Good morning. Good afternoon. Good evening. Whenever you happen to be watching this, and thanks for joining us for another episode of the Nonprofit Show and particularly Ask and Answer. So glad to have each and every one of you here with us today. Just as we are so grateful to have each and every one of our presenting sponsors joining us for this episode and so many episodes throughout the year. But I'm going to say what I really enjoy saying is these sponsors love, no, they like us. They like us. They love you. They love the work that you're doing. They're here to support and elevate each and every one of your missions and your causes. They've got amazing resources. So many wonderful passionate team members that make up these, you know, organizations. So go check them out if you haven't already and give them a like and some love and just some good, some good following energy. But thank you to each and every one of you for being a presenting sponsor. And thank you to Julia Patrick, CEO of the American Nonprofit Academy for having this crazy idea to start the Nonprofit Show more than a year ago now.  I'm going to tell you, she and I have been up to some shenanigans lately. I'm Jarrett Ransom, the nonprofit nerd CEO of the Raven Group and can't wait to share more of those shenanigans with you as we, I don't know, create them, right? We've got a creative session on our calendars of ways that we could add value to each and every one of you as our viewers and really to the sector at large. So looking forward to that, are you Julia? I am. I'm really always excited to be, you know, engaged with you and our whole team here on the Nonprofit Show. Also, I think, you know, I'm really proud and very privileged to be engaged in this sector that has been, well, I believe so crucial to the wonderful life I get to lead, but in life for my family. But for a sector that really was challenged this last year, challenged in a way that made them so much better. And, you know, Jarrett, you and I were talking about just the questions that came in at the beginning when we started and how they were like, there's so much more developed. Have you noticed that? Yes, yes. Our questions are developed each and every one of us are further developed because of the navigation, you know, and all of the the pivots that we've had to do, but you're right. It's fascinating. The questions have changed. It was much more, how do we do this? How do we work from home? How do we keep our teams going? You can take me off the screen. That's totally fine. Like, please, I just got caught. I'm tired of looking at myself. But really, you know, how do we survive? And I feel now, as you mentioned, Julia, we're really in this recovery phase, a lot of conversation about what back looks like as we go back in that reference. And I believe that we're not, right? We're moving forward and back is really non-existent. So what we used to know and what we used to do is really no longer going to be the case, but I agree. I'm excited. Okay, so before we get started, I want to bring everyone's attention to this like awesome, awesome group. And we've had one of their lead thought leaders on the show. It's the Washington nonprofit. So it's like the trade association for nonprofits in Washington state. I swear to God, it makes me want to move to Washington state when I see their pieces, their marketing is amazing. Their outreach is phenomenal. It's very, very developed. I feel like that if you were in this part of the nation, like the region, this is an organization, whether you're in Washington state or not, that you should be looking at. Amazing. But the reason why I wanted to bring this up, this is like my witness. Peace for Friday. As you know, this has been a really amazing, I say this every week, it's been an amazing tough week in America. But we had the George Floyd trial come to a head. I mean, we've had so many different things. Earth Day was yesterday. I mean, all of these inputs to the tenor of our nation and how then the nonprofits have to get on the front lines. And when we've had tumult in our country, it's been very popular in the last 12 to 14 months for nonprofits to release statements. Like, we believe in this, we're pro that we support this. Yeah. And sometimes it rings, frankly, a little hollow. And it's just like, okay, yeah, we can all agree that this is that or this is wrong. But what are you going to do about it? Right? Versus just we're going to turn our Facebook page black or something. And Washington nonprofits, the CEO, I've never met this woman. Her name is Laura Pierce. She wrote this riveting letter to her membership. And somehow I'm on a mailing list. Yeah, team. But she wrote, this was just like, I hope I don't cry short in the face of injustice and violence. I find solace in knowing that our work feels countless nonprofit projects around our state that are life affirming, compassionate, and justice seeking. And this is just one of the brilliant lines in her letter. Like a first six paragraph letter, is that right? Yeah, it's like a legit letter. And she said, she writes like, basically, she acknowledges, I'm not just going to write a statement that says, you know, we're supporting this. I'm going to tell you why we support this, love it or not. And she writes about the hope that nonprofits give that nonprofits lead in the face of adversity. And it's just beautifully, beautifully done. So Laura Pierce, executive director, Washington nonprofits, sister, if you ever want to move to Arizona where I live, the guest is available. Yeah, I really have a guest meet available and advocate for the nonprofits here. Amazing. So, okay. I feel like you remember listening to the radio. I remember listening when I was a kid and I'm like waiting for them to say my name. And it's like, hey, what was her name? I'm sorry, Lisa Pierce, Laura. Yeah, yeah, yeah, yeah, Lisa Pierce. Oh my God, she's Louise after I raved about this one. Laura Pierce, Laura. Okay, I was like, I know it's an L. Laura Pierce, if you're listening, give us a call. Like that's what I feel right. Like we're doing right now. But would love would love to have her on and hear more. But thank you for sharing that, Julia, that is very important. We've talked a lot about, you know, not just making a statement, but going beyond the statement. And in this instance with Laura Pierce, with Washington, the Washington organization there, it's really about why, why? Exactly. And you can tell with her leadership, because they do a lot of things, they do a lot of advocacy, they really funnel down into different sectors within the nonprofit, you know, landscape there and very innovative stuff. Yay team. It just, you know, we talk about why we love this sector, you and I privately. And when we when I see things like that, and I know I shared that letter to you immediately when I got it, they just sent it, you know, I just emailed it to you. It's really, it speaks to the integrity of our sector, and why it's just so amazing. I'm preaching to the choir. You're preaching to the choir, but hey, I think the choir likes it. As we say, they better or we don't got we don't got much cooking. Okay, this comes this ask an answer comes to us for China and Fort Lauderdale, Florida. This may seem like an odd question. But we have a staff member who is also this is interesting, also volunteering at our nonprofit. Does this create some additional problems? I think they're great. But at the same time, it's like they're working for free and representing management. That's a great question, China. And I would love to know your thoughts. I know a couple of our sponsors might have some insight on that too. My first thought, though, my gut tells me, you know, is this an exempt or a non exempt employee? And that's a question I think that we need to really solidify. I don't know. I can't find my words right now. But I think knowing what type of an employee is this, you know, I think that really does matter because you could get into some legal, you know, employment issues in regards to overtime pay or not enough, you know, paid leave or things like that. HR is not my bailiwick. So toss it to you now. Yeah, it is. It's definitely an HR issue and it should be a policy issue. So for example, I know I did some volunteer work with an organization during the last immigration crisis. And it was like literally a crisis. So this large organization, their paid employees were doing their regular jobs.  So yeah, rolling up their sleeves and doing what needs to be done.  