All those having business before the Honorable Burl A. Howe, Chief Judge of the United States District Court in and for the District of Columbia, now holding this naturalization ceremony will draw nigh and give their attention. God save the United States of America and its Honorable Court. Please remain standing for the presentation of the colors, the playing of the national anthem and the retirement of the colors. The Honorable Court is now in session. Welcome to the museum at the National Archives. As you heard, I'm Chief Judge Burl Howell of the United States District Court for the District of Columbia. And I have the privilege of presiding over this naturalization ceremony this morning. And let me just say it's truly an honor to be sharing this memorable milestone for all of our newly, new citizens, about to become citizens. So the ceremony this morning began with the Joint Armed Forces Color Guard presenting our nation's flag and the flag of all of our military services. We stand for these flags to show our pride in our country and our respect for the military service men and women who help defend our security. So our flag is an important symbol and we are fortunate to stand in this rotunda next to the foundational documents under glass that you see about setting up the foundation for what our country stands for and what our flag stands for. The Court now recognizes Simone Logan, the Deputy Clerk for the U.S. District Court for the District of Columbia. She is going to introduce those persons seeking to become new citizens. Ms. Logan. Thank you, Your Honor. May it please the Court when your name is called, please stand, answer here or present and remain standing. Honorelli Mahia Moreno-Honduras. Aiman Abdurrahman Tunisia. Marjan Eva Bakeside Iran. Samra Gabretz-Sacan, Ethiopia. Asseye Gebra Malaku, Ethiopia. Jovana Kinesovic, Serbia. Fatima Amini Abdale Sudan. Rosemary Martinez-Nix El Salvador. Pedergini Maltem Otabash Turkey. Gabrielle Zoramey Rolte India. Jessica Yanes Berreira Guatemala. Antonio Hernandez Galdamez El Salvador. Sarah Ramos, Dominican Republic. Maria Ebreu, Dominican Republic. Vili Baljma Batar, Mongolia. Sumya Virachandran Balaji, India. Mina Balsam Ali Naji Al-Atar, Iraq. Tasneem Mohammed Esmeel Sudan. Silvana Gisela Starolanski Kaufman, Argentina. Reza Mir Iran. Jorge Rafael Franzini Uruguay. Monerof Bun, Cambodia. Suzanne Abagomico Bubba Fogum, Cameroon. Madeline Yang Ha Chung Kong, Mauritius. Indalkachu Kebede Aztakel, Ethiopia. Julio Tao, China. Obdulia Halle Hamilton, Philippines. Dinora Maria Kudimus, Venezuela. Genadi Podoni, Russia. Ricardo Andres Gesai Peru. Renee Jose Diaz Del Cid El Salvador. Marlon Alexander Romero Osorio Honduras. Charlestina Lavina Noah Sierra Leone. Mehdi Makua Miles Ndoko Romero-France. Maria Sonia Sura Flores El Salvador. Sara Mohamed Yassin, Ethiopia. Yudi Renoso Dominican Republic. Wongel Gebra Keden, Siam, Ethiopia. Hilda Aguilera El Salvador. Maria Ann. There are 39 applicants for naturalization. Each applicant is eligible for naturalization at this time. A move that upon taking the oath of allegiance to the United States of America, each applicant present having answered to his or her name to include those is, or her name, to include those prayers for name change be granted naturalization as citizens of the United States of America. It is my pleasure to grant the motion. Now, everybody, please raise your right hand as I administer the oath of allegiance to the United States, and repeat after me. I hereby declare on oath that I absolutely and entirely renounce and abjure all allegiance and fidelity to any foreign prince, potentate state or sovereignty of whom or which I have heretofore been a subject or citizen that I will support and defend the Constitution and the laws of the United States of America against all enemies foreign and domestic that I will bear true faith and allegiance to the same that I will bear arms on behalf of the United States when required by law that I will perform noncombatant service in the armed forces of the United States when required by law that I will perform work of national importance under civilian direction when required by law and that I take this obligation freely without any mental reservation or purpose of evasion so help me God. All right, congratulations to each of our new citizens. And Ms. Logan will lead us in the Pledge of Allegiance. My pleasure, ladies and gentlemen. And to the republic for which it stands, one nation under God. Please welcome eighth grade students from Friendship Public Charter School Chamberlain Campus who will recite the preamble to the U.S. Constitution. We, the people of the United States, in order to form a more perfect union, establish justice and short domestic tranquility. Provide for the common defense, promote the general welfare and secure the blessings of liberty to ourselves. And our posterity do ordain and establish the Constitution for the United States of America. Please welcome to the stage the acting archivist of the United States, Deborah Steidel-Wall. Good morning and welcome to the rotunda of the National Archives. Congratulations to America's newest citizens. All 39 of you were so happy for you. Thank you to Friendship Public Charter School for that wonderful recitation of the preamble to the Constitution, which you will remember for the rest of your life. And of course, thank you to Chief Judge Beryl Howell for providing over today's ceremony. National Archives is so proud to host this naturalization ceremony with the Department of Homeland Security, the United States Citizenship and Immigration Services, and the United States District Court for the District of Columbia. Today is the 331st anniversary of the Bill of Rights. President Franklin Roosevelt proclaimed Bill of Rights Day on December 15th, 1941. To my left is the Bill of Rights, the first 10 amendments to the Constitution. They spell out the basic personal rights and freedoms that are guaranteed to every American, including freedom of speech, religion and press, the right to petition the government, and the right to do process of law and a speedy and fair trial. And these rights are now your rights as new citizens. Behind me is the original Constitution, which is the basis on which the United States government is structured in your oath of allegiance today. You pledge to uphold this Constitution. And to my right is the Declaration of Independence, the parchment that our founding fathers signed in 1776 in Philadelphia, setting us on the path to our nationhood. Together, these documents are the cornerstone of democracy in your new home. Naturalization ceremonies are absolutely always my favorite days here at the National Archives. I never fail to get emotional. There's my sheer joy for you, our new citizens, and the promise that your journey represents. And I think about my own ancestors, my distant paternal ancestors who fled failed revolutions in Germany and potato famine in Ireland in the mid-1800s. And more immediately, my beloved maternal grandparents, Maria Abad Martinez and Francisco Rodriguez-Heal, who came to America in the 1930s for economic opportunities unavailable in their native Spain. Their immigration story heavily, very heavily shaped my identity and my worldview. And I wish they could see their granddaughter today standing in front of America's founding documents and welcoming new citizens and know how grateful I am for their courage and their sacrifices. So many Americans have stories like mine and now you, our newly naturalized citizens, have your own journey to share. We have billions of pages of records here at the National Archives. Becoming an American citizen makes you a part of those records too. Your naturalization records will one day be part of our holdings and maybe someday your descendants will search our records and discover your story. Now I would like to introduce the Director of U.S. Citizenship and Immigration Services or Jadoo. Director Jadoo previously served as Chief Counsel at USCIS and most recently she was the Director of DHS WACHA and America's Voice Lead Project focused on good government and accountability in the immigration system. She's also served as an adjunct professor of law at American University's Washington College of Law and Council At Potomac Law Group. Please welcome Director Uri Jadoo. Thank you, Deborah. I was just thinking, I cannot believe I'm in this room with these documents and conducting and being a part of this naturalization ceremony.  I wanna thank our Washington district and our field office and the district court for the District of Columbia for all their hard work, putting this ceremony together. What a special event. What a momentous event. Thank you. I also of course wanna thank Judge Howell for presiding over the ceremony today and the National Archives for allowing us to do this in this wonderful event space to be able to share in this moment, particularly with these documents surrounding us as new Americans come into our country and become a part of us. It's truly something special to take the oath of allegiance surrounded by these documents. NARA, the National Archives and USCIS have a long and mutually beneficial relationship safeguarding the records that are vital to the immigration process. Those records that you and our agency created together, they will become part of this place. We're so proud to work hand in hand with NARA to establish our digital record quality standards for all of those we serve. Our partnership with NARA is essential to USCIS's operations, helping us make ceremonies like today special. And finally, I wanna thank Secretary Miguel Cardona for joining us today to celebrate our newest Americans. To our new citizens, on behalf of President Biden, Secretary Mayorkas and the nearly 20,000 employees of U.S. Citizenship and Immigration Services, I'm honored to be one of the first few people to call you my fellow Americans. Each of you represents a unique array of customs, backgrounds and cultures, and you now have a new and special bond that you share as United States citizens. We're here today to honor your diversity and to celebrate what we all have in common. In addition to being the day you took the oath of allegiance, today is also Bill of Rights Day, and on this very day in 1791, the United States ratified the first 10 amendments to the U.S. Constitution. The Bill of Rights guarantees us all important freedoms and rights, such as freedoms of speech, freedom of the press, freedom of religion. The main author of the Bill of Rights, James Madison, believed that it was necessary to expressly define these rights as part of our Constitution, calling them the great rights of mankind. Participating in naturalization ceremonies is one of my favorite parts of being the director of U.S. Citizenship and Immigration Services. Every ceremony is meaningful in its own way. Because of you, each time I have this honor, I'm reminded again that only in America can the daughter of two immigrants with a father from Iraq and a mother from Mexico serve as the first woman, first Mexican-American, first Kaldian-American to lead the agency that naturalized my own parents. I know that today marks the end of your immigration journey and it could have been a very long one, but it's also the beginning of your American story, the one that is reflected in the richness and diversity of this nation. With your new rights and your new responsibilities, you can make a direct impact on this nation and your community. You have the chance to not only forge a life for yourself here, but also help shape the future of this country. With your new rights and responsibilities, you can make a direct impact on this nation and your community. Do simple things like register to vote and exercise that right.  Participate in your place of worship or volunteer at local organizations. Serve in our armed forces. Operate a business or even run for public office. America needs you. I wanna recognize just a few of our newest citizens today and some of the ways that they have already contributed to this great nation. We have Tasneem Mohamed Esmail from Sudan who is helping to educate our youth as a substitute teacher. And we have Moni Roth Boone from Cambodia who is working as a health technician. And we also have Dinora Maria Cudemas from Venezuela who is working as a legal assistant. As I look across the room, I know that each new citizen here today, we are each upholding all of us together. The promise as a nation of welcome and possibility. I also know that each of you have dreams and hopes for the future and will continue to make contributions to this great nation. It is with this great spirit of optimism and possibility that we welcome all of you as our newest generation of American citizens. Congratulations. Thank you. So now I would like to welcome Secretary of Education, Mikhail Cardona. Secretary Cardona previously served as the commissioner of education in Connecticut, a position he held after being appointed by Governor Ned Lamont in August 2019. In this position, he faced the unprecedented challenge of responding to the COVID-19 pandemic and led the safe school reopening efforts in Connecticut. Secretary Cardona served two decades as a public school educator in the city of Meridan. He began his career as an elementary teacher. He became a school principal in Meridan in 2003 where he led a school with outstanding programming for three to five year olds, students that were bilingual and students with sensory exceptionalities. He proudly served in this role for 10 years. In 2012, Secretary Cardona won the 2012 National Distinguished Principal Award for the State of Connecticut and the Outstanding Administrator Award from University of Connecticut's Neig School of Education. Please welcome Secretary Miguel Cardona. Thank you very much. Acting Archivist, Wall, Chief Judge Howell, Director Jidoo. Thank you. Welcome, citizens and your families and guests. It is an immense honor to welcome 39 new Americans today. You hail from 25 countries all around the globe, from Serbia to Sierra Leone, India to Guatemala, France to Cambodia. To Cambodia. As our nation's motto says, y pluribus unum, out of many, one. And we know their strength in unity. Or as we say in Spanish, en la unión está la fuerza, in unity there's strength. Today, you join the ranks of we the people as citizens. Congratulations. Earlier this year, I visited Independence Hall in Philadelphia to commemorate the 235th anniversary of the signing of our constitution. There I walked into the room where it happens to borrow from Lin-Manuel Miranda's Hamilton with a few members of the education department team.  