, 1030, as you can see right here, pop through view app and hold, you know, and then trend higher and trend higher, make a new high, right? So for the broken stocks, just wait for it, you know, Alex has been talking about this every single day, like, you know, how to draw them. He even put out a lines there for you before the open. So I don't think it's any more clear than that, but this is, you know, what we kind of do daily, right? Me, Bao, you know, and everyone, this is our process. We don't wanna be shorting something else, you know, making a new high. No, if it breaks a pre-market, no, absolutely not. We wanna focus on the broken stocks. This one is pretty broken. It's that. Okay, so I wanna short bang into the bounce. You know, Toss has been doing the same thing. You know, he's just waiting for the outer lines, for all the outer lines on the broken stocks, okay? So this one, right? Pops to this line, 7.5, you know, eight. You could even scale into this line, like all the way to eight. And then just risk over the whatever, you know, your risk management is, or like a risk-reward kind of ratio, or whatever, like the dollar amount that you are comfortable with losing.  And if you wanna find one strategy that it's been repeating over and over and over again, okay, this is the one, guys.   I mean, all like the low hanger, and a lot of people complaining to me that, you know, they didn't pop, but once they do, okay, so what was the one? I think it was MTP. Yeah, I did that on video watch list. Okay, guys, so you see the ran up here. And yeah, this is really great example, you know, it has ran huge in the pre-market, and then it just dies off here, right? Broken, right? And then it's just top outright at the top. I mean, this one, it was pretty difficult because given the fact that in the history, it did kind of this move before, you know, but again, so that's why the risk management comes into place, right? One out of 10 times, one out of 10, like 20 times, this thing's gonna happen, okay? So the stock is broken, okay? This is the good line, you think you're gonna short it here, right? But no, it went further. So what you need to do, right? All you need to do, okay, you draw a good line, you set a stop until bid, right? You stop out, okay? So I will look for another trade, or I wait for it to kind of, you know, give me this big stuff, kind of, and then I can get in, right? Top is set, the top is formed, this is the bound, all those longs people here they're gonna bail, right? It's just like determine the line, or you just wait for another kind of confirmation after confirmation, right? So this is the confirmation that this is the backside, this is like more like a dead cat bounce. And another confirmation here is after, you know, it broke this support, right? That's pretty much, you know, dead.  Some here 284, and then, you know, I just left too much on the table. But, you know, as you can see, this is why the low hanging fruit, I always wait for them to kind of pop into my lines instead of chasing, you know, too low.  And that's what, you know, Bao's been talking about this in the lifetime, kind of boot camp for the lifetime members. If you are those people who will join with us. So he pretty much explained about that.  Yeah, guys, so that's pretty much it on the broken stocks kind of topic today. I hope, you know, I hope I kind of explain well for you guys to kind of come, you know, completely understandable, you know, about this topic and especially for those who just joined MIC. And this is basically our process every single day, okay? If you are short buy straighter, stop anticipating the front side, okay? You don't need to guess the top.  You know, this is the most, I think, kind of the most consistent kind of strategy for the short side. And if you are long buys, right? Just look for the one that's strong, okay? Givo, look at that. I think it was like almost a one billion volume trade in that one, it never dipped to view out. Okay, if you long buy straighter, look for those, okay? After 10, 30, just look for those and, you know, just ride with the momentum, right? But once and you kind of dip below view out or like kind of change, this is where kind of the momentum kind of shifted. You can see here after this and that's why, you know, the temporary dip back to view out because it was, you know, too far away from view out. And once it gets to that view out, a lot of stock stubborn shorts here, they end up covering here. That's why you got to see this move. When the stock is too far, you know, a lot of shorts are stuck and they're just praying to get out. Okay, that's why it causes it to move. But after that, after the offering, it's pretty much that. And I did this trade, I even posted in video watch list, probably into 1.6 and then, you know, that was a perfect kind of trade. Okay guys, so I hope it's helpful. If you need anything, if you need, you know, buy and it means anything regarding this topic or another kind of topic, you know, DM me, you know, you can ask me any questions you want. That's what I'm here for. And I look forward to see you guys on next one. Take care everyone. Thank you so much for watching our video. If you want to see more of our videos, please subscribe to our YouTube channel by clicking the button here. We do our best to post a new video every single day. If you have any questions about MIC or any general trading questions, please text Tosh using the number here. Also, stay up to date by watching some of our most recent videos right over here.