For me, I think that's one of the things, right? And they, you know, I don't think they got credit for it or anything else. It was just literally, you know, all hands on deck. So I think this is an issue where you need to have a policy. And if you deal with a fragile population, if you deal with a situation that does have spikes of crisis, you know, containment or crisis management, then that's a different thing. So for example, you know, if you're in a cultural institution, and you've got, you know, labor that then wants to volunteer maybe during the performance or in an exhibit or something like that, that's a little different. But the key here is, are you volunteering to do your same work? Right? And that is where you get into, you know, some labor law issues. But yes, you need to have a policy and you need to chat with your HR professional. And remember, if you don't have an HR department or team or full time, you know, there are organizations, including two of our sponsors, they, they do like part-time consulting, you know, buying time, you don't have to have sitting at someone sitting in a department to figure these things out. So, but yeah, you need to be trying to, you need to deal on this because you don't want to shut down the goodwill of somebody wanting to do great things.  Great. Great question, China. Yeah, really cool. Oh, man. I know. Wow. Okay. Are you ready for the next one? This is going to be a doozy. Okay. This comes to us from Olivia from Billings, Montana. Our nonprofit needs help with our graphics and art design. I'm in the communications department and it is my responsibility to get info out to the media and our followers. Our graphics library is horrible. How do I get us freshened up and back on a stronger path? Well, Olivia, today is your best day, right? Your lucky day because I have inside scoop that Ms. Julia Patrick will be heading to Montana. She can help you. True. I have a speaking gig in Montana. I don't know where in Montana, but I can't remember, but it's in that place in Montana. I do, you know, in August. I know I was thinking that. But I don't think Olivia can wait. So our graphics library is horrible. How do I get us freshened up? And so, you know, there are so many great online free resources for that. I personally go to Pexels, P-E-X-E-L-S.  So you want to be mindful of that. The good news that I want to say too is that you can also give image credit or courtesy of the photo through using a site like this, because it will tell you, you know, to whom to give credit to oftentimes, which I love. So you can use that as well. But I do think there's opportunity to really engage in maybe a volunteer, an intern or someone that, you know, I always talk about, well, we always talk about it really in the sector, there's three T's to give, time, talent and treasure.  Even virtually, right? Julie, remember our headshot was done virtually in the pandemic? Like there are so many things now that you can capture in this virtual space. So I would say that you don't have to have a huge budget to get started to freshen up. But you might want to put that in your budget for a future year so that you can keep that really top of mind in addition with everything else. But you know, you might want to allocate some funding for that as you go forward. But Julia, you're really versed in this in this space. Yeah, I am.  I did this for 30 years. And I would say that one of the coolest things I've ever seen with a lot of nonprofits is where they will partner with like a community college or even a high school photography course at class and then do like a photo in or basically it's an assignment piece where all the students come and they might do it like if they, as they say, a takeover and and it's for a full day or for a full event and then they'll come and then the professor actually goes through and sorts out and then delivers the best images, right? And it might be 100 images. It might be 50. It might be, you know, 250. But that way you get students that want to know more about photography to be together in an environment where they can be, you know, providing service, but then delivering really great content. The big picture here is that it really is a function of what you need photographed. So remember, if you're dealing with children under the age of 18, minors under the age of 21, all different other types of populations, you need to have photo clearance. And so that's kind of one of those things that you need to look at. But yeah, engage your community. Like Jared said, engage volunteers. Photographers love to be asked to engage in something in storytelling, visual storytelling. It's super powerful. And yeah, Olivia, you have got to have good photo storytelling. That's just like one of your best investments you can make. And I'm going to say you might be shocked, Olivia, if you were to do a call or request to your audience, social media or an email newsletter, just kind of add that snippet. P.S., we're looking for, you know, these types of services. We already have that photographer within your reach, and they don't know that you're in need of that, and you don't know that that's what they provide. So don't be shocked, Olivia, if literally the person to serve you is right within your arms reach. I agree with you.  And to your point, when you know something about the organization, imagine what types of images you're going to get. They're going to even be better. Okay, Susannah from Orange County, California writes, is there such a thing as a bank or credit union who will work with nonprofits specifically where we can get lower rates, reduced fees, or even a line of credit. We're also looking to get into getting staff debit or cash cards for our leadership. Take it away. Yeah, absolutely. There are.  That doesn't mean they don't make profit off of your business. They sure as heck do. But they will have published rates. They're not really published, but they will have lower rates and they will have directives as to what the nonprofit track of business is. Now, this is the key. They're going to want your business.  If you have investment accounts, if you have escrow accounts where you're holding trust or you're holding grant money or things of that nature, so you will have your own, if you will, portfolio of what your finances look like and then present that to this banker and see what they can do. I suggest you do this three times, three ways with three different institutions within your community. Number one key here, and it's tough, look for a locally owned and managed bank, local on the ground so that they have more influence and can engage with your nonprofit, right? Yeah, they are often involved in the community and so your next big corporate sponsor, just like we're talking about Olivia with photography, Susanna, looking at your financial relationships, you might be surprised at the reciprocity that they provide and give back to you as well. Yeah, it's a big thing and not enough nonprofits really shock their banking relationships. And I too just want to make point, make sure that the right person is talking to the financial institution. So the executive director, the board chair, the treasurer, like whomever is really that fiduciary sign off or sign door because the institution will need to have that person and the paperwork and signatures and all that in place. Yeah, yeah, absolutely. And then you need to get the best information. Okay, Susanna, in Orange County is like the center of banking in the western United States in so many ways and credit unions you should have like great choices. There are lots of local banks. I hope I've done my grandfather Patrick proud. I know you have a financial background. I was like, I'm just going to sit back. The graphics question already. So I'm just kind of like, that's Julia. I need to stop talking. Okay, Ben. Okay, this is good. Ben and Ramona from Reno, Nevada. You know how I love it when we get to two people asking a question. We are having an internal discussion disagreement about sending out press releases when a donor gives a major gift. Can you help us determine a strategy and path for this? Also your will Okay. Yeah, it's like, Jared, you always say, ask the donor. I do. Good job, grasshopper. Yeah, I listened to you, sister. It's really, Jared, don't you think you should have a policy and a standard for like, at a certain amount? Absolutely. Well, absolutely. I do think that there should be something within a certain amount. Like here's how we have in the past recognized our donors. But you really, really, really do want to engage with your donor and ask them how they would like to be recognized because they may not want to press release, right? Or they may absolutely be grateful and say, yes, would you also send it to a list of people, right? And it could be, you know, maybe their home state or their alma mater or there could be, you know, other entities. So I think having that conversation, but, you know, really doing this press release is I'm actually working on a press release, Julia. So I'm so glad Ben and Ramona asked this question. It's not, it's not specifically around a donor, but about, you know, an activity or a function that's that's taken place. And I believe should be highlighted. So I also, you know, looking at this too. So thanks, Ben and Ramona for channeling my questions. Yeah, you know, I think one of the most interesting things I ever saw was one of a course that we used to run live, it was very popular called What Corporate Sponsors Want. And we had the Community Relations Manager for an incredibly large national grocery store chain. And she had made up, I call them the plastic rubber checks, but she had the big checks made up on the phone core board. And she had them sent to every one of her major centers with like a, with markers. And then what she wanted, she wanted the picture of the, you know, the big check presentation. And so they would drive to wherever, you know, if they were at a certain location or, or organization, and then that person would write in the name, the name of the organization that the check was going to the donation and the amount and then hold it up and everybody would get their pictures taken.  