I had part of my team, someone of Cuban descent. And I had another whose parents came from Japan. All three were born and raised here. And then there was me, a Latino secretary of education, a grandson of a tobacco farmer from Puerto Rico, consangre de España y de África. Not one of us who walked into that room where our constitution was signed would have been represented in the room where it happened 235 years ago or for many years to follow. That's a testament to our nation's incredible ability to both endure and evolve. We demonstrated that just four years after the constitution was signed. When our nation ratified the first 10 amendments to the constitution 231 years ago. But we celebrate today as Bill of Rights Day. From the very beginning, our nation's story has been one of we the people together. Always matching persistence with progress, resolve with re-imagination. You now have a chance to shape that story with the new rights you've gained as citizens. You have the right to elect our nation's leaders with your votes. You have the right to apply for a role in our federal government. We're always hiring at the Department of Education. You have a right and an obligation to serve on a jury when called. But let me make something very clear. These aren't just legal rights. These are opportunities. They're opportunities to contribute your superpowers as American citizens. Far too often as an educator, whether it was a fourth grade teacher, school principal, district leader. I saw people that assumed that students who didn't speak English or came from a different culture, people assumed sometimes they wouldn't succeed. That parents with language barriers weren't interested in their communities and their schools. It was a deficit mentality that was placed on them. Nothing could be further from the truth. Our nation survived and thrived because different languages and different cultures were seen as assets, not deficits. They are your superpowers. A few months ago I was at a cabinet meeting at the White House. The cabinet meeting is where the President, Biden, and Vice President Harris meet with myself and about 23 other cabinet members to talk about the progress of our country. It's a beautiful room, right next to the Oval Office. And while we were waiting for the President to come out, the cabinet secretaries, we were talking to each other. And underneath a beautiful portrait of George Washington, our first President, I saw three of my colleagues and I went over to them and I started talking to them. And naturally I started talking to them in Spanish, right under the portrait of George Washington because my colleagues were Javier Becerra, Isabel Agusman, and Alejandro Mallorcas. So the four of us were standing under a beautiful portrait of George Washington, just naturally talking in Spanish about topics of work only in this country is that possible. Only in this country, the sons and daughters of immigrants were sitting, waiting for the President in the President's office talking in our native tongue. You have those superpowers as well. What made us different gave us something special to contribute in the room where it happens in the White House.  When you enter the polling station and you cast your first vote, that's the room where it happens. When you go into your child's school and meet with your fellow parents, that's the room where it happens. When you walk into your job or zoom into your home, that is the room where it happens. Wherever you go, it's your willingness to contribute your unique superpowers that will make it the room where it happens. Our nation needs you. Let me tell you, you are now as American as Apple Pie, and it is our privilege to welcome you to we the people. Thank you. Please welcome to the stage the Honorable Barrell A. Howell. Okay, I'm going to try and speak slowly to minimize the echo so you can hear me. I wanna join the other distinguished speakers in thanking our friendship public charter school students for their job on the preamble. Nicely done. Thank you all for being here. And congratulations again to the citizens and your families who are joining you here today in this rotunda with all of our special founding documents around us.  One of the reasons the founders of our country expressly cited for declaring independence from England was that the then king of England, King George III, had, and I'm quoting from the Declaration of Independence, you can see over there on my right, had obstructed the laws for naturalization of foreigners. And he'd also refused to pass others to encourage their migrations hither, meaning to the United States. So how fitting it is that you're becoming naturalized citizens standing next to the Declaration of Independence that set out as a goal for our independence and our country that we welcome new citizens from foreign lands here. After the Declaration of Independence, this is a little bit of a history lesson, came our US Constitution and our very first Congress created by the Constitution, worked to perfect the Constitution by proposing 12, not 10, 12 amendments. And over the next two years, 10 of those 12 amendments were ratified by the states and are what we call collectively our Bill of Rights, which we mark every December 15th as Bill of Rights Day. These are constitutional amendments to improve the Constitution and provide critical guide posts on the inalienable rights that each American citizen holds. So you've heard among our Bill of Rights, the freedom of speech and religion, the right to be secure in our houses and free from unreasonable government searches, due process, the right to a jury trial. These are rules about the mutual respect we owe each other and our shared responsibility to adhere to and uphold these rights, which are so important to our civic order and to ensure that we have the more perfect union that our Constitution's preamble, we heard today, was designed to achieve. The amendments to improve our democracy did not stop, of course, with the 10 Bill of Rights. The Constitution has been amended 27 times and the last time was actually not so long ago. The last 27th amendment to the US Constitution was added in 1992. So for those of us like me who are over 30 years old, it happened in our lifetime. And funnily enough, that amendment, the 27th amendment started as part of the first group of 12 that our very first Congress sent to the States for ratification. But for that 27th amendment, it took 203 years to get ratified, unlike our Bill of Rights. We have over 330 million Americans in this great country, many with radically different views about the problems and the solutions confronting this nation. But no matter their differences or where they originally came from, as Americans, they each share the rights granted under our Constitution in all of its parts and in all of its amendments. Most Americans are here because their parents or grandparents, or in my case, great-grandparents, made the courageous choice that each of you has made to leave the countries where you grew up, where you knew the language, where you have family and friends to follow your dreams to this new country. And it's not easy to do that. And I know many of you have waited, you've studied, you've worked hard to arrive at this day. People come to America for many different reasons. Some leave the countries of their birth with sadness to escape difficult situations and even war.  It's thrilling to see the number of countries that you all come from. No matter where you come from, you're welcome here. America truly is the great melting pot. We're all enriched for it and better for it.  Now, as citizens, you have the rights we've all discussed that are protected under our constitution and enforced. If necessary, in courts around this country, presided over by federal judges wearing robes like me, and ultimately by the justices of the United States Supreme Court, you have the right to practice your faith and importantly not to follow any religion at all if you don't want to. You have the right to speak freely about matters that you care about and the right to privacy in your home. As citizens, you each have equal fundamental rights. You're each equal before the law with an equal share in the freedom to pursue your own version of happiness. Of course, our constitution does not guarantee you're going to find happiness, but the founders of our nation stated their intention in the Declaration of Independence to design a form of government where each person is free to try. Now, as citizens, we not only have rights, we also have duties, we have responsibilities. As new citizens, I hope you make three choices about your lives as American citizens. First, I hope you choose to be involved. We are a self-governing people and self-government works best when citizens are involved and informed. You should seek to inform yourselves, read, listen, understand the choices we face as a nation. An educated citizenry, and thank goodness we have the Secretary of Education here, how appropriate, because an educated citizenry is essential to the continuation of a self-governing country. Your children and grandchildren will learn the duties of citizenship by watching you. When you go to vote, take your children with you to see how it occurs, what happens in the voting booth. We have congressional elections every two years, presidential elections every four years. I know you've all studied that, so you all know that. In between, pay attention to what our elected officials are doing and talk to your children about what you hear. Teach them through your action that not only are we free to complain loudly if we want about our political leaders, we can vote to change them or to keep them. The United States may not be perfect, but we have a very powerful tool in the voting booth to make improvements. I hope you also make a second choice. Choose to make a positive contribution to your community in which you live. We expect you to be law abiding, but as citizens, expect more from yourselves than that. We may not all be able to perform public service at the level of our speakers here this morning, but we can do our part, whether it's as small as picking up litter that we see on the sidewalk, helping a neighbor or volunteering at our children's schools. Finally, I hope you all choose to share your stories. Many Americans take their citizenship for granted. You may have noticed that by telling your story about why you chose to come here and what you went through to get here helps your fellow Americans appreciate what we have in our country. Plus, America is a richer place because of your stories, the cultural experiences you bring. America's strength truly is the diversity of its people.  So choose to be involved, choose to make a positive contribution to your community and choose to tell your stories. So by your conduct and your qualifications and your actions here this morning, you have each earned your rightful place to be called American citizens. So congratulations again and finally to everyone. Mr. Johnson, please. This concludes the ceremony. Zonbo Court is now adjourned. Right now I need for you all to have a seat as my new American brothers and sisters will get their certificates. Please remain seated as the presentation of certificates are given out. Watch your step. Okay, I'm just gonna explain to our new citizens what's gonna happen now.  We're not gonna shake hands because COVID continues to be an issue but we wanna see each of you individually. Thank you. Sister, sister, come on, give me something.  Sister, sister, I don't know if you're next or not. I don't know if you're next or not. This next one, sister. Oh, well, well, well, there you go, give me something. Bravo, congratulations. Give me a little bit.   Let's go ahead and offer it. Ready? Congratulations, give me something. Ah, congratulations, elbow. Ah, congratulations. Have an elbow. Ah, congratulations. Both fists, congratulations. Elbow, congratulations. My brother, there we go, congratulations. Congratulations. Ready? All right, my medical sister, give me something. She like it. There you go, wave the flag. Elbow. There we go. My sister, there you go, congratulations. My brother. Congratulations. Brother, good job, man. No, congratulations. We like it. Thank you. My sister. My sister, give me some love. Congratulations, my sister. I know, you like it, right? My brother, give me some ice cream, which one? Ah, ah, ah. Good job, look the shot, my brother. There you go. Man, my man, you're looking good. Congratulations. Brother, I ain't afraid to say thanks. My sister, congratulations, give me some love. Brother, congratulations. My medical sister, come on, meet your athlete. Give me something, congratulations. My medical sister, elbow, my sister, here. My medical sister, last time I lose my medical sister. Double tie.


For everyone out here watching, keep in mind that most times if you wait, you'll be able to rerecord the message. So if you make a mistake, you can always rerecord the message, but also keep this in mind is that it's really, it doesn't really matter because for the most part these are regular people that we're talking to. And so it really doesn't matter. Even if you make a mistake, you just continue doing the exercise because ultimately what we're doing is hard and it's not something that, you know, people do day in and day out.  The important thing is to obviously, you know, connect with someone, let them know, you know, what you're doing, let them know what your company does and then try and ideally set up a meeting to discuss your capabilities and how you can help serve them. So at the end of the day, it's really, you know, we're trying to help with the mission and that's what we want to focus on. So even if you make a mistake on the call, that's okay.


Are we alive? Are we aren't? Coming from you live. Coming from you. Coming live from the art studios of ATD Dallas, Texas. Let's go guys! I have a commercial just to get into my own video. We got Teresa in first. Says hello. So we still haven't gotten our... Jen. Something computer looked at. So we are now and again on phone filming. So... Let me know if there's any issues like buffering or you can't hear us or anything like that. Let me know. Hope y'all are having an awesome Tuesday. Ours has been on eventful so far, huh? I took a package to a friend of mine. It's sending some graffiti supplies to a young gentleman in South Africa. A bunch of people are adding to this package because he has zero art supplies, graffiti supplies, any kind of decent materials. So he wanted stickers and shirts and spray paint caps and just stuff that you can't get there so... Was it in North Africa? Yeah. Like... It might have been, I don't know, South Africa. It's a ways away. Somewhere in Africa. This child will not be in need of graffiti supplies. This is true. Beauty. I can't see anybody on there. So I am going to pour today on this clock round that we have decided to try and... Shouldn't we put a... Shouldn't we cover the back? We probably should. Let's get some shelf paper. I totally forgot about that. So Jeff's going to mask off the back of this for me. So while he's doing that, I want to show you guys where I'm at with this piece. I know I said I wouldn't touch it till I went live again, but... My late night self decided I was gonna. And it looks like this. Hi Angela. So I added just a couple things. I am going to add... There needs to be more on the top. But we'll just handle that later. Hey Tia, hey y'all. Thanks you guys. I'm going to try to figure out how to incorporate some of those alcohol ink looks and techniques and things into my resin stuff. I don't know how, but I'm going to try. Scared of me. Nobody hits the like thumb these days. I don't know what the dealio is today. So we're just using the orange super tape to mask off the back of this. Because we had to take the back off to take a picture for the listing on the website. Because we listed them as clear so we wanted to make it clear. What's up Petra? How are you doing? So because of that, I am... Do we cover the hole? Um... I think I just lined up a piece of that tape and just put it in there because it's not going to stick to it. I don't know, it's the first clock I've done. There's so many people out there that have done... What's up Beth? Like the vinyl, the records and made them into clocks? I think you just let it go through it. Because then there has to be a hole there. I know, I've been trying to be good. Fighting my tongue a little bit. People see how we're doing this. So we've decided that we want to teach a class at our local maker space. And they seem really excited about it. They're really excited about it. Can we just get some scissors? No, we're going to get exactly what we need. It may be buffering because we're doing this on the phone. We go be... I'll hold it down here, but I'll replace it. So, no, the June class is going to be in our studio just like regular. But we're going to teach a class at Makers for the Makers. So B, what's your process of cutting up it? I'm just going to press this down on the side so it gets a nice good... Gryppy, grippy? Hard edge so that it's easier to cut it. I think I'm just going to... I don't know which way I should do that. Make it up. No, why isn't it... Where can't we see it? If we cut this way then we'll be cutting... Hi, Caledonian. When you guys do this, don't do it like he is. It's dangerous, but he's very experienced with an exacto blade. Put it down on a surface that you don't mind.  Why not do it like this? It's not like I'm...  It's not like I'm holding it like this. It's just safer. And I have to say it, whether people listen to me or not, are relevant. Y'all, I apologize in advance if the doorbell rang through the order of lunch. What's up, Amber? Yeah, this is tape. For a second I thought you guys were going to pour on tape. You could. This tape is pretty awesome. Just be careful if you guys use exacto blades. That knife is not a drill. It's not a joke. It looks tiny, but it is mighty. It sounds good. Yeah, perfect. Perfect. There you go. Now, just make sure you press so that it doesn't go underneath there. Just press it all the way around so you know you're not going to get any leaks. Because you know resin will find its way. Amber, you could send me some strawberry shortcake. Lucy and Melan sent us a cake one time. I haven't seen her in a while. She's probably busy yet. How do you love your cake? From the area. From the area. I'm going to straw in the hole. That's genius, Judy. Okay, I have a straw. And it is too small for the hole. So what I'm going to do is try to rip the tape. I should do this with not gloves on, but yellow. No, it's too big. That's what she said.  It's a lot easier without gloves on. I highly recommend it. Sands gloves. You guys, I saw a creator on YouTube do the rose that I did for Valentine's Day, but they did it like a lot more precisely. So now I'm going to have to do it again. I want to see if I can do it their way. It's pretty well in there. I know, Jen, I know so many. So, okay, color, color, color, color, color.  As you guys know, don't use too much of the base tint in your, that's probably too much, in your resin because your cells won't stay if you add too much of the base tint in your resin. Then I'm going to need some of my main color, which is going to be Bondi Blue from Color Obsession. It's a tint. It will be translucent, transparent, whatever kind of trends you want to use to describe see-through. And actually, since I have a straw handy, I'm just going to use it to get this color out. It doesn't take a lot. Only a few drops will do it. You can always build on the color, but it will never be opaque. It will always be transparent. It'll be a lighter transparent or a darker transparent, but it'll always be transparent. That is a beautiful color. It's probably in the app. I was standing at the door. She knocked on 225. He goes, that delivery? She goes, yeah, 225 I go. Nope. No, she goes for Erica. I said, yeah, 226. She goes, here you go. She knocked on 225 while. So I'm also going to try this raspberry red color from Resinart. I don't have this in stock yet. I'm going to carry it. I have since the last time I tried it, figured out that we have a flat color powder. You need to mix it into just a little bit of alcohol. So that's what I'm going to do. This isn't for any like design or that's probably just not for too much. Any kind of special effects. It's just to make sure you don't get any of those little freckles or tadpoles. However you like to say in your final piece. Remember, don't do, don't mix your stuff over your, over it because some of these cups, like this one has a little crease in it and other mixing cups have little, little, little things at the bottom of it and they'll skip and jump. It'll jump out of your cup onto your piece. So always be careful with that. It's true. I'm only doing it over the piece to show you guys what the color is, but best practice at home is to don't. So this is also translucent or transparent color. No matter how much powder you put into it, it will never be opaque, which is fine. Just have to know about it before you use it so you don't make any mistakes. I'm also going to use bright gold powder by Just Resin. I actually have this back in stock currently at the time of filming. So if you're watching this in two days, don't get mad at me because it's not in stock when you watched the video. Sorry for the movement. I'm lowering this so you guys can get as close as possible. It is not an earthquake. Speaking of disasters, there's this really old, it used to be the Ambassador Hotel. If you guys like Google it, you can see. They were going to make it into lofts. They were like transforming it. And I think it may have been a historical, maybe not a landmark, but it was old. If you watch my Snapchat, you can see it. They're still putting it out today. So it apparently caught on fire, but the people who are building it where it on the street is have long run out of money. It's a project they've been working on for years. We don't know that. Don't say word on the street. Well, that means it's not an official word. But we don't know that. I don't need somebody calling us up and being like, what do you know about this? Oh, I don't know anything about it. Rumor is... There's not even a rumor. People are talking about it. That makes it a rumor. In any case, it caught on fire and it's still burning. 