And she swore by this. And I was so smart. Yeah, that's great. And a lot of organizations definitely are doing that. You know, I didn't see this as an organization. It could be an individual donor. But again, just talk to, talk to the person that's investing in that amount and ask them what's important to them. I think it was great. I'm going to read this one. This comes from Craig Chicago. We have a founding board member who just lost his wife of 40 plus years. Would it be appropriate to have a donation made in her honor to our organization? Our board chair wants to do this and have it funded through our board dues. Wow, interesting. That is interesting. And I don't know that I've ever heard of this or seen this question before. You've served on multiple boards, Julia. What have you seen by way of this particular instance or really any, anything else that might come up for a request that's similar? Yeah, I've seen this a lot. But until I just read this, I've never thought about where the money came from. Oh, right. And so he's saying from their board dues, I don't know. I don't know in generally board dues are described in the bylaws. And so I don't know if that's appropriate. I think it's an appropriate thing to do to memorialize somebody's life with a gift to the organization. But I don't think you should fund it through the board dues. What do you think? You know, that's a very valid point because what I come to is an ethical dilemma, right? Did we ask the board or inform the board that expenses such as X, Y and Z would also be covered and incurred through your board dues? So I would say in this instance, if that is not what you've had, it probably needs to come from another bucket of money, right? So I do think that's interesting. You know, I've asked several questions. Serving as interim executive director, serve for six plus opportunities in that space. And one of the questions that I do ask because inevitably something comes up, a family member passes away, someone has a major surgery, or what have you, right? And so how do we recognize and acknowledge, maybe it's a better term, any of these issues or challenges or milestones kind of events? So I do think that's something to discuss internally with the leadership, as well as allocate a budget for that so that every year that is something that you use. And then obviously share that with oncoming board members so that it's not an ethical dilemma. You know, that's a really good point. And maybe that's a discretionary account that is funded for the CEO and the board share to decide upon. So it could be everything from, you know, are we sending birthday cakes? Are we doing, you know, grievance issues?  You will have family members, you know, like just so much. And during this last year, as you were just sharing earlier, you know, so many individuals have lost their loved ones, very near and dear companions, right? So that I can imagine, sadly, has been an increased, incurred, this year, which maybe has not been the same for previous years. Yeah, I think so.  I mean, or anything even remotely close to it. Wow, it's been another great week, another and amazing Friday. It's blown past us. Again, I'm Julia C. Patrick, president and CEO and major TV chat chatter today. I was just like, and I'm Jared Ransom, the nonprofit nerd, her, her compadre in chatting. So CEO of the Raven Group. So glad that all of you were able to join us. Hey, send us some questions, right? Like, we know you have things going on. The other thing I would love for you to do in addition to sending us your questions is please share these episodes. I've been listening to a podcast every morning, one of several that I love to listen to. And one of them says, hey, do us a favor, share this episode with three of your friends, because I think that is our responsibility to share uplifting positive messages in the world. And hopefully you see this as one of those uplifting positive and definitely informational educational. So would love it if you shared. And if there's someone you would like to see on our show, let us know. We would love to reach out to them and see if we can't get their voice on the nonprofit show. Absolutely. Thank you, Jared. Hey, we want to remind everybody that we launched a book club. It's kind of fun. Most of these books, the authors have actually been on the nonprofit show, but we're always looking for new ideas. If you've written a book or if your group is engaged in a book that you think would really help another nonprofit or another nonprofit group or management team, let us know. We're really excited to engage in these types of discussions. And so it's one of those fun things that we're doing. Again, we want to thank all of our sponsors. They have been amazing supporters of you, of me, of Jared. I mean, and so again, we want to extend our gratitude for them. Wow, another amazing week in the nonprofit sector, Ms. Jared. You know, I hope you have a great weekend. I hope each of you have a great weekend that we'll see you on Monday. Until then, please stay well so you can do well. Thanks, Julia.


Freedom! I know I haven't been on this channel for a very long time and you're probably wondering why we'll get to that, I promise. But for right now what I want to talk to you about is something called Epoxy. Some of you are still not aware that we are offering this service called Epoxy through our dashboard.  Once you've signed up for this is... I think George's daughters are in the office.  In many ways it allows you to schedule posts. It allows you to make gifts or memes or a lot of things from your videos. A lot of different tools like for instance Tweetdeck or Hootsuite, they're great for helping manage your social media presence. However, they're not built specifically for YouTubers. That's one of the greatest parts about this. It is built specifically for creators like yourself. So there are a lot of tools that allow you to do everything you need to do. For instance, you're able to filter down your following and you can say okay well I only have a little bit of time let's see if I've got responses from people who have over 10,000 subscribers or 5,000 subscribers or maybe okay well you know I need to see who my biggest Twitter followers are.  You're allowed to do that. Not only that you can create shoutouts and things like that. You may have seen some of this going on on Freedom over the past few days. This has been us just taking a look at the current functionality making sure that we have all the proper information and of course you can make gifts or GIFs from it which is awesome and that's something I talked about previously in this video or this video wherever the heck the eye is I don't know. Anyways in that video we speak about it and I needed to make this video because so much has changed. If you haven't checked out Epoxy make sure that you go into your Freedom dashboard and try that out. Link in the description. There are probably going to be more informational videos coming out but I really really needed to get this out there because I'm speaking to so many creators right now who just don't know what Epoxy is or that we offer it or anything of the sort so make sure you go check it out today. I also did promise that I would talk about where I've been what I've been doing and all that stuff. A lot of you may know that I was put in charge of heartbeat back in October I think it was. I may be taking a small hiatus from that don't worry heartbeat is not going to go anywhere but I may be taking a small hiatus from that and working on some other really cool projects. Also personally I hurt my back recently which is why I'm in well you can't see the chair but I'm in a pretty crazy chair and I'm also on some new ADD medication and depression medication and it's just like I'm just everywhere it's just my brain my mind is everywhere and I'm super focused in the weirdest way I can't explain till next time don't forget to like subscribe do all those things that make us love our jobs also be awesome to yourself and amazing to each other bye guys