2 a.m. Y'all are still talking about strawberry shortcake. I want some. Okay. This is a clear canvas. And so I want to make sure it stays mostly clear. So I don't know if you guys are getting tired of negative space or not, but I'm going to do a negative space piece. And this, you're probably right, because too much, but I'm just going to wipe some of it back into the cup. No harm, no foul. Also, I like having a thicker, clear as y'all know, so that there's that lift. I'm not pushing it all the way over the edge just yet, even though this is a right angle edge. I just, I don't want to waste any resin. I don't want any of it to fall off. Waste, not want, not. That's what she said before she finished her sentence. Y'all. Okay. This is going to look so weird because it's mostly transparent. Are you going to swipe it? I'm not sure. Yeah, I'm going to grab some Swipes. Push it to the edge. I also want to be grabbed some. Okay, I got my Swipes. Jen, you stay ready. And I'm opening some of this purple sapphire from Resinart, because I'm anticipating wanting something sparkly and opaque in this piece. So I'm thinking about mixing it in once I have everything the way I want it, just for some accent lines. Love the color of the tape. You're one of like seven people that I know that love the color orange. You're rare. So, oh, it's not to the edge. So that was the Bondi blue. This next one, I hope I've mixed this in well enough. Hi, Netherlands. This isn't going to be as pretty as it's going to be when we take the tape off, because the orange is going to discolor everything somewhat. It's a great color. Yeah, it's definitely going to change up the color the way it looks. And if you just joined us, this is a clear, a clear clock face with orange tape underneath it. Yeah, it's not going to be orange on the base. Sorry, Bev. It is a temporary. I'm also going to mix up a little bit of just Resin's titanium, because I want a little bit of lacing along with my amazing web spider web cells. So, where the rule with the base tents are, it has to be on the bottom. The rule with white pastes has to be on the top. I don't know how I'm going to do this, but we're going to do it. How many of y'all out there have made it clock before? I'm really hoping this does as fun of things as I feel like it's going to make sure when you're swiping that none of your ends are pointed. I don't know if you guys can see that. Can I say the name Saskia? Saskia Smith. Just to kind of show you guys how much of an angle that you swipe with. Oh, that's going to look so amazing when it's like dried on the other side. Oh, yeah. Look at that teal. It goes over that pink, makes that purple. So Rob, we said, hey. That's so fun. What colors did you use? The blue is Bondi base tint from Color Obsession. The red is red raspberry from resin art. This white line and this white line are Stone Coat White base tint.  Nice camera work, Jeff. Hey, we're not being nervous. Just do it. Nervous or not, you shouldn't let that keep you from creating. This is the paper that we sell on our website. It's not butcher paper, but it's very similar to butcher paper. And butcher paper will work just fine. I feel like butcher paper is just a little bit on the heavy side. And if you're light handed, then that'll be good for you. And if you're heavy handed, that may not be the best for you. You may need to stick with like a parchment. These freezer paper is good. It is a lot like Plexi. It's not Plexi. It's cast acrylic. And a lot of people have access to things like Plexi and Lucite. Possibly cast acrylic, but you have to be careful because if you get the wrong kind of acrylic, it'll craze on you a little bit. And this is an example of why you don't want to put the base tint over anything else. As you see here, these areas have cells because I put the color over the base tint. This I had base tint color base tint. Babe, you just said the exact same thing. You need to tell, you need to say what is what? What brand is what? So this white here is base tint. Base tint what? And since it's over the top of all of these, there's no cells. Sorry, there's a hair. However, on all these areas, the base tint was on the base and it's selling up just fine. Listen, hair. All right, whoever purchases this is just going to get a little bit of mou. Corboriality, very busy for my taste, but do your gold lines and they'll be fine. I can't wait to see. I'm adding a little bit of purple sapphire to this red. If the color is pretty enough, I'll add it and it's not. We're going to scrap it. What do you think, B? What are you going to do with that? I thought about adding it, but... Maybe just do a line through that white. This white?  Right. So, I need to fix this. Gold? No, it's just the one layer. The orange is just tape on the bottom. Can't wait till these guys sell up. You have to have some big, like bright yellow arms for the clock. Bright yellow would be fine arms. Lost in there. I cannot wait to see what this looks like with the back pulled off of it. I'm just cleaning up what may be dripping on the back before I move it to our dust free area. We have left a little bit of white some gold. I don't think I have enough resin that pour on that. Give me those half coasters. Jen, I am really good at making not amazing things. So, we've got half coasters. I'm just going to test how it handles resin. Which should be fine, but you never know. I'm going to just dip this one. I'm going to show you guys what I have here, what I'm using to hold this camera up and over what she's doing. It's a tripod I got on Amazon. It's got like this ball joint that let's see. If you unscrew this this guy you can go back and forth put it out above your piece. Let's see here. And then if you pull it just a little bit it will go down into itself. There's a whole part right here that can go up as well. So this is a pretty pretty high standing tripod. So if you guys want to spend a little money I think they're like 114, I believe. I think that's what I got mine for. They're really sturdy. But they're very sturdy, very worse than money. I have it linked in the description box. We have it in the description box. I just wanted to show you that so you can get an idea of what they look like. And it turns in every way that you can imagine. Can't you turn it into a walking stick or something like that? Yeah, one of the legs comes off that you can put your your phone holder on there. A camera holder. I don't know. I did find this one. I'll show you what I'm using for this phone holder which is really nice. I got this separate on Amazon. This little guy. And this literally just slips right into there. Like the little adapter that has for cameras. It did come with with the holder. It did not come with this thing though. One like this. But you can use that because that screws right into that. That little piece will go right into here. And you can actually screw that one on to there too in that middle hole. So it's a good little piece of equipment to get. Remember when we used to make coasters just that's all we were doing for like our events and stuff. And that's all we did. We would put color on, swish, swish, blow it, done. Yeah. Not too busy.  Looks so fun. Nice one. You can't see it. It had to come there. And that's great looking from there. That's why I kind of overload my gold so that it floats and floats like that. What gold is that? That is just resin. Oh, I thought that was that. Just to see. I mean, it's all just a test, right? Jeff, can I reserve two of the clock boards to purchase a weekend of the class? Resid up. I can make some. I don't know if there's any available right now. Well, how many did we put down? We put five on the website. We only put five because I only made five. So, but I'm going to go. We'll have them for you. We'll definitely have some. I have no idea what's happening over here. I'm not sure what she's doing. She's just playing without falling because she's making a mess. It almost looks like inside of a like a pearl. That's what resin is. Just making a mess. It's just a test. Time to eat. Show them like that. We're about done here y'all. She's working on all alcohol inks. How much fun is that? Doing a little experimentation. So much fun. Colors are amazing on this thing. I would hang this up on my bed. Look at the gold. It looks great. There you go. You can see the gold there. So, we're going to go eat. We got some salads. Yum-yum-yum-yum-yum salads. We will see you guys tomorrow. 8 o'clock. 8 p.m. Probably not. In any case, thanks for watching and seeing what we're up to y'all. Thanks for watching y'all. Be kind to one another. You never know what somebody's going through. And just smile. And just know that your creativity is keeping. So, get on it. Get on it. Y'all have an awesome Tuesday. Bye.


Naval Medical Center San Diego, or MMCSD, held a code-wide active shooter exercise. The simulated active shooter entered the ophthalmology department and opened fire, causing six mock casualties. I think this is a success to the Navy and the Medical Center both because we've never done a drill like this before actually engaging civilians. So that's why I think it's important that we train on this stuff because in the real-life scenarios that we have today, we can react by the training that we receive here at the Naval Medical Center and in the Navy. In the event of an active shooter, service members are trained to run, hide, and as a last resort, fight. From Naval Medical Center San Diego, I'm petty officer Jessica Townsend.


Welcome everybody back to the Segal Talks here at the Martin E. Segal Theater Center, the Graduate Center CUNY in New York City at the City University in Manhattan. And it's another week starting in confinement in lockdown and we had Memorial Day weekend behind us. And it will be one to remember, not for the reasons, the good reasons why we should remember the engagements of life and death and wars. But this is one that also I think in the history of the American, of the Americas will be a significant one. And in New York, we are still, you know, lockdown, even so people we do go out and shopping or through the parks, but it is still a dangerous situation with unknown features. We over 100,000 deaths and the reports from the hospitals are that less people are do coming in, but also our healthcare workers and everybody says it's a sign of exhaustion. It's an exhaustion in families and partners and also the people who don't live as everybody might think, you know, with their friends, families, spouses, so it's a difficult time. It's a trying time. Yesterday, Christopher Donk from Belgium talked about it and he reminded us that all of it is about waiting and perhaps doing less, but perhaps engaging more and reading and thinking that so much of theatre's work from Beckett or literature and Kafka is about waiting and how to deal with it, how much he misses theatre, how sad it will be when people will be in masks sitting far away from each other. Because he said the experience of solitude or loneliness, which we might be centered on stage, but you do it in a group, you sit together. And this is not there. And he misses the play to go outside and all what theatre is about. As James Simpson wrote in his book of a permanent revolution, you know, he said art and literature has always been on the side of progress. It has been a side of progressive histories and the histories of freedom. And freedoms are threatened around the world. Also our personal freedoms have been curtailed by that social choreography we are now in. So it is a time we think of this Eagle tour as we always do in our programs to listen to the voices of the artists who are on the right side of history, the right side of social progress. And how do they experience this moment. They are closer to our present. They anticipate the future. And we have heard voices from around the world from Egypt and Lebanon and Shanghai and South Africa from Germany, Belgium, Italy, Ukraine all around the world for now nine weeks. And we are coming now also to a great country that has a great great theater tradition. One of the major ones from Spain, going back for four centuries and a long one, and it has major, major contributions to what we understand as theater and performance is all about. And we are having with us aina tour from Salah Beckett in Barcelona a very significant important influential theater in the Catalan region in Barcelona, but also for Spain itself she also part of this center in Matico and, of course, from Madrid and in Spain. She has studied pharmacology and agriculture and she became an actor and then she became a playwright and then a director and now she's also deeply engaged in Catalan literature. It's a true honor to to have you with us and and our friends also from the Institute of Roman Lulia. When we asked them, you know, we need someone from Spain and we have many contacts to our publishing. We have published many books with plays from Spain and social Barcelona plays and Benet Jeanette playwright who actually died with the corona virus we published his book. And the whole was the translator he wrote a beautiful mail about him and so now we are going to hear a bit from from that region so you know where are you, what time is it and what's behind you what's that on the wall. Good afternoon, Frank. First of all, I want to thank you for the invitation and good afternoon everyone. Thanks for joining us. I am so glad for being here this afternoon, sharing some thoughts and experience about this strange and terrible situation we are living. I'm at home in Barcelona. It's PM and this I decided to just to paint my walls with the days that I've been confident and I started the 14 of March, March 14. I finished a few weeks ago because we start in to another new phase of the confinement when we start to be allowed to go outside and it's phase one and and yesterday you start the phase one for being a citizen you have to do a master of what you can do or not or what you are allowed to do or not. I want to tell you that it's a pleasure also and an honor being here as an artist and a cultural agent. And I will try to do my best with my English. It's just perfect. You can hear is is not my native language that sometimes I get a bit lost and please let me know it if you don't understand something and we'll try to I will clarify for you the best I can. And if I get very, very lost. We can change the subject and talk about love. I had an American boyfriend and I have, I have a master talking about love. So just kidding. It's not important. We all lost and we also need to talk about love. Yeah, I think and just in case. Yeah. Yeah, no, we are there but listen. So how is the situation now tell us, you can go out on the street or the mask do you have to write permissions like in France you have to print something out. Is it a curfew in the night or weekends. What's going on in Barcelona. Yeah, I'm going to explain you a bit the situation from the beginning, you know, because that it's not that crazy that from the beginning. I think the situation is crazy in every part of the world. We have been under a confinement in since the 14th of May, and I couldn't believe it. That was crazy from one day to the other the government announced that we were not able to be in the street. We had to be at home. And we just were allowed to go to the supermarket pharmacy tobacco shop and the bank. And we spend 49 days without being allowed to go for a walk. Now this all seems like a memory from the past, but was difficult to face. I walk in circles on my rooftop, seven kilometers per day. You really do every day. Seven kilometers. How many circles. A lot, because every kilometer was 50 circles, imagine 50 or 200 circles. It was crazy, but I felt as a hamster and as a prisoner sometimes, but the situation outside was so hard and I held my responsibilities as a citizen. There were a lot of people dying. Hospitals were overcrowded without respirators for everyone. Sanita is tough without safety protections. A lot of people dying alone without their relatives at their site and families were not allowed to go to their lover once the funerals. Imagine how that can affect their emotions and feelings forever. In Madrid they didn't have enough more of the space for all the corpses, so they had to store them in a nice ring. But now it seems the situation is more under control. The coffins was where they were on the eyes of the Barcelona ice hockey team. Yeah, that was crazy and so sad and we look at that like what's going on, what's happening. We weren't ready for that. But now it seems that the situation is more under control and for the last weeks we are allowed to go for a walk and practice some individual sports. And since yesterday bars and shops are open and they say we can meet friends just up to 10 people can gather. But it is a step after two months and a half without being able to see anyone apart from your flatmates. I'm living alone. Anyways, society is under shock and nobody expects this and no one was ready or trained for this. It just happened. So bars are open but only 10 people can be in a bar? No, you are just able to meet 10 people at home or in a bar or wherever and bars have to, I don't know how many people can be in the bar. It depends on the dimensions of the bar but you have to have the social distance in between the other group or the other people. Oh, so there can be different groups of 10 people. Do you wear masks? Do you have to wear masks? Yes, I don't know if they told us that it's better we wear masks but I don't know if we have to do it by law yet. They say that from one of these days it's going to be obligatory. I don't know how to say it. It's obligatory. I have a beautiful one. I have a handmade one that I bought. We have to show them to us maybe. So what is the situation then for theaters? Of course I guess everything was closed but now in that different phase, what's going on in theater? Depends on the theater. From this Monday we are allowed to open the theaters. Really? Yeah, but with a lot of restrictions and it's not that easy. I hadn't studied all the law because the part of the production team of Salavecete is doing that but we have to wear masks, sometimes glasses for rehearsals, gloves. You have to be sure that everyone is having the social distance or the safety distance. It's not a social distance. It's a sanitary distance. And the occupation has to be under 30% in every venue for the time being. But everything is changing every day. You have to be all the time reading a lot of documents from the government and just trying to manage that. But from today we are able to open theaters but it's not that easy because you have to clean all the building every day. A lot of times do a sanitary preparation for everything. Just put signs everywhere, explaining to people what they have to do. So let's say you have a 300-seat house, 100 people can come in, 30% more. No, it's not 30% because they say 30% but nowadays today has to be not more than 30% and in phase 2 it's going to be 50% Wow, I mean it's the first time we hear on the Segal Talk the theaters are reopening and even 30% seems high with the distance between the rows and the mask. So let's say today in Barcelona there are actors with plastic gloves, masks and goggles and plastic rehearsing? No, not today because no one is doing that. No, no one. They say that we can do it and before from yesterday you are allowed to do it but you need to have a plan with the laws and everything and they need to validate your plan and then you can open. And it's not that easy because there are a lot of administrative documents to do and a lot of people didn't want to rehearse in these conditions.  No, that most of the theaters designed not to open because if you are allowed to have 30% in your theater, this is from where you get the money. It's not working at all and we are going to try to do the first show in July. Okay, yeah. What's going to be the first show? The one that was on when the confinement starts. It's called La Morta by Marc Reuet and it's an adaptation of contemporary playwright Marc Reuet of a play by his grand-grandpa. So you're continuing. What have theater artists been doing in Barcelona in that time of confinement or at the moment? How did they react? So my work in Salavequet as a part of the artistic team, I'm overseeing programming in there. I talk with a lot of artists because my job, it's part of my job is design the calendar, the programming calendar. And I need to talk with a lot, a lot, a lot of artists and that was a bit sad, a bit crazy because everyone was, what's going on? I know what is going to happen and I was telling them all the time. I don't know. We need to learn to manage uncertainty. We don't know. It's not depends on us. And people were writing a lot. I just see some rehearsals, Zoom rehearsals. People were, some others were very depressed saying, I can write, I cannot create, I'm not able to do anything. I don't know what is going to go on. It depends on the artist or on the way they afford that. The thing is that I feel that I'm a privilege because my economic situation, it's good. But most of the artists, because I'm working at Salavequet and also I'm working in Centro Dramático Nacional and my economy didn't depend just on my artwork. Yeah, but there are a lot of artists that just, they have just intermittent works and if they are not working, if they are not working in a show, they are not getting paid. And this is very difficult to face for them. And now the government, because of the pressure of the theater world, they decide to do some things, some measures to, and give some grants for, for artists. But at the moment, it's just a short term measure. We need to see what's going on. But it's not easy. And people doesn't know, people is disoriented. Barcelona is such a town of theater. We publish many plays and the Barcelona plays and many others. Is this changing theater what people think about what theater performance is? Do you feel there will be a before and after in the Barcelona theater scene? I think for sure it's going to be, but I don't know how, because we are just landing in this situation. I feel that a lot of queries are going to fit our, new queries are going to fit our artwork. Because the situation, the social situation is very difficult. We don't know if, how this is going to affect the economy of the country and how all what