Alright guys we are back with episode 2 of this GM mod if you guys missed last episode there will be a link in the description for the very first episode of this today. I think we're going to get through more than 2 months, you know a lot of last video was going through what we had setting up all the lines and all that good stuff so I think today we can maybe get done the first season so looking at the changes that may last episode if you guys missed it. I threw up Evgeny Malkin because he gave me plus 3 to this line with Eric Stahl and Jake Gensel so that's pretty big for these guys we got a 90 we got a 94 and we got a 87 here so and then plus ones on the second and third the fourth line could be better but it is what it is for now. Defense they all have plus one overall which is great and we're still trying to decide who's are starting goaltender. Tristan Jarvis played 13 games he has 8 wins he's a 9-0-5 safe percentage of 3-14 goals against with one shutout and then looking at Casey DeSmith 13 games played 5 wins 9-17 safe percentage of 2-4-2 goals against average so we ended off last month with Casey DeSmith ending it off we're gonna give Tristan Jarvis maybe the first couple weeks if not the month to see how he does here so we'll go ahead and start simming the first two weeks we'll see how he does a 4-1 L not great and then we get a 6-5 shootout win the Flyers want Brian Russ from us our division rivals no we will pass on that a nice little win streak here that's 1 2 3 4 5 game win streak so 18-10 and 2 we'll continue to roll with Tristan Jarvis for another for the rest of the month we'll play him for the whole month why not see how he does here 2-1 win 1-0 win a 6-4 L ooh a little losing streak there not the biggest fan of that but we end up the month pretty well we got one more game actually and when that's a 5-0 win there so we're 24 13 and 2 after three months I believe we are second into the Metro one or two points behind at the capitals they have a game in hand though the Islanders are three points behind us with a game in hand so pretty close race in the Metro but we're sitting second Jake Enso leading the team of 44 points in 39 games I just want to check in the plus three still there plus ones are still there beautiful I want to see if we get a plus one here somehow I doubt it I did want to see so they gave Casey to Smith he has two shutouts so I guess he played last game he had five wins at the start of the month he now has 12 he's a 9 10 state percentage a 2.51 goals against average with two shutouts Tristan Jarvis 21 games played 12 wins 5 or 899 state percentage 3.25 goals against average I'm not sure why they changed it for me when I have assistant coach lines off but we'll roll with it for now we're gonna sim another month here so I think we can get the season done here maybe actually we'll we'll sim up to the trade deadline and then we'll call it a video for this month or for this video so let's go with the this month here we are in a pretty bad losing streak we get a win there a lot of people want Brian rust we're not looking for draft picks we're looking to win we're buyers right now if we want to look at it that way brand Italian ever us no not a trade we're interested in severe we're not interested in a trade we're not interested guys and we end up the month okay I guess we're 28 19 and 3 I don't think we had the greatest month there again so 49 points of 50 games we're now in fourth so we did drop off big time there the islanders even have a bunch of games in hand on us they're just one actually but 59 points not bad we got the hurricanes right behind us be they're behind by 3 yeah I don't know what happened that month and again it's just looking at the gold tending like who's been playing I don't really know that's why I like 7 to 2 weeks at a time let's give Casey to Smith the star because he's just been playing great I kind of want to solidify him as a starter he's been doing pretty good but we'll go two weeks at a time here the trade deadline is coming upon us here so maybe maybe we're gonna have to sim pass the trade deadline as well in this video so we'll see what happens here not the greatest start to the month here with a bunch of L's 29 24 4 not good not good at all we were sitting outside a playoff spot by a ton of points to we're gonna try putting captain down to the third line here see if that'll help anything I'm not too sure if it will to be honest but we'll see gold tending here again they're switching my goalies up on me when I haven't been asking them to it's kind of annoying but it is what it is I guess we'll just sit up to the trade deadline at this point there's really nothing much I can do come the trade deadline we'll see my day before right up to the Philly game I want to see where we're sitting if we are buyers or sellers at this point because we're just losing games 29 26 and 6 after that we are 10 points out of a playoff spot the Islanders have a game in hand on us as well so it's not looking good here we need to shake something up here we need to get a fourth line we're gonna be buyers I think we can still push for a playoff spot I know we are 10 points out but like you string together a winning streak and you're right back in it right so we'll trade to the state to the trade deadline that we are going to be buyers we win there so we are buyers to this trade deadline for sure let's enter the trade deadline to see what happens here all right so we're looking at who's available so we got Brent Burns we got Taylor Hall we got Jonathan Toes we got by Fuglian Fleury Alice Yandle Spurgeon Duchain interesting but he has six years left that eight meals so we don't want to touch that Matias Ekholm who Dobin Jolmerson Tatar one year at 4.8 that's not a bad player to look into for the fourth line I know he says he's top six we have a trade alert here the Chicago Black Hots trade Jonathan Toes to Montreal for just some picks and J Brooks so wow Jonathan Toes is now a Montreal Canadiens Grand Lintatar two players I'm really looking at here that would be very interesting for this team another trade alert coming from Edmonton this time they trade Evan Bouchard and Ryan McLeod to the predators in exchange for Ryan Ellis and Eric Halla okay so I'm trying to debate here get Thomas Tatar or go for a Mikael Grandlin I don't want to try for Mikael Grandlin here he's got one year he's a second line forward so we can throw him on the wing better up that second line so let's try it Gators match in the block so who do they want here again we don't want to get rid of our young guys here we do need them we don't want to get rid of Marino 10 if I'd be okay with getting rid of I don't know it's gonna be hard to trade here why would we want this I'm in the middle of trying to create a trade that was horrible and it just kicks me out of that eh? Grandlin's asking price isn't good for isn't bad for a second line I think we're gonna have to throw some draft picks in here for sure our second maybe that'll just do it right away I'm finally getting rid of our draft picks this year we got a trade alert here before I continue saying what I'm saying is it anything big Jake McCabe and Brian Dumelin and Thomas Ryder going to a reader are going to Boston okay so now I'm thinking like we're buyers this year we have a chance we can try and sign Mikhail Grandlin I think if this goes through I wouldn't be disappointed with it and it went through so Mikhail Grandlin is coming over to the Pittsburgh Penguins of this trade deadline I think that is a huge acquisition for us and I don't think we need to make any more moves Dustin Bufflin for Joseph no why would I know no I'm making a bunch of trades today they trade coke and yummy fro leak and hood on to the Jets for cold prophetic and a third round pick in 2022 that's a trade wow Montreal took the L there I want to say so the trade deadline is done we were only able to make one move I think that one move is gonna be okay for us I don't see us really needing something else to kind of help us so let's go fix up the lines hopefully Grandlin can help us push towards the playoffs as we are nine points out now so you know what that wasn't a bad trade I know he shouldn't really be playing fourth line minutes but we now have a plus one on this fourth line with Jan Kelski and Sevier now he is a second line forward he's elite exact he really should be playing on the second line but there's really nowhere else he would fit where we can get a plus one on this last line so all in all I think the depth got way better again Grandlin up here not the biggest fan of it but it's what we're gonna have to roll with for now hopefully he helps out all right we continue simming and we try to push for a playoff spot