happened, a part of money, a part of our work. What happened with the society? People dying, no? And people dying and hospitals overcrowded and all that things are going to change the way that we create art. But I don't know how yet. It's too soon. Do you feel your government responded well to the crisis? Yes, somehow yes. Of course there are things that they could do better, but it's very difficult. How do you can imagine that the virus is going to come and you have to just decree the state of alarm, sanitary alarm. They try to do, they are doing good things, but they will need to do more. Because for me the crisis amplifies the lack of the system. And everything now we are seeing the lack like this. There is a lot of people in a vulnerable economic situation and that is going to have consequences. And now is the time to decide the government or the public administrations need to decide what they, which they both, they have two scenarios, no? More, but just to simplify. They can just choose one and say, okay, I'm just going to do what I was planning to do before the crisis or I'm going to try to help or I'm going to try to change a bit the society and the way that the state is taking care of people that it's under cover. So do you, if theater is of interest, it's always also because it's a model. It's a model for the real for the symbolic and for the imaginary. So if things are changing, also they are represented often earlier in theater and performance. What, will you change things how you present work at Salah Beckett? Will it have an impact this crisis? Yeah, as I told you, for sure, something is going to happen. No, for sure, something is going to change because theater or art is a dialogue with society and with humanity. And if you are an artist, you are in constant dialogue with that. And now we need as an artist to create the imaginary world different. And I don't know what is going to happen in Salah Beckett yet. We are, I think we are going to start to work in there in 15 days or in around 15 days. And we have a lot of shows that we need to program next season because we have the commitment with the artist and the ones that we couldn't show the last month. But I think we need time to see what's the reaction of the playwrights and what they write down. We had an open call for one of our main programs. It's the artist in residence and we have a playwright in residence. We have every year one playwright that we pay him to write down a play and we produce that play and also that person is involved in our artistic committees, you know, and we are doing activities with that playwright and everything. And we receive 95 projects. And most of them write it from, write it from, write it down from the confinement. And I was, I don't have a theory yet, but I see, you know, what people were, people is worried about why we work, how we work, how we get related with the family, how we get related with our relatives, how the society is going to be after that. And I read 90 projects, 95.  And we need time, we need to give time to the writers to land in this situation, just to analyze it and then create. Also, in July, we are going to do our international summer school. We did it every, for the last 14 or 15 years. And we need to change some things because it's an international school and obviously the international teachers and outdoor playwrights are not going to be able to come. And, but we are going to do some online courses or workshops, and other ones on site. And most of them are going to be related with the situation. And we are going to do some talks with cultural agents, sanitary staff also. And we are going to try to revise a bit the literature from other pandemics, you know, just to evaluate a bit the situation. And we are going to try to do some activities in the public space because it's where, because I think it's time to try to get into or to step into the public space. Not for everything, it has to be a mix, the programming, but you feel more safe in there. What's the public space in Barcelona? What do you mean by public space? The streets or squares, but we are working with the mayor house to go to a park beside Salabeket, a beautiful one, and to do a course in the workshop and the talk. Some stay reading also, but we are working on all the administrative stuff to get the permissions. And Salabeket is really dedicated to playwriting and to authors. Are there digital initiatives that things might not happen in Salabeket, not in the parks? I don't know if you plan things for the parks, also performances or the public spaces, but will there also be things online? Are you preparing to do things online? The park activity is just going to be a part because we are going to do just a part of the activities because we are going to do activities in Salabeket. Just the workshops. You will do just workshops in the parks, but no, you're not going to go out? Yes, some stage readings, but not shows at the moment. Just workshops, some talks and some stage readings or park readings then. And we do some activities in our venues and in our classes and everything. And we are going to do some online activities. We are doing activities online right now, some courses, workshops, and some of them were on in the beginning of the confinement. And the others we create, we are working on designing the news, the International Summer School workshops. And we are going to have Javier Dote from Argentina, also Team Crouch from England, and we are working on that now. So do you show work from Salabeket? They say it's recordings of shows or do you have actors read monologues poetry? They say something online. And what do you think of online offerings by theaters at the moment? I haven't seen any screen theater because I didn't feel in the mood to because as a programmer I used to go to theater three or five times per week, 11 months a year. And I didn't see, I haven't seen it, but I think there are a lot of good offers and good shows and everything. And people are enjoying a lot seeing screen theater and everything, but I haven't done it. In Salabeket, we haven't shown the recordings of our shows, but we just published again some talks that we organized our programming with activities about debate and thought. And we just did that and we are organizing some talks too in between playwrights now. But we need to stop the activity in the beginning because we are, we prefer to stop and then we are starting now with the online proposals. So in a way, you wait till that is over that you can open again. I mean, the Public Theater New York Commission or it was the idea of a writer that did a Zoom show. I mean, Nelson created based on characters that often come in his work. So they created an online work that existed only on Zoom, but you feel you are trying to get back to being able to show the work of the writers. And I think it's very precious in a way that's respectful. Yeah, I think that it's good to find ways or use all the online tools to show theater. I think in theater to be drawn into this virtual world, but it's not the same that just recording theater that you were supposed to do with the audience in a venue and just put that I don't I'm not interested, interested in that. But I think that for a lot of months we are going to adapt ourselves to these new tools and we are going to do. We are going to do design some stuff like that. And it works. They told me I just look at these or look at that. No, it's good and it works because they are things that are are planted to be done with those tools. But not in Salabeket, but as a cultural agent and as an artist, I think that we need to go to the streets and the squares and the public space I have. I had a project with Andres Lima is a very well known director here in Spain. He's my friend and I call him and said, Andres, I got to have this in my mind. What do you think, and we start to create the project now it's, we are asking to the public administration local ones to pay artists to create in the street, because I think that theater is the most beautiful thing or the thing I miss more is the encounter, the real one. And yes, you can be watching a show in Zoom and knowing that there are more people with you looking at that, but it's not the same is this community feeling know that we need to recover it because people is going to be scared to come back to to theater or to, if they told you that you have to go to the supermarket with a mask and clean your hands and everything. Then we need to find ways to make people or the audience or society to feel confident with the theater or the scenic arts. You know, I think it's a great idea many artists also we talked to from around the world say perhaps it is a moment to also reflect on the structure on the system of theater and also to leave the space, perhaps use it for the moment in a different way it could be an exhibition or theater artists living in the theater and creating but perhaps in streets or public spheres. There will be an engagement. My question for you as a as the person as I know the person who studied pharmacology and also agriculture, were you prepared for this confinement. How did you experience it what what is going through your mind did you even a time to think or did you work so much. I'm not just playing it to you. I work a lot, but I'm. Yeah, I've been doing called a salad beckett's work and I've been. I've been doing also I read a lot because I read things from salad beckett the projects and the place that they are that arrive there. And also the ones that the right to Centro Dramatico Nacional, but I've been studying to and reading a lot for my studies, but I have time to to for myself and to create and I wasn't ready to afford this situation in the beginning what so hard, but now I feel good. I spend 70 days alone. 70 days alone. Yeah, at home. And it's not that bad sometimes I get nervous and I have some anxiety and but I just face at it and saying it's normal you are at home alone, working, creating, but alone without the, the contact of the skin of the people you love without kisses without hacks. And, and this is sad, but it's how it is. And I feel good. I feel inspired. I write down to little pieces. One it was for the prison, a prison here in Barcelona, the teacher asked me to to write down something for them for the prisoners that are doing theater in there. I wrote about a conversation that I heard, you know, while I was doing some roof watching from my sofa.  What he's saying whiskey and he was saying just grandma please drink whiskey all the time all day. And I wrote on a scene about that because we are a bit nervous. So, you know, and we are seeing things like that and I just wrote down a funny story. And from the Centro Dramatic National they asked me a short piece to for his, their, their web. And it's going to be in the next week, I guess. And it's about the homeless that lives here in a square beside home that I just passed by the other day at eight o'clock the time for the playoffs. And one woman start to applause and he was, what she's doing, why is it why why she's clapping their hands. And I was just imagine a monologue of a person that homeless that doesn't understand anything. People is with must everyone at eight o'clock is going to run or it's running and biking and streets are empty. And I wrote down another funny piece about that. And also, this week it's better than the others, but I had to make the decision because I was in the point to, I was supposed to show my new play in Greek festival I don't know if you know that Greek festival, international festival, summer festival here in Barcelona. And, and we were supposed to start rehearsals today. And I just decided to, to stop the, the, the rehearse. I just, I made the decision to not have to don't have to. Oh, sorry, I get lost now. No, no, that's fine. No, that's good. I made the decision to stop the, the premiere. We are going to have the show in, we are going to have the premiere in, in autumn, but not now because I didn't want to put my team in that situation. I didn't want them to rehearse to the producers to do the sanitary plan for the rehearsals and I think it's a bit insane, a rehearsal with gloves, masks, glasses, safety protocols and without hugging each other. And I just made this decision and says, as a result, the director of the festival understood that very good. And we are going to do a reading, but we are going to do a part of the creation of the process in July. And at the end of this creation week, we are going to do an stage reading, but with elements with music and design and, and with a stage design also. We are going to do that on site and also on a streaming and So today you had to make up your mind if your play would happen under those. However, Corona COVID-19 sanitary confinement circumstances or not other colleagues of yours will they will the play be done. Do you know the play will be for the creek festival other place. Do you think plays will be shown. So we will start next week. So, so once are gonna are gonna do it and I'm gonna have the premiere in the Greek festival. Some of them were already done or and some of them are going to rehearsal in other circumstances. Because there is people that is not in Barcelona rehearsing and in other communities. The situation with coronavirus wasn't like in Barcelona, and they are in the phase one for the last week they were able just to met people more than 10 persons and depends the festival they announced last week that is going to be on. Yeah, they are going to be different activities not all the shows that we're supposed to have the premiere in there are going to be able to do it. Yeah, so maybe it's all going to be a dream for commercial producers no more than 10 people involved including. In fact, it's going to be much cheaper and easier to do, but I hope in New York, often people live more than four people. No, I forget.  