here simple as I will simulate to the first there's only one more game and it's a 5-2 when it started off not too bad so just before we complete the sim I think we're gonna go all the way until the playoffs we are sitting we're sitting seven points out of a out of a playoff spot I believe right now or we're at least seven behind the hurricane so we need a huge month from this team we just got a string together some wins so go two weeks at a time here and hope we string together some wins as we're stringing together some owls we got some points in those owls but still we don't want to be stringing together owls we'll go for the rest of the month here we're 34 28 in 8 we need big wins from this team and we're getting some right now and now we're taking some owls as I spoke way too soon I guess so we got three games left we're 40 30 and 9 we are okay we are one point behind the devils we are three points behind the islanders and five points behind the hurricane so we need a huge push we're playing Detroit twice here we're hoping we can win these games so we'll go game at a time to see if we can push the playoffs here game one against them a 4-0 win big stuff we are now in well still fifth place we're now three points behind we are now three points behind the islanders interesting stuff we got to keep it going here we got to win out essentially if we want the best chance to make in the playoffs here so another game against Detroit five to win things you'll love to absolutely see the thing you hate to see is the islanders also won their last game so we're now two points behind the islanders and the devils are one point behind us so this game against the Rangers is huge we need to need to probably win it so please get this win here boys we get a point out of it which isn't too bad and we do just squeak into the playoffs oh my goodness the devils were two points behind us they I think also lost in a shoot out there so interesting stuff and we finished one point behind the islanders there so man we just made the playoffs so now looking at who led the team I've getting a Malcon led the team with 77 points in 82 games we got again so with 74 and 82 Crosby was 70 and 82 man Malcon was too off getting a 40 goal season there these two were minus player for some reason what I really wanted to look at here was who played the most and it was Casey the Smith you play 20s if you play 52 games with 26 18 and 5 with four shutouts a 908 safe percentage with a 2.77 goals against Tristan Jari played 36 1 16 13 and 5 not the greatest with two shutouts a 909 safe percentage in a 2.87 goals these average so Casey Smith played way more than Tristan Jari and they had similar numbers so Casey to Smith is our starter question mark I know Tristan Jari has a potential to be a starter and Casey to Smith has a potential to be a backup exact I don't know I think we got to figure out our goal-tending situation come next season but hey we're looking at the playoffs right now Washington Capitals are your president's trophy winners the Flyers were not too far behind them Hurricanes not too far Islanders not too far and there we are in fifth this is the Metro so they are not the president trophies winner the president trophy winner about one point are the Edmonton Oilers no shocker there we got the Capitals one point behind them Tampa's there the Leafs up there Bruins there Flyers are up their teams you would expect to be up there with a hundred points for me on this video let's just simulate to see who our first round opponent is going to be and oh my goodness it is the Washington Capitals this sets up next video perfectly I am oh man this is going to be so exciting the rivalry between Pittsburgh and Washington going down in the first round so before I forget for next video I'm going to turn injuries on just because I said I would do that come playoff time so that's all set up for next video but boys next video we take on the Washington Capitals in the first round of the playoffs and we are going to see if crowds be came defeat over once again


I'm Anna Bontrager with the Volunteer Center of Santa Cruz County, and I want to invite you to join your neighbors at the largest community fundraising party in Santa Cruz County. The Human Race Walkathon and Fun Run, supporting over 150 local nonprofits, schools, and community groups. Race funds for your favorite cause, and then join us as we go for gold along West Cliff Drive on May 7th, 2016. Enjoy a lively parade of costumes and banners along the course, free food and music, and family-friendly activities at the post-race party. Learn more by visiting www.humanracesc.org or call<PHONE_NUMBER>. See you at the Human Race Walkathon!


Hi everyone, my name is Kazima Bruno and I teach at SOAS Modules of Modern Chinese Literature, Culture and Translation. And this evening I'm going to share with you one of my research interests and talk of issues of territorial and linguistic parameters used in the definition of contemporary literatures. I'm going to look at a sample of works because we don't have a lot of time by Chinese migrant writers who have extended not only the geographic but also the linguistic and cultural delimitation of Chinese national literature. So for almost I think three decades even more than that now scholarly discourse has been attempting to break the national boundaries of literatures from around the world and especially of those literatures produced in a hyphenated context such as the British Chinese for example. So many have been advocating a narrative of multiple relations that goes beyond the paradigm of ethnicity and nationality. Oh, how can I, let me see if I can, yes. Edouard Grisson in this seminal book, The Poetics of Relations convincingly invites the reader to consider literature in general and Caribbean literature in particular in his case as the product of an intricate network of interactions among various cultures. Also François Lyonnais and Shoshume in 2005 invoked horizontal rather than vertical model of full minority culture, cultural formations and the relations with the majority culture. Another scholar is Michel Hier who points out that since several modern Chinese poets studied and wrote they developed close contact with the literature literatures from other countries and therefore convincing, convincingly she said that these poets have conceived a poetry that was hybrid in its literary reference as well as in its language. And also another person I refer to in my study is Jehan Ramazani who argues for a reconceptualization of 20th and 21st century poetry studies. And I quote he says, straddling not only the transatlantic divide but also the vast historical and cultural divisions between global north and south east and west end of quote. So we can certainly identify a transnational community composed by a London poet of Chinese heritage. But my question is does this mean that the question of who we are ethnically and nationally does not matter anymore today? And the poet Anna Chan she once introduced herself in this way. I was born in the far east of London in the enchanted land of Hackney. My dad's from China. My mother's from Dagonham. I am Dagonese. So you can see that the poet defines herself a little absurdly perhaps creating a new national identity of her own choosing. In the same way, the poet Yan Lian stated that he has changed from being a poet of China to a poet writing in Chinese to a poet writing in English. In fact, identity is a fluid concept formed in the crucible of politics, cultural legacy and language. And it is about having a sense of belonging that does not necessarily subscribe to the means of returning home and most importantly is not entirely defined by the subject but also by the wider context around her or him. So these literary works that I've been looking at were produced in London by poets of Chinese heritage who are foreign born or London native. And some of these works are written in English and some in Chinese. Some others in English to use Lin Yu Tang's another migrant Chinese writer definition that he used from perhaps a century ago. And the aim is to overview, discuss and engage broader theoretical discourses with poetry produced in the cultural capital of London, which has emphatically or reluctantly embraced the identity narrative, often breaking many of the boundaries of Chinese national and ethnic affiliation. So naturally I will not have time to introduce all of those points that I listed earlier on in one of my slides. But I have some guideline or guiding questions perhaps that I want to share with you. And these are how do these poets experience with London translate into literary production. Is there any reciprocal accommodation between their writings and the place where they have been produced? Another is what are the contextual circumstances, linguistic behavior and literary mediation in the works of these