But Chris for Don yesterday said to be our face with existential questions now if we don't think about it now, whenever and so what are your thoughts. Since you mentioned it what what are you thinking about. I'm feeling, I, I feel strong to face this crazy situation. I guess because all my needs are covered. And I have got all I need to be love people around me taking care despite of distance artwork to do. I'm passionate about my work and my studies are going well so I just need to be relaxed it and I'm thinking a lot of that just I may have to be relaxed as much as you can to afford that what is going to come to manage all the uncertainty. And sometimes I feel this oriented, but I accept it. And also, I'm thinking when I'm going to be able to go to the hairdresser.  I'm very, very, very worried about about how our governments are going to treat us as citizens and how they are going to do to support all this or the whole society but the artist, you know, especially for me right now because we are talking about art. And I think art is something that has to be protected and creators has to be protected, because we are not just an entertainment. We are something that helps the society to release the fears, the traumas and they are helps us to question ourselves about life, about situations and we with the representation we see human behavior and human conflicts in there and now we can step or move on from our mental or our worries, you know, and I'm worried about that how, because I don't want to imagine a world without art, or without artists or artists there's homeless artists, you know. I think that the public administrations the states the governments need to do something with all the people. And also with to protect art as a, as persons that are as people who helps to to give medicine for our souls. And our spirits, artists medicine, during confinement, everyone is listened to music, watching movies, reading, more than ever. So who is creating that why the art is a window to paradise or to hell, but a window to travel. And we need that windows. And you're afraid those windows could be closed so that it's not enough done by the politicians of my government by or by society. Yes, sure. I'm afraid of that. I don't want to be and I think it's not time just to complain. We need to take actions and do things and be strong and try to help that that or pressure the administrations just to ask them to, to don't let art just go. But it depends on the crisis, the economic crisis that is going to come and you can have it's easy. It's not going to be the first time that that happens, and artists are going to create for sure because it's something that we don't do for business we do for it. It's just something it's an impulse something that we need to do. But you, if you don't have support or your economic situation is not good and you have to work in other things, then you cannot create that much. You know, and I'm a skirt of that and I think things are some things are happening and he and Spain politicians are aware of that they are trying to work on that. They just start to open to to to public open calls for grants for artists and everything but this is a short term action. And I want to think in a long term. And I'm worried about that the long term. No, it's like when you are going to be able to open your theater with 50 persons. It's okay, you don't need any grants or you don't need any support. No, because we need the audience, not just for economic reasons also for artistic reasons. We need this in this encounter. No, and I'm worried because we everyone is saying no it's going to be like this or like that but nobody knows. Every day things are changing and we need to be there aware and try to just manage that uncertainty and protect the artist all the time. It's patrimony. It's a it's a word patrimony patrimony. Yeah, patrimony of art. Yeah. Yeah, it's shelter support. Yeah. Yeah. So how do you protect yourself? What do you do to in the day you say you sit down. Tell us a little bit how is your day look like in Barcelona. I woke up always very sleepy. I need one or two hours to be awake. Around what time. What time does it start depends on the day. Today I start at nine or not 10, but some days I start I woke up at eight and another is at 12 depends I decide to don't use the alarm o'clock. Just in case that I have a meeting or something but I don't use the alarm o'clock. And just I drink a lot of coffee here in the balcony with the sun on my sunlight on my face. And I start to plan the day and I work for Salabek at the beat for Centro Dramatic National also sometimes during the afternoon I'm doing my home or my university task. And I do some sport I did martial arts for eight weeks or something like that a friend of mine by zoom, but I need to stop it because I work a lot. The last weeks they were 14 hours per day more or less. And that's a lot. It's too much too much. Yeah. But you know it's it's not the concentration it's different sometimes and you need more time to get in and now I'm starting to to be my normal rhythm again with my normal rhythm again but yeah I had a lot of work to do. And I'm I'm planning we are planning called the the next season the 2021 from September to July and I'm making phone calls and talking with artists and and and the phone calls are more long you know in this situation. Yeah, because in another circumstances, you call someone just to give some dates or the period for the show and everything. And, and they just spend 15 minutes or 10 or sometimes more if there is something to to resolve for a conflict or whatever. But now it's one hour talk sometimes know everyone it's just what are you doing and we are and explain the situation and it's more everything kids more slow. And sometimes when as I finish work I do some zooms or a phone call with friends and as when I close the computer I had I took a beer fresh one from the fridge and I sit here in the balcony watching the moon. And listen to some music and so. When do you do your running. My running at eight, sometimes and now from the last weeks I a friend of mine give me a bike. And I put the, it's an old bike but for me is my new bike. And, and I'm going to the Barcelona, it's the beach here in Barcelona. And I, I bike there it's one hour, just go and come back or one hour and a half. And I feel so good than it and so, so, so free, you know, for just with the air of my in my skin and it's like wow, who could who could imagine that know that I was like over that. And those emotions just biking.  No, it's not the same, but it's the freedom of movement. Since, since you engaged with agriculture or pharmacology with medicine healing and acting directly what what helped you what to give get answers to create meaning what was most useful for you. That that I don't know just understand a little bit more how we work as a human bodies, but I create my first publication the first play that they publish me. It was about evolution, genetic evolution, but I decided to just not to talk too much more about that.  And if you had some plans, you can make them grow better but it's not that much in my artwork. And I was, if you want, I can explain you a little bit what is my play about the one that I was supposed to have the premiere in Greek festival. Sure. It's a monologue and it's called the galaxy of fireflies. And it's based on a personal experience that that happened to me when I was 21 years old in a Latin American country.  But nothing happened to me. You were kidnapped. Yeah, yeah, yeah, yeah, for a lot of hours and everything ended well. Nothing happened to me just guns on my head and that's not that much. After all, me and while me and when you are in there, it's very hard but nothing happened. But the place about the consequence of this that assault about the government apparatus that this situation activates. And how they reacted because for people from a rich country were high, high jacket by five people from a poor country. And that was terrible. And basically with the play I'm talking about the privilege about the moral and about the ethical precepts, how the perspective of being European changed for me forever. And the death and dying and killing. It's not the same if you have born in a rich country or in a poor country. And that's the world as it is. And I wish I was older when I had the perception of this of that in my own skin, but we can choose everything. And I wrote it down 20 years later, I need 20 years to write about that. The play is going to be we are working in the in the edition or the edition of the play, and it's going to be a bilingual book in Spanish and in English. And I hope we are going to have this during the, the reading that we are going to do during the Greek festival. So it does deal with life and death, class, the country rich countries, poor countries, not what is also going to say it. No, no, no, I mean for Corona. No, no, no, it deals with with theme that come actually up, you know, in this, this Corona time and what we have here. So what do you read I know you study now literature at the university, but what do you read and what do you listen to in these days what helps you and. Yeah, I read a lot of plays new ones, the ones I already told you the ones that arrived me from that arrived to Salabeket and to Centro Dramático Nacional. But for your studies you say you are studying. Yeah, yeah, I'm going to tell you right now. And I read some philosophers because I'm, I'm doing convention in philosophy in my degree. I'm not an expert. I'm just a beginner, but I am thinking a lot that we need to revisit the, the age of enlightenment in terms of democratic value. And in terms of being subjects, but also sovereign as citizens know I read Rousseau, a lot. And I think there is something in there that we have to revisit a bit. And I also read Nietz, I love Nietz, his philosophy, not him, but I guess we need to learn from him that the will to kill the running power and become free spirits. It's what I always revisiting him because of that. And I read Bolaño, the Chilean, it's a poet, Bolaño is a poet and also Murakami, the Japanese writer. Bolaño the novelist. See, it's the novelist. Savage detectives, yeah, but his poetry. Yeah, for me it's a poet, it's not a novelist. Yeah, that's true, great books. And I'm listening to a lot of music, but there is a song that I listened to the first month of confinement a few times a day. And I used to dance with a lot here just jumping and dancing. And it's across the universe by the Beatles, because despite everything, nothing is going to change my world. It's giving an additional meaning. Yeah, yeah. I cry some days dancing this song. Yeah, because it was like everything keeps changing, but I need to just be focusing myself and try to protect myself from all what's happening and try to find my courage. Yeah, these are for sure moments you would not have thought about a couple of months ago that you would be at home running seven kilometers on your roof that you would be dancing to the Beatles crime. No, I was thinking, wow, I'm going to be at Salabeket, I'm going to travel to Madrid for the committee, I'm going to be rehearsing, studying, going to Menorca. My parents are from Menorca, little island in the Balearic. And I miss my island a lot and my parents a lot too, but I was thinking that my life was going to be that and just stay in your place and do everything from here. Change life change. What do you think will be, let's say it all goes well and phase one and two and three come but from that from those days of confinement what will you take what have you learned what have you experienced where you feel this is the most significant insight I had just to take like as it is. The things that you cannot change I learned it before but now it's more deep, it's a deeper learning. Because what you can do I was here and thinking I got everything I need I can go to the supermarket