London poets of Chinese descent? And finally, is there a theoretical framework that is able to shed light on and accommodate such a varied corpus of works? So on the particular issue or hyphenated literature, quite a wide range of studies and anthologies is available on Chinese American literature. So much so that at the end of the 1990s, the scholar Shanmei Ma individuated, I quote, a current academic fixation, and of quote, on literature in English from the so-called Third World and from minorities within the so-called First World. At the same time, however, he laments that literature written in Chinese by Chinese immigrants in the USA is studied by a near handful of sinologists, despite, I quote, the immense Chinese readership at home and abroad, end of quote. And concludes, finally, that language rather than historical colonization is the key to a text inclusion or exclusion in postcolonial discourse. Conversely, according to my findings, very little interest is demonstrated in the works written in both Chinese and English in the UK. And even less has been produced on poets of Chinese heritage in London. And this absence is quite perplexed to me because not just because it is in opposition with what happened in the USA, but because it may point to the danger that the uniqueness of these writers' contribution to English and Chinese letters will be at best underappreciated at worst lost. So for example, I mean, this is just an example, I was very disappointed to notice that in a book that bears the promising title of voicing of the crossing, the impact of written on writers from Asia, the Caribbean, and Africa, published in the year 2000, no writer of Chinese descent is mentioned. Moreover, among the generally not much known London poets of Chinese descent write in English, many of the authors that I have been investigating for years now are only partially and anyway, very rarely included in any UK major Chinese department libraries. So how is language related to Chinese? For a long time, the written Chinese language has been working as a kind of glue that binds, literates Chinese together as a building block of the Chinese imagined community, a strong sense of membership in a unique discourse community. And this, especially a scholar by the name of the two women, has explained in this article, quite influential article, entitled The Living Tree, The Center as the Periphery. But this was based on the presumption that a Chinese diaspora had to speak Chinese and in the reverse presumption that foreigners, especially Westerners, cannot possibly ever fully learn to speak Chinese. So there is a historian who in 2013 points out how the dominant imagery of a single Chinese diaspora actually serves political strategies of identity that continuously drove back to the nation center. And another famous scholar is called Jin Zhu. She knows that a tolerated essentialism, she says, uses the notion of the mother tongue to support expressions of cultural belonging with the native speaker as its center. And in fact, the emotional investment of the Chinese in the in the Chinese language for those who have known it all their lives is synonymous with being Chinese. So this is what I want to avoid this kind of what she calls tolerated essentialism of the mother tongue and using that language as a verb, as something that has agency in meaning making as some social linguists have argued. So London writers of Chinese descent may be experiencing a state of linguistic estrangement. No matter if they're writing Chinese or English, their discordant usage of language displays a resounding xenophony. For example, let us look at work at work by Hannah Low, who adds more nuances to the depictions of a creolized relational concept of home that I was mentioning in the beginning as a space that simultaneously incorporates that the year and there. And so she was born in 1976 in Britain to an Afro-Jamaican Chinese father and a white English mother. So Hannah Low published her semi-autobiographical collection entitled Chick in 2013. And she and here she narrates her catchable her inheritance through two main tropes, her father's gambling habit that she sees as a familiar tradition transmitted to him from the Shanghainese grandfather and of food of a cultural signif as a cultural signifier. And so as these these stanzas excerpted from the poem The Three Treasures illustrate England downstairs in a rocking chair, Nana rocking with her playing cards, six and toffee, tepid tea, Jamaican fried chicken in the kitchen, big snout in the stew pot, breakfast pan of salt fish, IK, china in the one-turned skin, gold songbird on the brittle porcelain, pink pagoda silk city, England for the English in graffiti, on the roundabout and bass shelters, pleaser on TV. Jamaica on the phone at 3 a.m. my father's back home boys through fuzz and crack, my friend long time no see, china in the cantonese he knew but wouldn't speak in letters staffed in shoeboxes, ink stick, calligraphy, china in his slender bones in coral birds of stichu bamboo, china in an origami butterfly that few. So we can see already from these excerpts that paging English heteroglossia and multiple cultural backgrounds within the London context are the telling features of a relational poetics stanza by stanza you see the poet condensate the multiple linguistic ethnic and cultural dimensions into the space of a single building her home and so the patois of Jamaican cantonese and English is used to set the person's familial space with food and objects named in different languages composing this multi-story building of cultural affiliation. So the transcription of a familial non-standard diction is able to convey the language of intimacy if you like it is in such discordant use of language that words become carriers of personal histories reflecting the intertwining of stories memories and voices of mixed provenance. Paging English is only one but widely recognized discontent language. It has been praised as a writing practice that can enhance expressivity by authors as different as George Bernard Shaw and Otto Jesperson and in the particular variety of chinglish it was eloquently advocated by the literary polymath Li Newtang as I said in the beginning in the 1930s and it has been also used in mainly London authors of Chinese heritage such as Anna Loewa but also Gene Meiling, Jennifer Wong and Xiaoluo. Many contemporary writers such as Doc Fu Chen, Yang Lian, Hong Beilio, and Shen Waikuan, Jennifer Wong and Xiaoluo are also able to interchangeably live in the cultural capitals of Beijing, London, Berlin, New York, Hong Kong or Paris. So their work presents us with bodies, families, communities and nations connoted by the fluidity and diversity of contemporary life and I see them as complicating the unilateral relationship between belonging and location. So in many cases the home left behind does not trigger nostalgia but is instead perceived as a confining space that wither inspiration. So there is actually a scholar called Carlos Rojas who has routinely elaborated in his book Home Sickness where he says that he presents some instances in modern Chinese literature where home itself becomes a space of illness and consequently home sickness comes to be understood as a condition not caused by a longing for home but rather by an excessive proximity to it and you can imagine that this is very often the case of exile poets. So born and raised in post-British occupation, Singapore, Stephanie Doc Fu Chen adopts a post-colonial approach. She has populated the London scene from 2009 to 2013 and in 2012 she won the UK Farago Slam Championships and in the same year she represented the UK in the European Slam Championship in Antwerp coming in third place and in 2013 again she represented the UK in the Poetry Slam World Cup in Paris being shortlisted for the semi-finals and she participated at the Edinburgh Free Fringe in 2013 and in general she was very active in poetry fringe festivals and slam poetry events all over London performing in all sorts of venues and her poetry almost exclusively deals with political and social issues and I think I put here yes on her website so on her website she writes she describes herself in these two ways the first is long story short she writes awkward 20-something from the Far East moves to London for the first time to find her place in history and the world while dodging riot cops, spies, bailiffs, orientalists and haters she will try to make sense of the bizzareness of living in the so-called centre of the world in the 21st century through poems and stories hilarity anxious and then she writes long story long in 2009 Stephanie Chan got off a plane at Eastrow joining millions of colonial subjects through her history who felt the need to live in the same town as their queen join her in the strangeness years of her life as the gallivants around London attempting to take its men, eat its women and steal its jobs she explores what it means to be foreign what it means to be home and why the hell everyone from everywhere feels the need to go away to find themselves so this kind of narrative as you can see shows how travel can merge with a history of colonial discourse constructing the English-Chinese distinction as native and foreigners it addresses issues of cultural inequity, engages with identity and political themes and uses a demystifying tone to question English authority and Stephanie Darkfoot Chan displays confidence in her home ground because places and also speeches in London and the fact that she has represented the UK in European fringe festivals endorses all of this so like for lower and other poets too also for Chan her own cultural context is by definition hybrid in an interview with 2009 UK national poetry slam champion Pete the temp Chan talks of how she grew up reading best sellers of London children writer Enid maybe Blighton and how she took her nickname Darkfoot from the protagonist of In the Children's Story, Daggy Darkfoot by English writer Dick King Smith so by affirming the need to go away to find themselves the psychological space of elsewhere is for Chan London the UK and yet London with its colonial history of power is also the home that the postcolonial subject claims as their own this poem here the 29th poem the 29th bus is given as a setting and a stroke of London's multicultural population this is a bus that traverse London from north in woodgreen to the center in Trafalgar Square and it is wrote by I put the Grand Pete Turkish man or the Spanish Queen and because she writes it is a little known rule on the 29 that there has to be a member of every continent represented on the bus at all times or it will explode and 100 years from now long after London has crumbled to the ground the buildings have corroded away and the lions on Trafalgar Square have finally acted and left for warmer climate the 29 will still be running so a similar relationship between the persona and the city of London is described also in these other poem L and D you know what I mean and here places become personified or maybe people have become places because she writes hey haringy I'm sorry I stole your lighter hey Brixton I'm sorry I missed you last Sunday night so the persona who is a postcolonial subject is susceptible to the lure of the city and wants to be recognized as a forming part of it because she writes take a picture to preserve me I want to be remembered on these streets full of faded footprints of footprints of minor gods from the past 600 years tell me how we have been making history since the day we got here but towards the end of the poem the relationship between the subject and these are lowering center is somewhat inverted it says back London it was never about you you were never a destination just a vehicle to greater things you are everybody somewhere else you're just a dude who let the world tattoo themselves all over his body and I am the bad idea gap here Chinese calligraphy on your lower back that you thought meant peace but really says otters but you can't quite bring yourself to get rid of me you know that right so I made a misinterpretations and bad translations the cultural interactions entertained by the postcolonial subject with the colonizer although remaining superficial and exploitative still leaves a mark on the body making it hybrid making it listen as she writes in these other poem the foreign poem keep your deep knowledge of your country of my country I don't even care if you haven't you've never heard of it before just drop your assumption read my lips and listen when we speak so the complication of the cultural interaction in in the creole eyes multiply intersected subject resides in enjoying being changed and she writes I like the way I tweak my accent choose my clothes and cut my hair but these constitutes her predicament to become the other wherever she goes since now a being at home does not guarantee a shared identity because when I go back she she writes when I go back home as people stop and steer muttering just another middle class hassle corrupted by the west and or quote and even more poignantly not only west and east become irreconcilable irreconcilable but even the inscription of mainland China as the other is reason for discrimination but these days I am more likely to get back back home for now for how I speak chinese see my mandarins tainted by a page intro every generation there is a new culture to discover to blame to hate but who is them and who is we and on and on and on it goes this constant litany of foreign go home foreign go home foreign go home so let me just ups draw some conclusion or our glosses if you like um first of all among the london poets of chinese heritage there is no clear shared sense of shared identity they arrived in the uk in different historical moments and from various geographical regions so the poets who reached london at a later stage of their writing career and those who have been living here for most of their lives uh might not have actually common background and the uh claim uh claimed chinese identity uh may in fact be something consider considerably a different from one another uh in two way means influential proposition that i mentioned earlier on the changing meaning of being chinese entails a new cultural space that his youth writes transcends the ethnic territorial linguistic and religious boundaries that normally define chineseness and their quote and then in such a concept of cultural china however to winning recognizes three symbolic universes the first consists of mainland china taiwan on kong and singapore um that is uh societies that are populated predominantly by cultural and ethnic chinese and then he recognizes the second a sphere that consists of chinese communities throughout the world and then finally the third symbolic universe consists of all those who do not have any direct connection to chineseness but who i quote try to understand china intellectually end of quote and finally also bring a chance in her study of chinese national identity among the virtual communities identifies four different chinese nations instead of three as she says the official chinese nation which comprises the peoples republic of china citizens the peoples republic of china's hand nation the prc and the compatriots of taiwan on kong and mcow then we have chinese who live in other parts of the world but against these propositions i argue in fact that many more chinese and respective chinese identities can be found in the specificity of every intersection between the subject and each of her geographic geographical context so to conclude the only concrete common denominator among these forces that they all have experience living in and writing in london and methodologically this implies the adoption of multiculturalism framework which has allowed me to ground these poetic works locally in london as an action scene of writing rather than in relation to demographic data or the irretrievable point of origin and equally important is to conceive the london location as unfixed as the point of origin how am i going am i going too too too late so okay i think i i probably stop here thank you very much for your attention okay thank you dr bruno we'll now take some questions from the q&a box and every question coming in so far will be answered live so the first question for dr bruno is what's the role of the language in identity crisis for chinese descent writers in uk and abroad in general yes as i try to to to showcase here the language is much more flexible than if they when you compare them to writers who have remained in the in the prc and by this i mean that is much richer of heterodoxia so you can see that you have barriers not only various languages for example english and chinese put together in the same text but also there are various cases of vernacular english or vernacular chinese that is the familial version of those languages so you may have you know expressions that are used just within the memory of the of the personal the subject thank you the second question is for jenny from sky hi jenny i'm interested in the ma korean studies what do you hope to gain from your ma yeah um so just to reiterate i don't know if everyone was here when i wrote in the chat i'm jenny um i'm the student ambassador here uh so i asked on ma japanese studies um and i also did my ba um in japanese and korean at so i asked from 2016 to 2020 so i've been here for five years now um and in terms of my what i want to get out of my ma i'm looking at going into academics anyway um i'm actually i've been accepted for my phd that i start in september um also it's um uh yeah they can't get rid of me really um but my field of interest specifically is um to do with uh the representation of people with