just have with food, nice wine, nice beers. My friends are there in my phone not not beside me but life now is like this. And if I use my energy to get angry depressed and complaining. I'm not going to transform anything or I'm not going to. I'm not going to help to find the ways. I find my ways to get related with the new reality. I need all my energy, and I learned that and I, I spend some lot of time just connect with yourself and see what you can do this is the situation, what are what you need in this situation, transform your needs in your objectives. I hear that you also say you know that it made your read was so in the enlightenment and that we perhaps all have to get back to think about this participatory democracy we are in do you. What are your thoughts what if you read his work what what comes to your mind for if you say things have to change in Spain, and you also worried that they won't change or get worse. So what do you think it needs to be done. If we revisit the age of enlightenment. They were asking to, to the state to give people the basic needs to solve the basic needs to let them was playing this in English. It's not easy right now. I'm gonna try. You're very good English is great. No, the state need to give the citizens education, a house and sanitary stuff and sanitary needs and also food and everything and help or work, not help work to have citizens that can think and make decisions by their selves. And I'm going to try to connect this with the coronavirus know. I imagine two situations know a poor person living in a poor neighborhood here in Barcelona, that has no decor when the coronavirus starts or the confinement starts that person has three children, no work, no support from the citizens has to help his kids to do the home words and everything, and also is residing from the, the friend of mine called now the Spanish, the older government announced propaganda from the government, saying you have to be at home if you go outside and everything imagine how do you recite that if you don't have the tools to to question that a bit. And another person that has everything solved and everything can can just spend time looking for information and create their own thoughts, perhaps it's going to question something know, and I think and and it's not going to say oh the government government and saying that I have to do it. No question that to I understand that we need to be close at home, because it was a sanitary emergency.  And I was thinking why I can walk in my rooftop, and I cannot walk into the street just for 30 minutes today I don't care, but with order, and everyone respecting and it seems like we are just and we are just subjects, not sovereigns. And this is not easy. But perhaps there is something to think about that not, we are not going to be or we are not going to apply you all what Rousseau was saying that I don't know what or what he was saying. But why in the 18th century they were questioned that, and now we are just saying yes. Sorry, we are just saying yes to everything, not questioning, not questioning our democracy.  Perhaps no, the responsibility of every citizen and the major as a citizen. And I feel that they treat me a bit as a child. That's true.  I'm a measure and, and we do question what our liberties, you know what are the ones that, you know, we have mankind has fought for centuries and what are the histories of freedoms that are endangered and maybe we took also some for granted and we shouldn't but you know that it is a participatory project as you say we have to ask this question and engage and also fight as you said before, you know, fight for, for, for what we, what we need and, and theorizing always has been, you know, on the site, you know, fighting for the, in that complex history of freedoms but to fight for freedoms and for the liberties in all ways, and for everyone and not just liberty of one or a certain class so it's certainly I think a moment where we re evaluate this and, and your work and Salah back it and then Barcelona but also your life, you know, of course this is all part of it and what we do does matter in our lives but also in, in our works, you know we're coming closer to the to the end or really thank you for this very open honest talk that also reflects the complex complexities of that moment and we are in them I'm sure you also speak with young artists and emerging artists or people in general what what do you use what what advice do you have I know you said something being an artist never was easy so don't hesitate and keep on with your art despite Corona despite the economic crisis despite everything. Find your inspiration in the context. Connect with your soul and try to connect other souls with your artwork always be honest with yourself. The work to seek approval from the others work to fulfill yourself knowing knowing that the harder you try to be like it, the less you will achieve, but keep on always artists not a business. It's a way to communicate. It's a dialogue with humanity and with society so choose what you want to communicate with your art and what you want to amplify with your work be a magnifying glass and uncomfortable one please. Thank you. It's very, very beautiful really think what you want to do with your art and be a magnifying glass but also an uncomfortable one so. But you all go on and engage with us so this is a very, very, very beautiful so thank you for that you know moment you shared with us in. In Barcelona and your in your neighborhood I mean it's different experience for everyone if you would call someone in Madrid during Malaga would be different week two weeks earlier later but these are these are real moments are really. And thank you and I think this is significant for us to hear what you go through and how it relates to our lives and what lessons we can learn from this are really sharing your experiences of significance and it as the kaleidoscope that incredible kaleidoscope we are experiencing. Here was our seagull talk but also I think the world is experiencing that you know everything does matter in power way places and very, very close ones and the microcosm we now observe in our homes and we will go on this week and we hear more voices significant ones the great director and from from New York is here with us this city company she has really made major contribution to theater over decades so teacher and director. And, and so we will hear from here Patricia Cornelius from Australia will talk about also a playwright woman who early on connected with the society the classes and voices of the people and took to detect them and you know to anticipate and to mirror our moments in shifting moments between people relations and objects I guess also on stage so and and high five who from Hong Kong will join us where it is perhaps at the moment also even more burning question what will happen after confinement, you know, the political fight also be for artists and what is the role of an artist in a time where it now seems that perhaps the history of Hong Kong the promise 50 years of freedom have been cut short or will be dead dramatically cut short. Perhaps you will talk about his art only we don't know it's an open space open conversations and really thank you. I know for for being with us and for sharing so openly and for our listeners to be with us after all these these weeks and as so much to do as in us as she works 1014 hours a day and we all experience how fast the time goes talks are longer that is true actually what you said we just do business as usual which perhaps already is part of the change. We are experienced and so we are forced to do to do less so thank you for listening and thanks to how around for being our host out of Emerson College, Travis and see and the great VJ and my team. Andy and some young so really thank you for listening and tuned back and stay safe and stay tuned and I know hopefully we see you in New York you said you want to come back with the play company the great. One of the few companies that early on really looked at international work we don't have enough it's a tunnel vision. It's a big island but after all often it is so island so we need to hear your voices so that will be quite a maybe one day you will see your work here and we have. Yeah, I hope. So again thank you all and thank you Frank. Thank you and bye bye. Thank you.


Today I want to tell you five reasons why you should never be afraid to experiment inside of Lightroom. What's up nerds? Today we're going to talk about five reasons why you should never be afraid to experiment inside of Lightroom. But before we get into that I want to talk about today's poll which is right here in the cards up above. Today's poll is are you a night person or a day person? For me I'm definitely a night person. I hate getting up early in the mornings which I know sounds crazy especially being a photographer and all but I find that I'm my most creative in the evening times. What about you? Leave your answers up in the cards. Back to today's episode I want to talk to you about five reasons why you should never be afraid to experiment inside of Lightroom and these are very simple but can make a huge difference. Reason number one the first reason why you shouldn't be afraid to do things inside of Lightroom is none of the changes that you make to your photographs are permanent yet. These changes really only exist inside of Lightroom. If we were to go over to the original file on our hard drive even though we've made changes inside of Lightroom the file on our hard drive is exactly the same way it came out of the camera so should you make mistakes inside of Lightroom there's really no harm no foul yet you haven't made any permanent changes to the image. This brings me to the second reason why you should never be afraid to experiment inside of Lightroom and it's that you have a reset button so if you do make a bunch of changes to the file and you hate everything about it you can simply hit this reset button and boom the file goes right back to the beginning and then you can start the editing process all over again. How nice is that huh? The third reason why you shouldn't be afraid is this little thing called virtual copies. Basically what it means is that you can take your photograph and make a copy of it inside of Lightroom thus the name virtual meaning if I make a copy of it this copy only exists inside of the Lightroom program it doesn't exist on the hard drive yet but this allows me to leave the original file alone and make any changes that I want to the copy which means you can get as crazy with this copy as you want and you can make as many virtual copies as you want as well. The fourth reason that you shouldn't be afraid to experiment inside of Lightroom is something called snapshots and basically what it allows us to do is take pictures or snapshots of our progress so if I go in here and I make a bunch of color adjustments and then I feel like I want to stop or save this moment in time I can take a quick snapshot of it then if I want to continue the editing maybe with some more creative adjustments like split toning or vignetting or whatever it may be I can do those adjustments and then make another snapshot then maybe if I want to try some different things using presets or black and whites I can save another snapshot and I can name these snapshots whatever I want and I can have as many snapshots as I want as well. One of the differences between snapshots and virtual copies is that these things virtual copies the files and the adjustments are separated with snapshots everything is contained in one nice neat package and so snapshots is usually my ideal way of creating variations of my files versus virtual copies but you know that you have both options so go ahead and try them both and see which ones fit your workflow a little bit better. The fifth and final reason why you should never be afraid to experiment in Lightroom and this to me really is the most important out of all of the reasons is that this is how you learn experimenting inside of Lightroom playing with sliders figuring out what things do this is how you learn the program this is how you get a feel for what it is that you like or don't like and it's this experimentation process that not only helps you learn it also helps get those creative juices flowing and help inspire some creativity so you should never be afraid to go into Lightroom and make changes in experiment and play because you've got five reasons now or four tools that help you know that none of the things that you're going to do are permanent or going to ruin your file or anything like that and you get the chance to see what things do and get get your creative uh get your creative self going that's all i've got for today's episode don't forget about today's poll don't forget to comment like or subscribe we always appreciate that that's all i've got my name is adam i'm out