disabilities in japan um and the uh changes and developments in accessibility technology in japanese businesses over time um so specifically what i have got out of my ma i guess is another thing i could add to that is um because i mean i've only got a week of a week of term left so i'm pretty much done at this point um apart from dissertation obviously uh it's been a lot different than i thought it would be it's definitely a step up from ba but i think it's just infinitely more interesting and more you can delve a lot deeper into the subjects that you're interested in and when you pick the certain modules that um lecturers tend to be more passionate about it tends to be their kind of their own personal research um that they're bringing to the lectures so um it it's honestly it's such an incredible experience and even if you end up going into a career that's completely separate and seems completely unrelated just the skills and the kind of analytical viewpoint um and the kind of non completely detached from any kind of eurocentrism um is a lot of the syllabus it's so i think it's it's definitely worth exploring and um it's a good place to study east asian languages and cultures i hope that answers your question great thank you jenny um they don't appear to be any more questions submitted during the talk so maybe one minute we'll hold to see if anyone wants to send in a question now or if not we can recall it today ah so one other question for jenny hi jenny curious what your peers pursue post-ma if they do not stay in academia and what kind of support is there for post-grad students i'm currently considering the ma chinese studies program hi yeah so um my peers from what i've um from what i know at the minute i think a lot of people are still undecided because of the pandemic obviously um that it's kind of changing up a lot of people's plans um i know that some people plan to find um jobs within kind of more research oriented positions uh institutions um in japan and korea from what i know um i've got a friend who's got a job lined up teaching in um teaching english in japan um as soon as she's allowed in uh and a friend in who's currently doing a distance ma well she's doing the ma at saas but is uh lined up to do a phd at um you have to excuse me i can't remember the name of the university but it's a university in beijing um that she did uh ba japanese and chinese studies with me at um at saas and then did an ma and now is moving out there so there's definitely a a range of options um i know people who are kind of doing a more uh translation oriented route um who are kind of using their degree to use that as there's quite a few translation courses that can help you get uh practice and the kind of more theory behind it um specifically i'm thinking of uh japanese to english and english to japanese but i'm sure that there's similar programs in um chinese and obviously korean um yeah i think there's a real variety and i think just the opportunities in the kind of network you'll be able to gain at saas that not everyone in your class is going to be on your course um that there's going to be people from all over the world in all kind of walks of life or ages or um genders ethnicities sexualities there's honestly such a diverse experience you're never going to meet two people who are like exactly the same um so yeah i hope that answers your question um i think there's another question for me about the uh quality of teaching at saas um i think it's i think all everyone's adaptive well i think obviously it's a struggle switching from being there physically at nine a.m to sitting on a laptop instead but i think that the lecturers and students we've all kind of adapted to it together um and i think that the teaching is just as good if not you know just exactly the same really it's the standard hasn't dropped um it's definitely still there's a lot of access to online journals saas has a lot of kind of resources in terms of um chinese japanese and korean uh language databases via the library um so if you were doing kind of research that you think you'd need to go physically in for you can do it online or there's like a scan and send service um lecturers have lots of office hours that they are you know constantly available um so i don't feel that the the standards change that much um at all really since since going online um i think now we've kind of all settled into it that um it's working pretty well great thank you jenny one more question for dr bruno um is there a difference in the way writers from the prc and writers from other chinese speaking countries like malaysia and singapore related the concept of chineseness in the works you have studied yes i believe um there is a difference for each of these uh writers i have been studying um until the way they conceive being chinese and what makes for them chineseness um and uh it is it is as i said towards the end of my talk it is very much um um individual um according to their own experience their their places you know it's it's all it's so varied because you need to include the interactions between all these factors in order to you know define their um their own version of chineseness uh but definitely uh you know there is a big difference between uh the country where they come from but also the countries and the places that they have um gone in between and then finally also the life that they can use here in london you know doc fuchan for example she she had a very um popular life if you like but um she was uh populating squatting you know she was of a certain social status she was engaging with certain people but perhaps people of other generations have different engagement socially and and politically and linguistically too great thank you okay well we have time for one more question i think and the question is would you be interested in looking into other writers of chinese descent in other parts of the uk such as manchester absolutely i think that uh i would love to look at um other writers of chinese heritage in rural areas i think it would be an interesting um uh direction for my research but you know being in london um is is is a special gives me a special advantage because there are so many writers and so many different countries and ling and languages concentrated in this area um so for me it's easier to uh also contact them and and um you know find material and uh interview them and uh know the know them whereas if i have to research um writers in a rural area um either i know in advance where to look or it's quite difficult but yes definitely i am very interested in looking also in other in other um cities and also in rural areas great thank you so much right so i guess all this left says thank you for everyone for attending thank you to jenny for helping out with questions and thank you dr brunner for giving the talk today i hope you enjoyed the taste session and hope to see you soon as us thank you amand thank you everybody bye thank you bye


This is a story about shampoo and it starts here in my first picture book When I was a kid I used to wash my hair once a week. That was enough. Oh I'm the guy with the big hat and If we needed to shower, but not our hair we would use these fancy caps But growing up I started using shampoo more and more And in those times shampoo became more than just something that cleans your hair It became an experience So finally around this age, I wash my hair every day. I just did everyone did And nowadays it's standard to wash your hair daily. It's made for it But some rumors say shampoo is addictive Weird right, but this is basically how First off it's packed with all sorts of weird chemical ingredients This stuff makes your hair smell like flowers and cleans it But your hair needs a little natural greasy protective layer and every time you use shampoo you wash it off So your hair automatically makes more But the more often you wash the more of this greasy protection your hair makes And if you don't wash your hair for a couple of days it gets really greasy Once your hair is in this curve of daily washing it's not easy to get out and Meanwhile you keep buying shampoo and flush those chemicals in the water I was curious to a life without shampoo, so I stopped Vandaag voor de laatste keer shampoo gebruik The first couple of days are quite dirty Your hair gets greasy and really wants some of the delicious shampoo But after a while your hair adapts. It realizes it's not getting any and turns back in its natural way Today it's been a half a year ago and it still works And sometimes you just really need to clean your hair Okay, now I really need some shampoo So I made some myself mixing something up with more natural ingredients and this whole thing started over two years ago I haven't used shampoo ever since I did lots of things in those years and it all went fine.  Yes Great, so there you go. I'm two years sober